Guest Post: Joel's Review of Lapidot's Album

Joel, a loyal reader of this blog, reviews Y. Lapidot's latest album in this post. Yishai will ii"H sing in my wedding, which will take place soon, so I am obviously a fan of his music. I tend to prefer his fast songs, but he has many solid slow hits such as Pio Poscho and Bati. I didn't have a chance to hear this new album - I will try to post a review of my own in the near future. If anyone else wants to guest post, please let me know. This is a democratic blog, anyone can be on the spotlight. Here is Joel's review:

Lapidot recently released a solid debut solo effort "Vaani Hamanginah Shelachem", distributed by Gal Paz, which received very little publicity on this side of the Atlantic. Since it was not distributed by Sameach or Aderet it wasn't on any podcast or blog, and went by largely unnoticed. Thats why I'm attempting to write a review.
Most people know Yishai Lapidot from his boy band/rock group Oif Simchas, but he is also a talented composer. Two of his huge hits are Dedi's "Hu Yigal" and Avraham Fried's Modeh Ani. Another one of his credits is the creator and producer of the "Kinderlach".

The mood of the new album is a bit softer than his previous Oif Simchas efforts, but it has a few flashbacks as well. The musical styles on this album are diverse and eclectic ranging from dance techno to yeshivish freilach to power ballads to even rap.

He starts of the album with the title track "Vaani Hamanginah Shelachem", a mid tempo synth-pop song arranged by his long time collaborater Ron Tichon. Its a nice mellow uplifting start to the album. The second song Vlifamim, was the first single of the album released late this past summer. It has a standout saxaphone solo half way through the song. It is the first of a few steady power ballads on the disc. The third song "Yeled Tov Yerushalayim" is the first Oif Simchas dance style track, and perhaps the liveliest on the album. It has a middle eastern sephardi feel to it and is reminiscent to "Haalo Yeled" from his third OS release. Yeled Tov is a great dance number that was very catchy and has great hooks.

The next song is the ballad "Vesigar beyaitzer" has Dudi Kalish on the background vocals. It is a relatively typical ballad with no real memorable parts. The next track "Achshav Ze Tov" is a swing bluesy number with a great drum intro from Avi Avidani. I just didn't like this song very much. I'm just not very interested in this style.

Lapidot's next song, another arranged by Ron Tichon, is a remake of the classic "Bilvavi". It has a heavy synth beat to it. Yishai has proved before that he can take an old song and remix it well like he did to "Am Yisrael Chai" on the third OS album. This is, like before, a great cover.
Next is "Aleh Katan" which was previously released by Avraham Fried as a single. I enjoyed it with Avraham Fried and I like Yishai's version which is similar just with a different arrangement. It is a song of hope during the despair of the recent intifada that has become an anthem, and huge hit in Israel. It still resonates as the Magen David Adom theme song from a concert I was at this past summer.

The next song is my favorite on the album. "Shir Hachasidim" is exactly what it sounds like, an enthusiastic ode to every sect of chassidus or atleast every sect Lapidot can think of. I was singing along with it instantly like I was when I heard Lenny's "We got a Strong Desire". Lets just hope they don't ban it.

Next is another ballad "Boi Veshalom" which is saved by a guest appearance by the Kinderlach turning a plain chuppah number into a very good song. Next is the first real techno song album "Rack Itcha". It sounds a bit like "Na Na Na Hey hey hey goodbye" that Nancy Faust made popular back in the 1970's with the Chicago White Sox.

After the Techno club song comes a huge change of pace with "Vein bi Hakoach" a mellon collie ballad about someone who has lost all hope seemingly on his/her deathbed. I don't really understand the meaning of this song. Like Josh Baskin, I dont get it. The next song "Al Yedei Nigunim" is one of two songs on this album not composed by Lapidot, but by Rabbi Yitzchak Ginsburg. This is the most yeshivish song on the album that can easily fit in to any wedding first dance. It is a catchy song that you would see on any shiny shoe album.

Finally the last song "Ana Hashem" is an ambitious rap number which is actually one of the more catchy songs on the album. The only problem I have with it is it's mostly in French. The chorus is really great I can see myself waving a lighter during it at a live show. The song is highlighted by Avi Singolda on guitar and Avi Avidani on the drums.

-> In conclusion I think this album was a great listen, and very entertaining. The arrangements were done by Ron Tichon, Ken Burgess, Amiran Dvir and Yishai which contributed to his signature sound. If you like Oif Simchas like me, you will love this album as well. Yishai continues to put out quality material. Most of the fare on this album is similar to what we've heard before. Yishai's solo perormance sounds like a more fine tuned evolved version of Oif Simchas. His music seems to have grown up a little without letting down his OS fans.

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.

HDTV Ad in Israel

Following countless bans in the past years (like this one and this one), this ad came out in Israel just now. Only Jews could make such great fun of other Jews.

Alternative Jewish Music

We have witnessed an incredible boom in the alternative Jewish music segment in the past decade and today there are dozens of “new” genres within JM. Until the 90’s, a few yeshivish singers dominated JM and there wasn’t much action in the alternative genres. Today there’s JM for all tastes – rock (example: Blue Fringe), acapella (Six13), reggae (Matisyahu), mizrachi (Chaim Israel), techno and many more.

I think this phenomenon is great, since we can now listen to music that is more contemporary and original, rather than just listening to the same old sound.

But I wonder where you draw the line between what is acceptable as JM and what’s not. Someone emailed me a video clip of JewDa, a hip-hop singer that made teshuva through Chabad not long ago. He was a hip-hop aficionado since his teen’s and although he made teshuva he still wanted to continue his path as a hip-hop singer. The result can be seen in the clip, and I must say I was open-eyed after I saw the video. He looks exactly like a rapper, with a Miami Heat shirt, rapper cap and dancers jumping all-over the screen. I couldn’t’ understand a word of what he said. So I wonder – is this Jewish Music?

Don’t get me wrong – I’m not a close-minded JM fan who only listens to MBD and Shwekey. I like Matisyahu and many other “alternative” singers like Aron Razel and Chaim David. I like good music, even if it’s not what I’m used to hear. But JewDa for some reason sounded over the fence to me.

Which brings me to my next question, what is the definition of Jewish Music? How can you determine if a song is part of Jewish Music umbrella?

I don’t really now the answer, but I just feel that there’s a limit of how far can a singer go when singing a Jewish song. And JewDa seems to be just past it.

Mike Boxer's email

I made three corrections in the Encore review following an email from Mike Boxer.

The inaccuracies: I thought he was the vocalist in "Son" - it was Alan Zeitling; I thought he composed Gadlu - it's an Beat'achon oldie; and I thought the soloist's voice in "Lo Issa" was digitally altered - it was real (Unbelievable!).

One of the problems of buying music in iTunes is that I can't see the album cover and know who sings and composes the songs..

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.

Soon: Six13

I'm again in a long trip but I will start working in Six13's album review soon. Stay tuned!

By the way, I'm posting this line, which can be found in the Music & Lyrics discussion thread:

"A good tune can take you far, and good harmony can take you further, but a song is not great until it is in harmony with its words as well", by C Yehuda.