Chicago Blues Guide Album Review: Joe Louis Walker – Hornet’s Nest

Hi! This review was originally published in Chicago Blues Guide on March 27, 2014. For all the latest Windy City blues info, be sure to check out their website at www.chicagobluesguide.com

Joe Louis Walker

Hornet’s Nest

Alligator Records

As they approach retirement age, many people start to slow down as they contemplate the end of their careers and the transition to doing anything other than the drudgery of work. But professional musicians actually love their jobs and often continue to ply their trade well into their golden years. Fortunately Blues Hall of Fame inductee Joe Louis Walker falls into the latter category! Though he will turn 65 this year, JLW shows no signs of slowing down, and this spring there are dozens of shows and festivals on his tour schedule, with stops everywhere between the west coast of the U.S. and Switzerland.

Walker has been a blues force since he was a 16-year-old kid playing guitar and backing the best of the best on the stages of his hometown, San Francisco. Since then he has played with a dizzying assortment of big names, having shared the spotlight with legends such as Albert King, Willie Dixon, John Lee Hooker, Muddy Waters and Jimi Hendrix. He is well-regarded by his fans and peers, and has picked up four Blues Music Awards as well as appearing on Grammy-winning projects from B.B. King and James Cotton. Blues fans can count themselves lucky that he has recorded 25 of his own albums, including Hornet’s Nest, his most recent release from Chicago’s storied Alligator Records.

JLW provides the vocals and guitars for Hornet’s Nest, which was produced, mixed, and mastered in Nashville by the album’s drummer, Tom Hambridge. Hambridge and Richard Fleming get writing credit for all nine of the new original songs for this project, with Walker co-writing three of them. Joining them in the studio were Reese Wynans on B-3 and piano, Rob McNelley on guitar, and Tommy MacDonald on bass. This is the same team that worked on his Hellfire album a few years ago, and they are a stellar group of musicians that know how to craft a top-shelf record.

The title track is first up on this CD, and “Hornet’s Nest” is a hard-core blues rocker that proves that Walker’s skills have not faded at all. His voice may be weathered but is as strong as ever, and his guitar leads burn as brightly as the sun. This would be a fine album if he recorded 11 more songs just like this one, but Walker and his team did not take the easy route as they explored many of the different genres that JLW has perfected over his career.

Next up is “All I Wanted to Do,” a pop-infused rhythm and blues song that takes advantage of the Muscle Shoals Horn Section (Charlie Rose, Jim Horn and Vinnie Ciesilski) to set the mood for his heartbroken lyrics. His guitar tells the same sad story on ”As the Sun Goes Down,” and his axe takes the spotlight of this more traditional blues tune.

The covers they chose for Hornet’s Nest are diverse and unexpected, and include gems such as the 1967 Rolling Stones song, “Ride On, Baby” and Jesse Stone’s “Don’t Let Go.” Fortunately, Walker left off the harpsichord and marimbas on the Jagger/Richards classic and took it in a more contemporary direction -- it is now a fast-paced pop tune with vocal harmonies galore. “Don’t Let Go” retains the original’s rockabilly feel, but at a considerably slower pace than the Roy Hamilton or Jerry Lee Lewis versions. But it is JLW’s take on Kid Andersen’s “Soul City” that steals the show here. This is a gloriously funky blues explosion that shouts out to the influential music cities of this fine land.

The album comes to an end with “Keep the Faith,” a sweet gospel song that channels Walker’s early 1980s stint with the Spiritual Corinthians Gospel Quartet. This was an important part of his career that has influenced all of his recordings over the past 30 years, and eventually led to him embrace his blues roots once again. It is refreshing to see that he celebrates all parts of his career and is not afraid to use every tool available to him.

It might seem that this many genres would pull the CD in too many directions and make it lose its form, but this not true. Traveling to Nashville to cut this disc was worth the effort as Tom Hambridge has produced records for industry heavyweights such as George Thorogood, James Cotton, and Susan Tedeschi, not to mention two Grammy-award winning albums for Buddy Guy. He can sequence a record well and knows his way around the studio, and his work ensured that Hornet’s Nest would be cut from the same cloth as these other fine projects.

It is inspiring that after almost 50 years in the business, Joe Louis Walker is still writing, recording, and playing a grueling tour schedule. But it is even more impressive that he has not gotten into a rut and that his music is still innovative and pushing the limits of modern blues. Hornet’s Nest proves that he is still pulling all the stops out, and it would be well worth your time to check it out. Remember to peruse his webpage at www.joelouiswalker.com to find out when he will be playing near you, as his live show is something to behold!

Blues Blast Magazine Album Review: Innes Sibun – Lost in the Wilderness

Good day!

This CD review was originally published in the June 19, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Innes Sibun – Lost in the Wilderness

Blues Boulevard Records

www.innessibun.org.uk

www.blues-boulevard.net

12 tracks / 50:45

For a budding musician, it would be hard to find a better example than B.B. King, the man that inspired British guitarist Innes Sibun to play the blues when he was just 12. This was a great start, and from there Innes went on to play all types of music including punk, reggae, jazz and rock -- but the blues had a firm hold on his heart. His skills improved to the point where he was able to join Robert Plant’s band, and during his career he has had the opportunity to share the stage with luminaries such as Joe Louis Walker, Steve Cropper, Peter Green, and Johnny Winter. Besides recording two albums with Plant, he has also cut a half dozen of his own discs.

Sibun’s latest solo effort is Lost in the Wilderness, which he recorded in Holt, England with bassist Steve Hall, drummer Kevin O’Rourke, and keyboardist Jon Buckett. Innes took care of the vocals and all of the guitars, as well as taking the role of producer and assisting with the mixing and mastering. So, what we end up with is an album that was the creative vision of a guitarist, so it has an incredible sound with up-front guitars, thunderous drums and fat bass tracks.

Ten of the twelve tracks are originals, including the opener, “You Can’t Miss What You Never Had,” a vintage rock and roll tune that has the energy of an early Jerry Lee Lewis performance. Sibun drastically changes direction for the next cut, “Lost in the Wilderness.” This track has a slow-grinding British blues rock feel (think early Led Zeppelin), and true to its album-oriented rock format it clocks in at over six minutes thanks to an epic guitar solo. Sibun’s vocals are not highly-polished, but are growly and heartfelt and perfectly express the introspective lyrics while Jo Nye’s soulful backing vocals complete the rock anthem concept.

Innes stirs things up again with the first of two instrumentals, “Where are You?” This song is an acoustic interlude that provides a breather between the title track and the hard blues rock of “There Always Will Be.” The other instrumental is “G’zan Hoedown” which takes its name from the G’zan custom guitars that he favors. True to its title this tune starts out with an Albert Lee country feel but morphs into an all-out shred fest with hammering snare drum from O’Rourke and a neat walking bass line from Steve Hall. Sibun proves here that he is a technically talented guitarist with tremendous speed, but unlike some other high-zoot axemasters he never loses the feel and emotion of the music.

Lost in the Wilderness has a tremendous variety of genres, and a great deal of care was put into the placement of the songs so that they all fit together into a cohesive whole. An example of this is backing up the raucous vocals of the punk-fueled blues rocker “Let’s Call it a Night” with the mandolin of the sweet ballad “When Love Breaks Down.” This is a delicate balancing act, but Innes pulls it off.

The sole cover on Lost in the Wilderness is Otis Rush’s 1958 single “Double Trouble.” This 12 bar blues classic maintains the dramatic feel of the original, and though it would be a temptation to overplay on a slow song like this, Sibun is disciplined and maintains space between riffs. Jon Buckett’s organ is spot on and sets a strong foundation.

The album finishes with Innes’ funk-fueled modern take on the traditional spiritual, “Going Home.” This turns out to be a fun song that makes use of different guitar techniques and effects, and is a fresh reminder of the constant evolution of the blues.

Innes Sibun put his heart and soul into Lost in the Wilderness, and it is a showcase of his love for the diverse genres of blues-based music. His band will be touring Europe for the rest of the year, including stops in the UK, Belgium, Poland, France, Italy, Germany, Russia, and Spain. We can only hope that he makes the time to bring his tour to the states – from the energy and skill he exhibited on this album his live show must be fantastic!

Mahalo!

Chicago Blues Guide Album Review: Damon Fowler – Sounds of Home

Hi! This review was originally published in Chicago Blues Guide on January 8, 2014. For all the latest Windy City blues info, be sure to check out their website at www.chicagobluesguide.com

Damon Fowler

Sounds of Home

Blind Pig Records

The American South is the source of countless talented guitar-slingers, but not many get the chance to hit the big time. But, through hard work, endless touring, and incredible talent, Damon Fowler is all set to make the jump. This Florida native has been working his solo act for years, and is also a member of the southern roots rock group, SoHo, alongside JP Soars and Victor Wainwright. Their work is highly-regarded, and it shows that Damon has the versatility to perform equally well as a solo artist or with a group.

Sounds of Home is Fowler’s third solo release on Blind Pig Records and he pulled out all the stops to make sure it was a success. His best decision was to bring Louisiana legend Tab Benoit onboard as producer. This album was recorded and mixed by Benoit at his own Whiskey Bayou Studios, and he also contributed his songwriting skills and a bit of his wonderful guitar prowess. It contains 11 tracks, with seven originals that were penned by Damon and his seasoned writing partner, Ed Wright, along with a little help from Tab. The guitars and vocals were handled by Fowler, with Chuck Riley on bass and James McKnight on drums.

The first track up is ”Thought I Had It All” and the listener gets a strong dose of heavy southern rock. Damon Fowler delivers the vocals with a bit of a southern accent and his voice is strong so he does not need to strain to get his point across. Up next is the title track, “Sounds of Home,” which is a slick piece of blues rock, with a rhythm section that could have been lifted straight out of a 1970s Robin Trower album. It should be noted that the vocals on this track were shared by perennial Mardi Grad favorite Big Chief Monk Boudreaux, which makes for a neat addition to what was already a cool song.

Damon also includes a few country-inspired songs on this album. “Old Fools, Bar Stools and Me” takes on the classic theme of drinking away heartache, but uses a hard punch of heavily processed guitars to get the message across. “Where I Belong” is a catchy tune with fancy fingerpicking and slide that does a good job of evoking images of home. “Do It For The Love” is the standout track on Sounds of Home, as this ballad has sublime lyrics that are interwoven with wonderful interplay between Fowler’s guitar and Benoit’s slide work.

The two covers are not the usual suspects, and they include an unexpectedly faithful rendition of Elvis Costello’s “Alison” and a hard hitting version of Johnny Winter’s “TV Mama.” Fowler electrifies Winter’s 1977 song with well-placed lead and slide guitar licks, which are more than fitting for the slew of double entendres of the original version. This track highlights his backline, which features Riley’s chugging bass line and McKnight’s drums, which are heavy and perfectly recorded and mixed.

The album ends up with “I Shall Not Be Moved,” a traditional spiritual, which seems right at home amongst the southern-fried rock and blues that make up the rest of Sounds of Home. It starts out with Damon singing along with a fun fingerpicked riff, and then he is joined by the bass and drums and some perfectly sweet vocal harmonies courtesy of Tab Benoit. It was clever to put this song at the end, as it is different enough from the rest of the material that it provides a clearly defined finish.

Damon Fowler should be proud of the work he put into Sounds of Home. All eleven tracks are solid, and it is obvious that he has mastered the art of blues and swamp rock performance and writing. Check out this album for 50 minutes of top-shelf entertainment, and be sure to hit his website at www.damonfowler.com for tour dates, as he will be making his way around the country this winter and spring.

Blues Blast Magazine Album Review: Annika Chambers & The Houston All-Stars – Making My Mark

This CD review was originally published in the April 24, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Annika Chambers & The Houston All-Stars – Making My Mark | Album Review

Montrose Records

www.annikachambers.com

www.montroserecords.net

12 tracks / 54:56

Houston native Annika Chambers did not take the usual journey to arrive at her music career. After singing in church as a youth, her interest in the blues truly blossomed after performing in a talent show in Kosovo during her enlistment in the army. Despite the allure of exotic locales such as Iraq, she mustered out after eight years and returned to her home in Texas where she worked with two producers, Montrose Records’ Richard Cagle (a Houston voodoo blues god) and Grammy Award winner Larry Fulcher, to make her dreams a reality.

Making My Mark is Annika Chambers & The Houston All-Stars’ debut album from Houston’s Montrose Records. “All-Stars” may seem like hyperbole, but this is not just a clever name, as she is backed up on this project by some of the best in the business. Besides Fulcher on bass, other Grammy winners and nominees include Samantha Banks and Tony Braunagel on drums, Skip Nalia and David Delagarza on keys, and Darrell Leonard on trumpet. Besides the folks, there are more talented locals that helped out, such as Barry Seelen and Randy Wall on keyboards, Brad Absher, David Carter and Corey Stoot on guitar, Anthony Terry on sax, and Nicoya Polar and Sheree Howard on backing vocals.

This album was engineered by Cagle and mixed by six-time Grammy winner Joe McGrath. Seven of the twelve tracks on Making My Mark are originals, and the first track, “Move” is one of these, with writing credit going to Chambers, Larry Fulcher and Dominique Fulcher (his daughter). This slow and funky soul song kicks off Annika’s debut album with a light version of her biography that is accompanied by fat bass, a healthy dose of smoking guitars from Stoot and three different sets of keyboards. The overall sound is huge and is an appropriate foundation for Chambers’ strong vocals.

Annika is not afraid to get down and dirty, as proven by the lyrics from “Barnyard Blues and “Lick ‘er,” which have more euphemisms and double entendres than you can shake a stick at. “Barnyard Blues” is a fun shuffle with a walking bass line and tight horns from Leonard and Terry. “Lick ‘er” takes the usual blues drinking song a little further than usual as Chambers lets her man know that what she has does not come from a bottle. Braunagle hammers the funk beat down on the skins while Seelen and Delagarza set the mood on the Hammond and clavinet.

Annika goes off the well-traveled blues and funk path with “That Feel Good,” which was also written by Dominque Fulcher. It starts out as a more conventional funky soul song with Annika digging down deep, but it is flavored with hip-hop as Fulcher adds a light rap vocal that is punctuated by Terry’s sax and a distorted guitar solo from Stoot. It might seem strange when reading this description, but the proof is in the pudding and this track clicks when all of these pieces come together.

Variety is the spice of life, and the covers that were chosen for this album reflect this philosophy. These are a well-rounded group that includes Bobby Charles’ “Jealous Kind,” Average White Band's “Put It Where You Want It,” Steve Cropper’s “Love’s Sweet Sensation”, Faye Adams’ “It Hurts Me to My Heart” and B.B. King’s “Let’s Get Down to Business.” Of these, “It Hurts Me to My Heart” is the standout piece, and Annika puts a ton of soul into Adams’ 1954 single. She shows an admirable vocal range as well genuine emotion as Carter tinkles the ivories and Carter tears off yet another ultra-clean guitar solo in this New Orleans-flavored song. The end result is a respectfully modern update to a classic tune.

Making My Mark is a strong debut for Annika Chambers & The Houston All-Stars, and her supporting cast has not only proven that not only that they are musicians, but that they are also able to nurture and bring out the best of new talent such as Annika. She has indeed made her mark, and with her talent and positive attitude, the world is hers for the taking!

Blues Blast Magazine Album Review: Barry Big B Brenner – Keep It Clean

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This CD review was originally published in the April 17, 2014 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Barry Big B Brenner – Keep It Clean

Self Release

www.bigbbrenner.com

10 tracks / 35:16

In the last half of the 20th century there was a fundamental change to blues music as electric guitar, electric bass and keyboards breathed new life into this age-old genre. But, there is a still a primal allure to the purity of pre-electric blues, and this is where Barry Big B Brenner excels.

Barry Brenner grew up on the south side of Chicago where he taught himself to play the guitar and sing. Although he became more than proficient with the electric guitar, he decided that his career would be centered on a more acoustic sound. After being in bands and playing along such notable musicians as Albert King and Eric Burdon during his 30 years on the stage, he is now on his own playing a seemingly endless series of solo acoustic club gigs near his new hometown in the Verdugo Hills area of Southern California.

His third self-released CD is Keep it Clean, a collection of ten original and traditional blues and folk tunes. If there is anything you do not like about this release it is all on Barry, as he pretty much did all of the work on this disc. He took care of all of the vocals and instruments (including acoustic six-string, twelve-string and National guitars), as well as all of the production and arrangement. That being said, chances are good that you are not going to blaming Brenner for anything, as this album is a neat piece of work.

The album starts off with “Follow the Drinking Gourd,” a song that begs more research. The exact history of this song is unclear before it was first published in the 1920s, but it is rumored to have connections with the Underground Railroad. Legend has it that the gourd that is referred to is The Big Dipper constellation that slaves used to help to navigate their way to the north. It is a somber folk tune sung in Brenner’s distinctive whiskey voice and accompanied by a few layers of strummed and fingerpicked guitars.

This recording project uses overdubs that allow Barry use vocal harmonies and have more than one guitar on each track, but there is none of the usual big-label polish here. There is a vibrant feel that carries over from his live show (I have attended one of his gigs), and there is a great variation in volume and presence within each song that that adds drama and interest to tunes that have inherently simple words, as well as his amazing instrumentals.

The three instrumentals each have a unique feel, letting the listener know that Brenner is not a one-trick pony on the guitar. “Reap what You Sow” is a slow blues song with heavy National guitar, “Cochinonas” has a jaunty Latin feel and “St. Elmore’s Fire” is a folk blues. They are all very good, but the last one on the list is the standout of the instrumentals, as it has the most interesting melody and harmonies, as well as exceptional slide guitar work.

Some of the tracks are more folk-oriented, but their lyrics carry the spirit of the blues down deep in their soul. These include “The Back of His Hand,” a song that implores the listener to appreciate what they have and to remember that fortunes can change in a heartbeat -- this is not the Dwight Yoakam song, in case you wondering. The other is “Stack O’Lee,” which was a #1 hit for Lloyd Price in 1959, though the best version is the one that Mississippi John Hurt cut in 1928. The lyrics are an the intriguing story of Billy Lyons’ murder on Christmas day of 1895 by notorious St. Louis pimp “Stag” Lee Shelton. Brenner brings both of these songs to life with his pleasant voice and harmonies, showing that his guitar is not the only thing he has mastered over the last three decades of his career.

The strongest track on Keep it Clean is Blind Boy Fuller’s 1938 song “Pistol Snapper Blues,” and you may be familiar with the version that was recorded by the Irish blues guitar legend, Rory Gallagher. Barry kept a traditional country blues sound for this song, and when listening to it there is no way to tell that it was not recorded during the 1930s: it is that timeless.

The album ends on a happy note with the title track, which was a hit for Charley Jordan in the 1930s, and more recently covered by Lyle Lovett while Barry was in the process of recording Keep it Clean (bad timing, I guess). Big B’s version benefits from sweet upbeat fingerpicking and the fun lyrics that make it seem more like a good-time summer tune than the southern blues that it actually is.

Keep it Clean is a solid album, and Barry Big B Brenner did a good job of keeping this project on track and arranging a collection of well-matched roots and blues songs that can stand by themselves or work together as a whole. If you like this CD, you should check out his live act, as he has plenty of shows around So Cal, including regular gigs at South Pasadena’s Firefly Bistro for the weekly Burgers, Beer and Blues show and their Sunday Blues Brunch.

Mahalo!

Album Review: David Michael Miller – Same Soil

David Michael Miller – Same Soil |Album Review

Food for the Soul Records

www.davemillermusic.com

11 tracks / 54:56

Hi!

I do not get a lot of new Blues music out of Buffalo, New York, but apparently there is some pretty awesome stuff going on there judging by the CD from David Michael Miller, Same Soil. Miller grew up just south of there the Buffalo, where he started his musical endeavors by playing at church, while still getting a wonderful education into the ways of blues, R&B, and soul. After years of playing gospel music, he formed a few bands to explore the world of blues and soul music: Beautiful Bones and Dive House Union.

A few years ago he started recording solo projects, and Same Soil is his sophomore disc. David crammed the studio full of vintage equipment, and put his voice and guitar to work. He was joined by plenty of awesome sidemen, but his core band included keyboardist Jim Ehinger (Bonnie Raitt and Albert Collins), drummer Carlton Campbell (The Campbell Brothers), and saxman Jason Moynihan (Buddy Guy). Martin penned all eleven tracks for the disc, and it clocks in at a respectable 55 minutes – that is a lot of music for the money!

The first track in the set is “All the Blues to You,” which is an encouragement to enjoy blues in all of its forms. This is a great intro for the album, as David walks the walk: there are no two songs that sound the same, and he leads the listeners on a journey through many of the sub-genres of the blues. His voice is marvelous with clear and consistent tone, great intonation and outstanding diction. You will not need a lyrics sheet for this one!

Miller is also a very talented guitarist, and he lays down respectable acoustic and electric riffs throughout. His choice of vintage instruments was worth the effort as his tone is amazing. Likewise, Moynihan does a marvelous job of arranging the horns, Campbell has a heavy beat, and Ehinger is the master of the keys.

There is a little bit of most everything related to blues going on here: roots, rhythm and blues, soul, rock, blues rock and southern rock. There is even a killer live track, “Got Them Blues,” which was recorded at Buffalo’s bastion of the blues: The Market Bar. One of the standout tracks is “Doing Me In, Doing Me Wrong,” a killer stop time blues song with only riffs to die for.

This collection of diverse music all fits together into a cool package and none of the songs stand out or do not fit in. David Michael Miller turned in a solid performance on Same Soil with mature songwriting, good musicianship, and excellent production values. It is totally worth your time, so check it out if you get a chance!

Mahalo!

Review of Musical Theatre West’s Singin’ in the Rain

Greetings!

I have been a season subscriber to Musical Theatre West for a few years, and they are one of the best entertainment values in town. They put on very good shows for a modest price, and though I gripe about minor things, overall I am a big fan of what they do. So, I was beside myself when I saw that Les Miserables, one of the most popular musicals of all time, was on their schedule for the 2014-2015 season, and I was a little disappointed to see Singin’ in the Rain on list. I was completely wrong – Les Mis was so-so, and Singin’ in the Rain was fabulous! It even rained when we went to the show, which is no small feat in a Southern California summer.

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons, currently under the capable leadership and vision of Executive Director/produce Paul Garman. Their big shows are hosted by the Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located $5 parking. And only two bathrooms...

The Singin’ in the Rain stage show is based on MGM’s 1952 hit film that starred Gene Kelly and Debbie Reynolds. The show was adapted with a book by Betty Comden and Adolph Green, lyrics from Arthur Freed, and music by Nacio Herb Brown. It stays fairly true to the movie version, and it includes your favorite songs from the movie, including the title song, “Good Morning,” and “Moses Supposes.” The show originated in 1983 in London then made its way to the states where it premiered on Broadway in 1985, with a run of 367 performances. Since then it has been revived regularly, as it is still a popular show.

It is a fun story, and if you are not familiar with it, here is the skinny. The play is set in Hollywood in the transitional era from silent films to talkies. Don Lockwood (Leigh Wakeford) and Lina Lamont (Rebecca Ann Johnson) are an on-screen couple who run into trouble because Lina has a voice that can make little kids cry and old ladies faint. Don falls for a nobody actress, Kathy Selden (Natalie MacDonald), and his old pal Cosmo (Justin Michael Wilcox) brings a bit of hilarity to the action. There is a little bit of everything in the story, but the guy gets his girl in the end. Of course.

In the Musical Theatre West version, the leads are very good, with a standout performance by Leigh Wakeford. This man is an excellent singer, a gifted dancer, and a pretty good actor too. Rebecca Ann Johnson is perfect as Lina, and her shrieking voice is still rattling around in my head a few days later. Wilcox almost stole the show with his comic timing, and MacDonald is a very convincing Kathy, though her hair was done terribly -- this show is set in Hollywood, not some mousy-haired east coast city (or Detroit). The rest of the leads and the chorus also do a fine job and this is a huge show, with over thirty on-stage characters. They were ably led by Jon Engstrom who takes care of both the director and choreographer roles.

MTW also provides a very good orchestra for Singin’ in the Rain, with more than twenty musicians in the pit. John Glaudini is the musical director, and he does a great job of bringing Brown’s music to life. As always, it is disappointing to see that the musicians get no credit in the program, and there is no indication of whether they are union members or not. Shameful.

Making up for the terrible job they did on the sound for Les Miserables, the production staff really step things up a notch for this show by bringing on a new sound company. There is none of the previous confusion about which microphones were supposed to be turned on, and everything is easy to hear with a good balance between the orchestra and the cast. There are no problems with the rain sequence, though there is a bit more noise from the umbrella than I would prefer – but that is an almost impossible task for live theatre. They even tape microphones to Wakeford’s tap shoes, so the audience gets the full Gene Kelly cinematic effect.

Karen St. Pierre’s costumes certainly seem authentic, and Dan Weingarten’s lighting is spot-on, but the real props have to go out to Michael Anania for his set designs (pun intended). The show takes up a huge amount of stage, and it is full of wonderful elements that really make the show pop. Of course, the most impressive element is the rain scene at the end of Act 1, which is really quite astounding. The water from the show is supposedly recycled, an important note in the drought-ravaged Southland.

Of course, I always have a few things to complain about. For starters, this is a long show and this time it did not start on time, which was compounded by about 15 minutes of speechifying from Mr. Garman. They do not do this sort of thing on Broadway or anywhere else I go to see a show, so I am not sure why there is the need to tell the audience business that could easily be handled on their website or through an e-mail. The acts of the show are unevenly broken up with two hours (counting the late start and the speeches) before the intermission and about a half hour afterwards. If they started on time the intermission would hardly be necessary.

The last thing is pretty much the fault of the show’s writing, and that is that the love story between the Don and Kathy is not believable or compelling. It is one element too many in a show that was already pretty crowded. I am not sure how to fix this, as a musical needs a love story…

Despite these few things, all of the other pieces came together in a wonderful way. Singin’ in the Rain is a solid show with good performances and it is 3 hours of fun – trust me on this one! The show will be playing through July 26, so there is still time to see it, but tickets are running low and one of the shows is sold out. Ending the season on a high note, now is the time to make plans for next year’s season, which will include My Fair Lady, West Side Story, Dirty Rotten Scoundrels and Sister Act. You can’t beat the value!

Mahalo!