Six13's Yesh Chadash Review

One of my favorite musicians in JM, Mike Boxer, is back with Six13's latest album. Although I'm pretty much done with reviews I made an exception simply because they are more original than everyone else - you can't be in Acapella otherwise. And I love original stuff and most of all Acapella, so I'm excited about this one.

The album's title Yesh Hadash is most certainly a play with the Kohelet verse: "There's nothing new (Ein Hadash) under the sun" like saying "Six13 is back, and with some new and refreshing music". Let's hope that holds true!

Ki Leolam Hasdo is very catchy and pop-ish. I like the way the lyrics and the song blend - it's not easy to sing these lyrics but I think this worked well. The song builds up well, with a nice bridge in 1:52 (it sounds like another of Six13's song but I can't remember which) and some improvisation in 2:46, where they keep changing the lyrics and that's great - everyone else in JM would just keep singing the same basic lyrics. ****

Mah Tovu is another tune that goes very well with the lyrics, despite the fact that the lyrics are not very original. But although it's true that every JM singer already has a Ma Tovu in their repertoire, this one is different than the rest, so you will not pass it. The arrangement is really amazing, just makes the song flow seamlessly. I also loved the closing of the song. This was definitely the right choice for the second song. ****

Mi Kamocha is in the serious side, and although the first part seems to be just average the high part is amazing and groovy. So far in this album all the bridges are perfect - great job in 2:37, again singing on the lyrics ("Tzur Yisrael") instead of repeating the same lyrics all the time. And before I forget - wacky closing. *****

The next song is very upbeat and puts you in the right mood for the lyrics - Modeh Ani, which we say every morning. I didn't like the second part of the song simply because it uses to much repetition, but overall this song is the best so far - the vocals are superb (check 2:04 and 3:23 and 3:30) and the harmonies are just what I love in Acapella. To put all this together is a great feat. ****

After the cool intermission idea ("ladies and gentleman, once again, Six13") we get to the crazy part of this album - Neilah. The Shwekey-lovers will not be able to appreciate this but I love to see a group just having fun and singing what comes their heart. You can see here Six13's array of shticks and tricks and although all the songs are non-Jewish hits this is woth listening to. Yes, "Too late to circumcise" is a stretch and I hope you will not walk around singing this, but man, so much fun! ****

Like in Ma Tovu, Im Eshocheich is a complicated choice of lyrics but despite that I appreciated the moody style of this song. It's not singable, but it's a nice experiment. And the bass guy in the end is unreal - in Six13 Encore I thought this guy's voice was digitally altered but it's real. The best bass voice in JM, easily. If you didn't notice it, do me a favor, go to 4:04 and hear it again. Don't pass it like that. ****

Shiru Lamelech is perhaps some 5 years too late so from the start I wonder if it was smart to try to Six13-ize it. Everything is amazing but this song already got all the attention it could've gotten, even tough this gotta be the funnest rendition so far. It puts Lev Tahor's version (1st album) to shame, but again, it's too late. ***

I didn't "clicked" with Bni and Ata Echad, which in my opinion are less good than what we had until know. *

Ledor Vador is a song originally featured in Josh Nelson's debut album, an album I didn't review but full of good music (special mention to his first song there, amazing). If you are interested, check Teruah's glowing review. I heard this song before, so I didn't get blown away. ***

Final Thoughts: Although this is not an album intended to the Yeshivish crowd, it seems to me that this album got less buzz than it deserves. While JM as a whole is getting me bored Six13 is ever-interesting and original. All the songs have a purpose and a concept, that is, they are not just another song, it's a new story every time, so anyone who just loves good music will automatically love this album. I hope Mr. Boxer continues to venture into the more Yeshivish JM since he has a lot to teach. As I said once, a professional in a sea of amateurs and Spinner will go far if he sticks with Boxer.

Introducing...Kol Ish!

Kol Ish is a “college acapella” group from University of Maryland and they’ve just released their debut album. I love acapella and since nonw of the acapella groups out there have a true “college acapella” style, I was looking forward for this album and decided to review it.

The group's name, Kol Ish is apparently a play with Kol Isha, and they probably mean that this is as good as Kol Isha. Or something like that. That would be similar to AKAPella's marketing campaign - "so good it should be ossur".
Overall the production is really simple, and the cover art reflects that too. But I actually liked the retro design of the actual CD. Let's go to the real stuff:

Mi Adir is apparently an “adaptation” from a Coldplay song (can’t pinpoint) and right from the start you will see how well Kol Ish’s voices mesh together. Very smooth and pleasant, I prefer this kind of opening song for an Acapella album rather than a computer-generated song (AKAPella did that in their albums). The song however doesn’t builds up and remains in the same gear throughout the 4 mins – I would expect a little more improvisation. Also, the lyrics were not spelled so well in 0:30 and 0:42 – instead of Mi Adir AL Hakol, it sounds like they only said Mi Adir Hakol (no AL). ***

From the very first time I heard this CD, Haazinu stood up from all other songs. It’s exactly what I like in an Acapella setting – originality, good vocal arrangements and great vocals. The tune is very catchy and unique – you don’t have the traditional high part and low part scheme but three parts that are very different from each other. The middle part is a “niggun” that is used as a bridge – a nice idea that is also used in a later song in this album (Va’alu). The lyrics are also original, from Parshas Haazinu and this song does builds up quite well. *****

Kah Ribon is a song I love, originally featured in Ari Goldwag’s debut album. It’s a fun song to sing for acapella – great tune and easy harmonies – so this was a clever choice of song. I would've used auto-tune in the beginning of the song, but overall the vocals are good in this song. The dissonant chord in the end is cool, I’m guessing they took this idea from Mike Boxer who did the same in Bilvovi, featured in his last album. ****

Who has the patience for Meheira? It’s an old hit, it was oversung everywhere and therefore this song was a poor choice. Kol Ish didn’t do anything new or original here, so this song has no appeal for me. **

Adon Olam is a new song and it’s not bad, but not good either - something in between. Not much to be said here, this is an old-style Acapella. ***

Vehoair is one of my all-time favorites from Yehuda! and another great song for Acapella. The harmonies in 1:54 are fantastic and although this is very much like the original version, there’s a lot to like here. ***

Great piece of typical Acapella harmonies in the opening of Hodo – Kol Ish is clearly aiming for that traditional “College Acapella” style we all know. But this song is much better than the other fast song, Adon Olam, and there’s a lot of cool shticks in this one. The song is kind of weird, but it’s a perfect song to cheer this album a bit. ***

Va’alu is quite boring and not really exciting. **

The vocal in Gam Ki Elech are spotless and Kol Ish’s vibe is certainly in these mellow songs. ****

Yehi – great closing song but the digital effects are a disaster- waaaay to much distortion and too unprofessional, and it basically ruined this great song. If done right, this song could’ve been the best of the album. **

Conclusion: Kol Ish has a lot of potential, that’s very clear. The production is the simplest possible and with a better musical team Kol Ish could’ve have produced a masterpiece – their original songs are very good and they form a very solid acapella group. It’s a very decent debut album but they have a lot of home-work to do – better production next time.

Comments on Spinner's Mi Sheshiken Remix

Yitzy Spinner came out with a free single a week or two ago (you may download from his website) and I now got the time to sit down and write about it.

This remix of Mi Sheshiken came as a surprise to me, first because few JM artists venture to produce freebies, and second because Mi Sheshiken, a good song but not Spinner's greatest hit, was seemingly an odd song for a remix - I thought Spinner would rather choose another of his many unrecorded compositions.

But this song is very, very well put together. It's a million times better than the original Mi Sheshiken and Spinner turned this average song into a very cool and edgy piece. The arrangement is more groovy (there's even a latin digression in 3:47), with smooth beats and strings, and Mike Boxer's vocal arrangements are, again, spotless. The Spinner-Boxer partnership is one of the brightest examples of how two musicians can complement each other. Boxer has the a great "musical balance" - he is able to come up with the best vocals harmonies without taking the spotlight away from the lead singer, Spinner. That's the secret of a good vocal arranger and Boxer just has it (I specially like his work between 1:18 and 1:35). Spinner also excelled and proved again how great he is at improvising, keeping the song interesting throughout the 4 minutes (his shtick in 3:37 was excellent).

So at the end, choosing Mi Sheshiken for a free single just somehow worked, highlighting Spinner's biggest assets - creativity and a great team of musicians behind him. As I mentioned in my You and I review I think Spinner is the next Yehuda! and I really look forward to hear his next albums.

Concert

Someone emailed me this concert ad:

"What’s a Jew to do on Xmas Eve?

If they’re into great Jewish bands, they come to midtown.

B.B. King’s Blues Club
243 West 42nd Street
New York, NY
(212) 917-4144

December 24th, 2007
Doors open at 5:00 p.m.
7:00 – Yuda Piamenta and Rock of David
8:00 – Six13
9:00 – Zeke Decker and the Homewreckers
10:00 – Heedoosh
11:00 – Blue Fringe

That’s five incredible acts, one legendary venue.

Check out the newest in a long line of Piamentas to carry on the family tradition of fantastic, spirited Jewish music. Curious to see if Six13 can pull off the amazing sounds of their album live, without a single musical instrument, as they claim? They can. Zeke Decker, an outgrowth of Schechter High School in New Jersey, is shrouded in mystery. Unique and original, Heedoosh is moving to Israel and this will be their FINAL U.S. PERFORMANCE. Dov Rosenblatt and Blue Fringe have become an institution in Jewish rock in just a short time, and never disappoints.

Tickets are $25 at the door, and you can reserve yours online for $20 (that’s a 20% discount):
http://www.jewishtickets.com/Pages/EventDetails1.aspx?EventId=305

See you Monday night!"

Spinner's You and I Review

You and I is Spinner's debut album. Firstly, the cover art is one of the nicest I've seen in the past years - it reminds me of Lev Tahor's Watch Over Me cover art, which as also nice. The production is first-class – with a list of great musicians that include Mike Boxer, Yaron Gershovski, Leib Yaakov Rigler (who arranges Lev Tahor's albums), the Israeli Philharmonic Orchestra and.... Steve Bill. I never heard of Steve Bill in JM and I look forward to hear his music. Let's go to the review:

Tzur is great opening song. I really like the low part and high part is not bad. The song has good energy and Spinner does a good job singing it. In the background there's a lot going on - a full horn section and the Israeli Philharmonic Orchestra - and I specially liked the horns responding to Spinner in 1:50. Although I really enjoyed Spinner improvisation in 3:40 I thought the ending of the song was too usual - it could've ended just after Spinner in 3:45. ****

Acheinu, originally featured in Six13's Encore, is smooth and well done. Mike Boxer did a terrific job in the vocal arrangements and he carries the song further and further with his well-tuned and "consistent" choir. Six13's arrangement concept was borrowed by the string section in 2:33. The ending is interesting - in 5:33 Spinner swings to a major key very skillfully and the choir closes the song softly. ****

The choir in Mi Sheshiken was not arranged by M. Boxer and this has a very negative impact in this song. Spinner is not an experienced soloist and he needs a good choir to assist and respond to him, and since the choir here was arranged by Spinner himself, this song doesn't flows well. Although I liked the cool jazz digression in 3:20, this is an average song. ***

The featured English song, You and I is way too long - almost 7:00. A song like this shouldn’t go over 5 minutes. Because the song is so long, it's a huge challenge to keep this song interesting – you would need a singer who’s great at improvising, but Spinner is not great at it yet - he's not a seasoned soloist. I don't understand why he chose this song to be the album's main song; in my opinion, this song fails to fly. *

Like the first song, L'maan is a good fast song and unlike Mi Sheshiken Spinner comes out well in the vocal arrangements. Avi Singolda has some time to show off his skills in the guitar and Spinner carries the song well. ****

Mike Boxer is back in Lefonai and you can notice him right away, as his choir does the (great) opening of this song. This song is unique, different than what we are used to hear in JM, but it's great and very original. ****

Peeha is my favorite song in this album. The arrangement is nice, the harmonies are very good and Spinner excelled in this song. This song has three parts, but I found the last one to be a bit forgettable - it wouldn't be easy to sing it in a Chupa, for instance. Still, everything falls into place in this song. I love the flat note sung by Spinner in 2:30 and the choir right after that - incredible! *****

The arrangement in Modeh is very different - it starts with the sound of the sea and then with a piece that reminds me of Disney's Under the Sea. There's a classic mistake in this song - the comma in this passage is after "Behemlo", not before it. However, Spinner composed this song considering that the comma is before "Behemlo", so he sings "Behemlo Rabo Emunosecho", which is very inaccurate. This is a very common mistake and it shows that the composer paid little attention to the actual words of this song. Besides this issue, it's a decent song. ***

Once again, we have a very unique arrangement in Shalom Aleichem. This is at best an average song, but both the arrangement and the choir keep this song moving. I liked when the choir sang "Shalala" in 1:47 - it reminds me of Yishai Lapidot's Pio Poscho, where the choir does the same shtick. **

The arrangement in Neshomo is contemporary and pleasant to hear. This song is similar to Ari Goldwag's compositions (similar style) and it's really nice. ****

Oseh is another of these middle-eastern songs that aren't really middle-eastern. You do have the typical instruments, the choir and some singing that resembles a middle-eastern song - but the composition itself is not really middle-eastern. With that said, this a fun song to hear - Spinner does a great shtick at 4:10 and right after that the choir guys do some arabic screaming for us. Fun. ****

I don't have much to say about Avraham Yagel. I think this song should have been arranged as a techno song, a la Ron Tichon. We can hear Yaron Gershovsky's great piano shticks, especially in 2:02, and the song is quite good. ***

-> Conclusion: We must keep in mind that this is Spinner's debut. He's not the best soloist yet but he has a good voice and a potential to become a top singer. With some more voice coaching and experience he will improve a lot - the same happened to Yehuda!, another talented musician who composes (and arranges) his own songs, after his debut in the mid 90's.

Steve Bill did a great job in the arrangements, bringing us a full array of different musical styles and instruments. But to me, the star in the musical background was Mike Boxer, of whom I became a fan after Six13's two albums. He added flavor to this project and his music is always original, creative and interesting - I hope he continues to participate in mainstream JM projects like this one. It’s a great album.


Other three fellow JM bloggers posted about this album - Aryeh, Chaim Rubin and JBlogmeister.

Six13's Encore

I really enjoyed Six13’s first album, featuring some great songs like Lecha Dodi and Yigdal. So without thinking twice, I went ahead and bought Encore in iTunes for U$9.99, relatively cheap. We should start a petition for more JM in iTunes, to the chagrin of Sameach and Aderet.

Al Hanissim is not my cup-of-tea. Musically speaking, the arrangement and vocal percussion are great but I don’t enjoy this song very much most probably because of the lyrics. I don’t really feel they fit well in this song, so I’m not very excited about this one. **

Six13’s choice of songs for the MBC Mix was perfect – Yaale, Adon Olam and We Need You -, MBC’s best songs ever. Throughout the song the vocal arrangements are creative and interesting – Mike Boxer jokingly throws in “What did you say?” in 2:48 and “We are not done/Yes we are/ Oh that’s right” at the very end. This reflects Six13’s laid back and informal approach to music and I didn’t think it was inappropriate. I specially loved the arrangement in 5:32. *****

The song Son starts like Yigdal started in Six13’s album, with the march percussion theme. Like Al Hanissim, I think musically the song is great but it’s not a style I love. When Alan Zeitlin sings a song like this one, in English, it becomes clear to me that he’s not a great soloist. Otherwise, the song is well built and quite energetic. ***

Gadlu is by far the weirdest and original song in the album. I think Boxer did an outstanding job as the vocalist – I can’t see anyone else singing this song decently and with the twists he does. In 2:42 he does one of those interesting shticks (I must say it feels weird to speak Yeshivish when talking about Six 13). The closing of the song is exceptional – great chord used there. Musically, the song is nearly perfect. And I like the originality (I’m assuming Mike Boxer composed it)[He didn't; it's an oldie from Beat'achon, so I instead of five stars I give four]. ****

Many in JM try to throw in a middle-eastern song in their albums, but few have nailed it like Six13’s Dror Yikra. Without any instruments, just with clever vocal arrangements, Six13 found a way to convey a truly middle-eastern feel in this song. I loved the harmony in 2:40, it’s a harmony I always try to do when I sing. *****

Acheinu is a slow song that sounds more like the JM music I’m used to hear. The soloist is good, the song keeps becoming interesting – first with the Lev Tahor-style harmony in 2:09 and then with some great improvisation until 2:32. Good stuff. ****

Shaalu is the second weirdest song in the album and in songs like this, Mike Boxer excels as a soloist. The song becomes even weirder after 3:10, when Boxer does some slow-tempo improvising that I didn’t particularly enjoy. ***

Kol Achai came out with a solid accapella-style Cracow Niggun not long ago that is quite similar to this one. Out of hundreds of Carlebach songs, I really don’t understand why Six13 choose this one. Why not choose another song and make something more original? The only thing that’s stands out in this song are the dissonant harmonies between 0:30 and 0:42, which are really outstanding. Other than that, Six13’s Cracow Niggun is nonsense to me. After singing Adir Hu, they did a cool shtick in 4:07, meshing the two songs – Cracow and Adir Hu – together. There’s no connection between these two songs, but it’s fun to hear them trying to fit them together. Because of Adir Hu, I give this song three stars and not less. ***

Lo Issa has only one-part, posing a challenge to any group trying to sing it for more than two or three minutes. Not much action in this song, except for the lowest tone I ever heard in a Jewish Music song – both in 1:44 and 3:15. I know it was digitally manipulated [Correction: it wasn't! It's unbelievable, but that's the guy's real voice], but still, that was quite cool. **

The last song of the album is the classic Lev Tahor, but there are many innovations in this song. The shtick here are the cool “bridges” between the two parts of the song, which modulates the song to another sister musical chord – see 1:14, 2:22 . I haven’t seen anyone doing this in JM as good as Six13 did here. In 1:24 you can hear a very exquisite low harmony that I loved. Thumbs up for originality. (I’m so used to a bad last song in JM albums, so this great last song was unexpected for me). *****

-> When I first heard this album, I thought it was too different, too weird. But I was wrong; it is different and it is weird, but it’s a delight to listen to Boxer’s music. In my view, after two consistent Six13 albums, he’s definitely in the forefront of JM today, not only in the acapella niche. His music is fresh, original and well thought. If you liked the first album, I’m sure you will love this one. If you only enjoy yeshivish and chassidish music, it will be hard to digest the modern shticks of this album. However, if you are more broad-minded and enjoy listening to something that is a bit different, Six13 will prove to be one of the year’s best albums.


PS: I made three corrections following an email from Mike Boxer. The mistakes: I thought he was the vocalist in "Son", I thought he composed Gadlu and I thought the soloist's voice in "Lo Issa" was digitally altered.