SPLASHNEWS- So you thought the Maccabeats were a passing phase; they’re not! Their newest album, titled “Out of the Box”, can just blow you away. The talent that is involved and evident in this group from Yeshiva University is unbelievable. I really like the title of the album with it’s double meaning. Out of the Box represents the long way that they have come from the first album and really since they stepped “out of their boxes” from the viral Candlelight video. They have performed literally all over the world including the White House and up in the sky in New Zealand while getting ready to sky-dive! The title also represents their Modern-Orthodox views of Torah U”Madda which they translate to mean living ”Out of the Box” which they say means being “fun, creative, and committed to to serve G-d with all of our energy, faculties, and resources”. To continue the quote, “We remain committed to to bringing meaningful content to Jewish music, with our hearts and minds in the right place, while celebrating the good and exciting parts of modern culture”. Many songs in the album indeed contain meaningful messages that are brought out expertly by the voices of the Maccabeats. One reason why I like the album is the fact that they remain truly acapella and don’t change their voices at all in studio to sound like instruments. I am not even getting into the sefira argument, I am just saying that I appreciate the talent that is involved without any distortion. I personally think that if you are turning your voice digitally into a guitar/horn etc., you might as well use real music because it will sound better. (just saying my opinion…no need to yell and scream).

This article  can not be complete without mentioning another group that is knocking on the door. I am talking about the Y-Studs, another group from Y.U. that has just released their debut album and I must admit is quite good. Now, obviously if you compare it to Out of the Box, of course no question which is better, BUT, if you compare it to the Maccabeats debut album… The question is, what does it mean for the Maccabeats? They will be forced to up their game and we will see better music from the two groups. I personally think that the Y-Studs have what it takes to compete and the group that comes on top will be the one that has better marketing and of course, mazal. Now, let’s take a look at the album.

1-Come Back- Originally from the Moshav Band, this a great opener. Arranged by Julian Horowitz. I might have cut the intro in half but I can see why they wanted it so long as it is the first song and it acts as a teaser. I love the bass harmony which starts at 2:12. Also, great “drum work” at 3:04! Soloist, Noey Jacobson. Very exciting song but can get a little monotonous. 4 out of 5 stars

2-K’shehalev Bocheh- This song is originally from Sarit Hadad, which I had wondered about because it is featured on the new Shloime Daskal where it says that it is from Meydad Tasa. After some research, it is indeed Hadad’s. Arranged by Yonatan Shefa. Soloists, Josh Jay and Yonatan Shefa. This is a gorgeous song that I loved from the first time I heard it. The lyrics blend beautifully with the melody. 4 1/2 out of 5 stars 

3-Yavo- From the Miami Boys Choir, this song arranged by Julian Horowitz, starts off mellow and then picks up at 0:42 where the beat kicks in. Nice harmony there as well. Great job breaking it down at 1:03. They also kept many of Miami’s original harmonies which is fine with me. Oh, btw check out some pretty solid bass starting at 3:04. Soloist, David Block. 3 1/2 out of 5 stars 

4-When You Believe- This song, arranged by Immanuel Shalev, was a first for me and I think it is very nice but I am not too crazy over it. The harmonies were kept simple and delicate. Also featuring a bridge to the words Ashira Lahashem… I would have only sang the bridge once without speeding it up because I think this detracts from the beauty of the song. Soloist, Jeff Ritholz. 3 out of 5 stars

5-Modim- This song is sung by Nachum Joel and Chanina Abromowitz. Yes, that one, formerly of the Miami Boys Choir. This song is of a slower pace and a very relaxing listen. If you are in the car, you will probably skip it! I like how the beats and harmonies break off at 1:00 for the soloist to say the word “vaed” and come back in less than a second later. Arranged by Deke Sharon. 2 1/2 out of 5 stars

6-Keep Your Head Up- This is a very fun song with great lyrics; perfect listen if you are in a bad mood. Arranged by the more famous Mike Boxer and sung by Nachum Joel. Great arrangements and beats. Only downside is that the high part with its harmonies can get a little repetitive. 4 1/2 out of 5 stars

7-Habeit- This classic from Abie Rotenberg has been sung at almost every camp cantata and will continue to be sung. This song has masterful vocal arrangements by Mike Boxer. Great low harmonies starting at 3:54 and amazing bridge at 4:25. I must have listened to that bridge over ten times until I was able to master it! Soloists, Meir Shapiro and Mordy Prus. 5 out of 5 stars

8-Rau Banim- This Yonatan Razel masterpiece was originally sung by Yaakov Shwekey and the Maccabeats did a great job. The song starts of with the original flute track from the Shwekey album. Wait, no sorry, that’s someone whistling! Great job with that. 2:47 features a bridge that I’m pretty sure they made up. It adds a bit of zazz to the track. I must admit that the song does not sound as good without music but what can you do? Soloists, Buri Rosenberg and Ari Lewis. 4 out of 5 stars

9-Miracle- Arranged by Mike Boxer, this song more like a rap which I guess is a little different but not my style. Interestingly, it is not even 3 minutes long. Soloists, Noey Jacobson, Jeff Ritholtz, and Michael Greenberg. 1 1/2 out of 5 stars

10-Kol Beramah- This is from the smash hit single by Simcha Leiner who is also featured on this song. Amazing job all around; this song can give you the chills. Enough said. Soloists Michael Greenberg and Yonatan Shefa. 5 out of 5 stars

11-Never Say Never- This is a great driving song. Although I can’t really figure out what some of the lyrics are referring too, I am quite impressed with the professionalism displayed in this song. Arranged by Tom Anderson and sung by David Block who does a fantastic job on the vocals. 4 1/2 out 5 stars

In summary, this album shows us the power of the human voice and also shows us the Maccabeats mean business! Overall, I rate this album 5 out of 5 stars as an a capella album and 3 1/2 out of 5 stars for a music album. Yeah, it’s that good. Order yours now.

8th Day is back!

The follow up to their global smash hit “Chasing Prophecy/Ya’alili” is almost here. The album titled “All You Got”, will feature fresh new tracks with the same 8th Day lyrical and vocal touch that makes this band’s music so unique.

The album has song titles like “Didan” and “Mazel Tov” as well as such titles as “The Money Room” and “Bounce”.
“We are really excited to get this next installment from 8th Day out to the world”, says Aderet’s Sruly Meyer. “Everyone will be amazed at what these guys can come up with time and again.%

As someone who loves music, I am a little embarrassed to admit that growing up I was not a Shlomo Carlebach fan. I obviously knew his famous songs, but didn’t own any of his cassettes or CDs. After he passed away I was exposed to his music a little by some friends and went on a buying binge, buying anything of his I could. I still wouldn’t consider myself a Shlomo Carlebach expert, and he would not be on my list of favorite Jewish music performers, but I have a better appreciation for his music, and what he contributed to Jewish music. I also love most of the Carlebach style performers who have either put out their own music or redone Shlomo’s songs themselves. Saying all that, I also have to admit that I also have not been following Yehuda Green since the beginning of his career either. There were a few songs from his first album, Land of your Soul, that the bochurim in Yeshiva sang, but I never really had the urge to go out and hear the whole album. When he released his second album, Yearning, I got it and it got me hooked. And yes, I went out and bought his first album as well. Yehuda is the main chazzan in the Carlebach shul, and is very involved with carrying on the legacy of Shlomo Carlebach. The fact that he features many of Shlomo’s songs on his albums is proof enough, but he also features his own compositions that are in the unmistakable Carlebach style. On this album there are also a few songs that are co-composed by Shlomo and Yehuda (I am not sure how that worked since Shlomo Carlebach passed away years ago, and if someone has a good answer for me I would love to hear it). This is an album that is not going to have the latest styles on it, because Carlebach style is not that, but it is such an easy and relaxing listen to anyone who enjoys the Carlebach style.

Here is my song by song assessment:

Avinu Malkeinu- The album begins with a song that is a collaboration between Yehuda and Shlomo Carlebach. This is the type of style song that has become a prototypical lebedik Yehuda Green song. The arrangements are not very sophisticated but, as the whole album, are very tastefully done.

Birchas Hachadosh- A Mozditzer Niggun that Shlomo Carlebach used for the nussach of Birchas Hachodesh. I have never heard Birchas Hachodesh done in the Carlebach shul or in the Carlebach style, but this is a nussach I can definitely imagine hearing in shul.

Mi Sheasa- A Shlomo Carlebach composition which is a perfect kumzitz song. Being that this is a song from the Hagaddah, I don’t know how often someone will have a kumzitz at their seder, but this song and it’s message would sound nice anytime of the year.

Hashem Melech- This is an upbeat and lebedik composition by Shlomo Carlebach. This song has some interesting instrumentation, especially with the use of violins. This is another nice song, on an album filled with nice songs.

Ka Echsof- This is another song co-composed by Yehuda and Shlomo Carlebach. This is the longest song on the album, and a little too long in my opinion, however it is a hartzige Shabbos zemer. My personal shita is pretty much documented on this website many times and it applies here too.

Od Yishoma- This is a lebedik song co-composed by Yossi Green and Yehuda Green. This is another Carlebach style song, which makes it fit in with the rest of the album! The 2^nd part (the chorus) of the song is very catchy and I like how Yehuda sings it over and over again at the end of the song. The arrangements are very simple, but that fits perfectly with the Carlebach style as well.

V’chol Mi- As I sit here and listen to this Yehuda Green composition, I realize that I sang this song with some bochurim at an impromptu kumzitz a couple of weeks ago, and didn’t even realize then whose song it was, just that it was familiar and I loved it. This is a beautiful and hartzige song that will become another one of Yehuda Green’s signature songs.

Shirat Hayam- Yehuda Green has two types of specialties, the real hartzige and meaningful song (see my comments above about V’chol Mi) and a nice and lebidik niggun. Having them back to back on this album is a treat!

Im Atah Maamin- This song is basically a hartzige niggun without words and a few words sprinkled into the first part of the song at 3:52 of the song. It is a very nice and enjoyable song to listen to.

Eleka Dila- This is another song that is a collaboration between Yehuda and Shlomo Carlebach. It is a nice slow hartzige “Carlebach” song that Yehuda sings beautifully.

Lemikdashcha- Yehuda begins this song, his composition, by singing through the song rubato. It does get lebedik for a little while and ends slow. It is not from my favorite songs on the album, but that just speaks to how strong this album is.

Dear Brother- This is a traditional Chassidic melody with Yiddish lyrics added by Lipa Schmeltzer and some English lyrics added at the end by Yehuda himself. This sounds like a classic song to end a kumzitz with and therefore, in my opinion, it is the perfect song to end off the album as well. Reading my colleague Hillel Kap’s review, I see he agrees with me and that Yehuda does too!

In conclusion, I must say that I really have enjoyed listening to this album, and find it relazing as well. For someone looking for “current” and contemporary styles of music, this is not for you, however for the rest of you, I say go get it!

After releasing five hit albums, and four successful YBC Live! DVD’s, what could be next for The Yeshiva Boys Choir? How about acappella? That’s right! This Sefira season, from the minds of producer/songwriter Eli Gerstner and conductor Yossi Newman, comes YBC “Amein,” the very first ever YBC acappella production. If you think you know YBC, think again. This new album takes a cappella to a whole new level. What kind of songs are on this album?

First off are theree brand new tracks, including the title track which, according to Eli, is one of the most leibidige, coolest songs he has ever written. Another new song featured on the album is called “Al Naharos Bavel”, a hartzige nigun Eli wrote during The 3 Weeks. Next up, of course, is the smash single that took the world by storm “Ah Ah Ah” and some other hit songs from Eli’s various other projects (like The Chevra’s Ess Ponecho & Odcha). Eli is no stranger to acappella. His last acappella album, “The Chevra Acappella,” is one of the greatest acappella albums out there today. So this Sefira season, why not be the first to experience a whole new level of acappella with YBC’s “Amein”?

You can order it today at JewishJukebox.com

A couple of months ago Tzudik Greenwald’s album, Brothers, was released, and immediately I started getting requests to review it. I had not heard a lot about the album and with so much else coming out it got swept under the rug. Well, I finally got around to getting and listening to it, and I am ashamed at myself for not being one of the first people out there to buy it. Tzudik is an amazing talent with an amazing voice, and I have enjoyed his album immensely. In my opinion, Yossi Green is the perfect producer for an album like this. He has previously produced albums for similar types of chazzanim/performers (Dudu Fisher comes to mind) and seems to have a good feeling for the perfect types of songs to highlight such a powerful chazzanish, yet sweet voice. Yossi is also the main composer on this album. Tzudik proves to be quite versatile and able to handle the different styles presented on this album. I don’t know how popular of a performer he will become in the US (especially since he lives in Eretz Yisroel) but he is one amazing talent, and his album is such a great listen.

Here is my song by song assessment:

Gadlu- I love how this song begins with Tzudik singing a chazzanishe piece accompanied by organ music. The song quickly gets lebedik, and by the 3^rd part of the song, it is a pumping disco. Yossi Green adds his inimitable backup vocals. Shua Fried nails the essence of the song with his musical arrangements. I must say this song alone got me hooked on Tzudik!

Al Eileh- This is a haunting and soulful song, matching the sad words from Megilas Eichah. The only issue I have with this song is that it seems like Yossi Green does a good portion of the vocals on this song. He happens to sound amazing, however I would have loved to hear how even more amazing Tzudik would have made the song sound singing it all himself.

Ano Avdo- A very fun sounding disco is a perfect way to get back in a good and upbeat mood, after such a serious song. Again, Yossi Green handles a good portion of the vocals. I like the ending of the song. All in all it’s a nice enjoyable song to listen to.

Kol Mekadesh- With the song starting as a hartizge song, Tzudik’s vocal talents really shine in this Shabbos zemer! I like how the song becomes a bit upbeat in the middle and switches back slow. I can imagine this being sung at a Shabbos seudah (although for you who remember my personal shita on new songs from zemiros, it will probably not be sung by mine).

Shabbat Menucha- This is a Mediterranean styled horah. It starts and ends with a boy’s choir singing and also features some Middle Eastern/Sephardi sounding synthesizer music. It is also a very enjoyable song!

Modim- This is an upbeat song composed and arranged by Mona Rosenblum. This is one of my favorite songs on this album for two reasons. For one, with all the sophistication in Jewish music today, I still enjoy the throwback simple song/arrangements, which remind me of the styles of 15-20 years ago. This song fulfills that for me. My second reason is that the chazzanishe interlude and the ending of the song really highlight Tzudik’s voice and range, and make this a very geshmake song!

Sha’as Rachamim- This is another haunting and soulful song, this time with words from Avinu Malkeinu. It is composed and expertly arranged by father and son duo Moshe and Eli Laufer. This is another hartzige song that really lets Tzudik’s voice shine.

Sim Shalom- This is a swing style song composed by Yossi Green and arranged by Menachem Bristovsky. It has Yossi Green style written all over it (which is not a bad thing) and it features Yossi’s vocals as well. There is a chazzanishe interlude in the middle of the song and at the end of the song as well. It is another enjoyable song to listen to.

Blessed in Heaven’s Eyes- Even without looking at the jacket cover I can tell this is a Ken Burgess song, and is also arranged by Ken as well. The choir featured on this song is The Black Hebrews Choir, from Dimona. It is a meaningful and enjoyable song.

Brothers- The last song on this album is also the title track. It is a lebedik song that combines words from Tehillim together with Yiddish and English words, both translations of the words from Tehillim. It really helps the album end with a bang!

The recurring theme of my review is that this album is enjoyable! I enjoyed it and I am sure you will too! It is available everywhere good Jewish music is sold!

A capella fans everywhere were treated to extreme ear candy when the YU Maccabeats released their debut album Voices from the Heights, in March 2010. In November of the same year, they released “Candlelight“, a Chanukah-themed single. The song garnered international attention and became a YouTube sensation, receiving over 7 million hits. Since then the Maccabeats have performed at venues all across the world, from The White House to Hong Kong (and everywhere in between.)

Now the Maccabeats are back with their second album now available  on JewishJukebox.com. The new album, “Out of the Box”,boasts an array of 11 new songs and arrangements. They chose the name “Out of the Box” as the title for this album as a means of representing their incredible journey since their first album, “Voices from the Heights.” While on YouTube they typically perform in their signature colored boxes, this album demonstrates a commitment to stay true to who they are, beyond their post-“Candlelight” success. In line with their Modern Orthodox philosophy of Torah uMadda is a focus on remaining “Out of the Box” – fun, creative, and committed to serve G-d with all of their energy, faculties, and resources.

The Maccabeats remain committed to bringing meaningful content to Jewish music, with their hearts and minds in the right place, while celebrating the good and exciting parts of modern culture. The album includes hit songs, Rau Bonim (Y Shwekey), Yavo (MBC), Come Back (Moshav), Habeit (Aish) and more. Don’t forget to join the Maccabeats as Lamport Auditorium will be packed to capacity on March 28th for the highly anticipated release of the Maccabeats new CD. For Tickets:www.maccabeats.com

Click PLAY below to hear the sampler

This weekend Yossi Green will unofficially release a new single entitled “Shabbos with Zeidy Berish – Loy SayVoyshi.”

This weekend Yossi Green will unofficially release a new single entitled “Shabbos with Zeidy Berish – Loy Sayvoyshi.”
This single is the third in a series called “Shabbos with Zeidy Berish” and is part of a new project and series called “Yossi Green Vistory.” Vistory, Yossi tells us, stands for “Vintage Music History” and marks the beginning of a new endeavor on his part to produce, present and thereby preserve some of the most precious and beautiful songs of the previous generations so that they be readily available for our generation, as well as future generations to come, IY”H. The first single in the series was released in August, 2010 and is called “Shabbos with Zeidy Berish – Boruch Hashem Yom Yom” and the second was released in 2011 and was called Zeidy Berish – Ma Yedidus Menuchoseich.

The name of this current single is “Shabbos with Zeidy Berish – Loy Sayvoyshi.” It was originally part of an larger composition on the entire text of Lecho Dodi that was written by Reb Berish for the Viznitz Rebbe, the Ahavas Yisroel (grandfather of recent deceased Rebbe). Loy Sayvoyshi is the part of the song that Yossi is releasing now. Yossi relates that, “At this point in time the default song for Loy Sayvoyshi for a Baal Tfiloh on a Friday night in most Shul’s is the one composed by Reb Yankel Talmud for Ger and made famous by Chazzen Dovid Werdyger. Now with the release of Reb Berish’s, we are hopefully adding another choice and enriching the possibilities of Friday night Davening everywhere.”

The song is being released in TWO versions, Short Version and Extended Version, both appearing on the single. The Short Version is the regular way it is sung in Shul while the Extended Version contains an additional piece of original music written for Trumpet Solo, between Yomin Usmoil and Boyee Vesholoim. This was done in the Boruch Hashem Yom Yom song as well with the piece of original music written for Violin Solo in the part of Chasdei Hashem Ki Loy Somnu, Ki Loy Cholu Rachamov. In both songs this was written by Yossi to commemorate the tragic events which occurred in 1944 ending the lives of the Kedoishim, R’ Berish and the people of Vishov, Hashem Yinkoim Domom.

Yossi is involving many different music professionals in the Vistory project. This time the song is being arranged by the talented Israeli arranger, Ruvi Banet who appropriately hails from a Viznitz home and background. The vocals on the song are done by the Vishever Voices (Yossi, Shhhhhh) paired masterfully with the Vishever Violins. As is Yossi’s time honored practice of Hachnosas Orchim in this project, he has once again invited a guest to sing with him. This time he chose the multi-talented Shira Choir. Yossi tells us that the next song is already in the works, this time with arranger Leib Yaakov Rigler.

Attached is a sample of the song.

Who is this Zeidy Berish?
Zeidy Berish is none other than Reb Dov Berish Halevi Horowitz, Zatzal, otherwise known throughout pre-war Europe as R’ Berish Vishever on account of his having lived in the city called Vishov in what was then Hungary. R’ Berish was one of the most wellknown composers of Chassidic music in Eastern Europe before World War II. He composed songs for many of the Chassidic dynasties in the Austro-Hungarian part of Europe. There are many stories and legends told about him. One of these is that R’ Berish, (some say that he could have been a Rebbe in his own right) after meeting and getting to know a Rebbe for the first time, would sense and understand the nuances of his Derech in Avodas Hashem and would then compose a song representing and reflecting this individuality. He would then have it written up (obviously, there were no recording devices readily available at the time) and sent as a gift to the individual Rebbe. It is further said that R’ Berish would develop a strong connection and relationship with these Tzaddikim who would then ask him to compose songs for specific times and occasions through the years. These songs would go on to become those that the Chassidim, and eventually the rest of the Chassidic world, would sing everywhere. Tragically, in 1944 at Auschwitz toward the end of World War II, R’ Dov Berish Halevi Horowitz, Zatzal, perished together with most of the members of his family as well as the other Jewish people of his city, Vishov. Hashem Yinkom Domom.

Yossi Green says that it was the music and songs of “Zeidy Berish,” which he heard at his father’s table and in the Shuls he attended as a young impressionable child, that created within him the drive and stimulation that would later inspire him to compose and set the world aflame with his own music.
The first song in the Vistory series, “Boruch Hashem Yom Yom” was in fact a Nigun which R’ Berish sent to the Satmarer Rebbe, R’ Yoel Teitelbaum, Zatzal as a Vehoil Maminim which the Chassidim then changed the lyrics to Boruch Hashem Yoim Yoim making it singable at the Shabbos table. The second song in the series was a Nigun R’ Berish sent to the Ahavas Yisroel – Vizhnitzer Rebbe, R’ Yisroel Hager, Zatzal as a Mizmoir Ledovid for Shalosh Seudos. Yossi arranged this one into a Ma Yedidis due to its length and great depth. It is a Nigun of immense Dveikus transporting the listener to a time in pre-world war years.

This series is being done with the support of some of the surviving grandchildren, which is the reason it is so named. The “Shabbos with Zeidy Berish” series will, IY”H, include a series of singles arranged to the words of Shabbos Zemiros & Tefillos followed by a full length CD and book when completed.

These CD Singles will NOT be available in all stores. At this time they can be purchased in Williamsburg at Lee Avenue Photo on Lee Avenue corner Ross Street. Otherwise, one interested in obtaining a copy can contact Yossi Green via his Facebook page’s “Yossi Green” & “Yossi Green II.”

After a period of silence in which Yehuda Glantz composed and arranged, it’s time to hear new songs of his new release  ”Chai Vekayam”
Songs in Hebrew and Spanish, as he knows and is known for many years.

Making music is an art, it’s not an hocus pocus, and when you’re a perfectionist like Yehuda, things are cooked slowly with a lot of thought and investment … countless nights of hard work are invested in this album….Yehuda Glantz is the pioneer in incorporating the charango, the Bolivian native instrument, to the jewish culture and fuses his music with melodies and autochthonous instruments. Yehuda adopted the charango to express the psalms of King David and the prayers of the people of Israel to integrate music and South American rhythms with his own compositions.

The album:Chai VeKayam is a compilation of 14 tracks of new beautiful songs. This album is a fusion of Latin-pop, klezmer and world music.The flamenco style song about Jerusalem, “Jerusalem My Life”, is in English and Spanish.

“Yesh Li” is a light Jewish cumbia with a beautiful message of hope; a song that we produced in Spanish also for the Spanish market. “Shabat Shalom” is a happy song for Kabalat Shabbat. “Samachti”, “Lev Tahor” and “Gam Kielech” are all quiet songs with lyrics from psalms. “Pat Bamelach”, a salsa based on the famous Mishna and Yehudas original lyrics.  “Azamra” was done with the participation of Yehudas son, Moshe, on the vocals. The instrumental songs on this album are “Yocheved” which was written with the inspiration of Yehudas daughter and “Jazz Metaktak”, a master piece of Klezmer-Latino-jazz compositions. The grand finale of the record is the famous song “Besame Mucho” in Hebrew with a Latin twist arrangement, and the happy “Chai Vekayam” a trance-organic song to bring joy and happiness to everyone in the world, wherever they are.

Distributed in the United States by Aderet Music, and available for download, at MostlyMusic.com here.

While like everyone else I am always on the lookout for top notch, new music, I have long been a firm believer that lurking within our own music collections there is a goldmine of good music just waiting to be rediscovered.  You know what I mean.  Favorite albums from five, ten, even decades ago, depending on how old you are, some of which are literally chock full of musical gems. I guess that explains why while only four new albums that have come out in the past year have earned a slot in my van’s CD changer, two are wedding albums.  The first is Nagila V’Nismicha featuring Benny Friedman, released last March.  The second is the all new Dance with Shloime Daskal, released just days ago.

I should preface this by saying I am generally not a big fan of wedding albums.  I crave new songs as much as I crave freshly baked cookies.  But in the case of both of these albums, they feature a great selection of songs, sung by one of the best voices in the business, produced, performed and arranged by the best talent that Jewish music has to offer.

Dance with Daskal is fifty nine minutes of solid musical talent.  There is a reason why Daskal is possibly the most sought after singer in the wedding business – he is truly talented.   Put him together with the Aaron Teitelbaum orchestra and the endless talent of the legendary Yisroel Lamm and the result is seriously good music and an excellent example of what the music sounds like at any Teitelbaum wedding.

The bones of any good album is song selection and the beauty of doing a wedding album is that it gives you the opportunity to pick and choose the best from numerous sources.  DWD mixes Chasidic favorites from Slonim, Bobov and Stolin with selections from Israeli artists including Meydad Tasa and Mendy Jerufi. Classics like MBD’s Kulam Ahuvim and Shwekey’s Areivim share space with lesser known but intriguing songs like Yoely Greenfeld’s Akdamus Milin and Yeedle’s Mikimi, polished to perfection by Daskal.  All of today’s wedding standard including Ki Hirbeisa, Omar Rabbi Akiva and Ya’alili are here, and Daskal does an admirable job tackling not only Eighth Day but also the Israeli songs, something I wasn’t sure he could pull off.

DWD is billed as a double album, which to me isn’t exactly accurate as the second disc, titled Special Moments with Shloime Daskal, is a Daskal chupah and is just sixteen minutes long.  Curiously absent are any songs released in the last decade, as it features selections of yesteryear, going through a Daskal chupah, from top to bottom.  The tracks listed on the disc don’t exactly match up with the tracks on the album, but all the music is on there, even if it isn’t listed anywhere in the album jacket.

The home team of Daskal, Teitelbaum and Lamm are featured prominently in the credits as the album is produced by Shloime Daskal, with production by Aaron Teitelbaum and arranged and conducted by Yisroel Lamm.  Nice work by the Shira and Meshoririm choirs on both discs, though I am not a fan of choirs at a chupa which makes it feel more like a performance than like the most important moment in the lives of the chosson and kallah.

Most of the issues I had with this album weren’t music related although both discs are cut a fraction of a second too late and feature a slight glitch at the tail end of the last track.   It doesn’t cost any more to get the names of the songs right as some of the songs are titled by the part of the song being sung as opposed to their actual names.  (For example, Baruch Levine’s V’Zakeini  is referenced as U’Meirim es Haolom because that is the part of the song that was used here.) I can’t help but wonder about the spelling of Daskal’s first name which appears as Shloimy on the cover but consistently as Shloime in the booklet.

Bottom line?  Dance With Daskal is great music, done right and a refreshing example of what Jewish music should sound like.  You can find it at your local Judaica store at www.topjewishmusic.com.

Usually we hear about a superstar releasing a new album months in advance. However, Yaakov replaced the usual hype with an element of surprise combined with humility. He begins the booklet with a message that he was inspired by the passing of his dear friend, and he transformed that pain in a message to uplift others. “Cry No More” is a theme of yearning and bitachon that Hashem will lift us out of this Golus.

K’dai – Composed by Yitzy Waldner. This song begins quietly and then transitions into an upbeat song that is similar to his “‘Lesheim Shomayim” but nicer and warmer. The high part that starts with Kedai hu loi has the “dai,dai dai” like Ad bli dai from his last album so it has similarities to his old stuff, but this has more geshmak to it.

Batuach Ani – Composed by Elimelech Blumstein.This song is a hartzige slow Shwekey song with a feeling of hope. The words are from Slichos that convey the message of Tefilla and that nothing stands in the way of tears. The mood of the song is one of strength , not brokenness and despair. It’s not so emotional and that helps it put a positive tone to it.

Lo Yaavod –  Composed by Yossi Muller. This features Metallish – emphasizing guitars. It’s upbeat and again shows strength of Avoidas Hashem with love , not for reward. It’s not in a condescending fashion, but a powerful message that it within your reach – “You can do it!”

Mi Bon Siach – Composed by Yitzy Waldner. It’s a nice Chupa Song and “shoishan choichim” sounds like it comes from the Mama Rochel Song – ” She raised her eyes to the Heavens”.

Hinei Anochi – Composed and arranged by Moshe Laufer. It’s a fast song featuring Shira Chadasha Boys Choir sticking to his upbeat geula theme. Here he ends it off really high “vihanoiRO!!”

Oleinu – A slow song that’s composed by Ezi Reissman. The style is similar to “Vihee Sheomdo”  especially by the beginning of the high part “Sheloi Osonu”. It is hartzig and contains classic Shwekey high tones that are so soothing. The adult choir finishes the song that transitions into accapella.

Rabi Nehoiroi – An upbeat geshmake song composed by Yitzy Waldner and Elie Schwab that celebrates teaching Torah to ones children as the only occupation as quoted in Gemora Kiddushin.

Yesimcha – Composed by Yitzchok Rosenthal. The song starts off like a pleasant lullaby when one puts his kids to sleep as that is the theme of the song which is bentching your children. It’s arranged by Yisroel Lamm and features the Shira Chadasha Boys Choir and Yaakov’s son Menachem. What a bright future he has!

Retzoineini – I love it when Yeshivishe singers stick in a Chassidishe nigun. Yaakov has done it before with Yiree and  Emes. Even Miami Boys Choir has Hashkiveini in Revach. This song is composed by Pinky Weber and starts offf with the Mezamrim choir. So when you hear it be ready and don’t think there’s some mistake that by accident Yoichy Briskman stuck in Sruly Werdyger by mistake…The song is very geshmak. The only thing I may have done different was to put in more power in the words “retzoineini lirois es malkeini” but at least it does by the song’s ending.

Cry No More – Composed by Yaakov and Yitzy Waldner. This is the climax and inspiration of this album. A powerful tefilla to Hashem to stop the suffering and crying. We started off with the absence of hype replaced by humility. How does humility go together with strength? Because humility doesn’t mean ” I can’t”, but rather that everything is Hashem’s koiach and he can do anything including bringing an end to the pain , terror and Golus.

This is one of my favourite Shwekey albums. Some of them have slow songs that are somewhat melancholy that makes it difficult to listen to when one is feeling a little down. However, Cry No More has a very serious theme inspired by tragedy, but all the songs are uplifting and positive.

In today’s times when there is usually a PR blitz starting several months before an album release,  culminating in either a pre-release music video or some other event to introduce the new album, Tuesday’s news that Yaakov Shwekey’s new album, Cry No More,would be available in less than a week, came as quite a surprise.  The ability to purchase the newly announced album as a download, just one day later, was a feat that few could manage to pull off. Being that this is my third review of a Yaakov Shwekey album, it is very obvious that I am a big fan of his, and I have a feeling I am not in the minority. There is no need to build up any hype or anticipation for a release in Yaakov’s world. While it is very hard for me to have a true feeling and opinion for an album after only listening to it for a couple of days, I usually walk away with a pretty strong opinion after a first impression, and this time is no different. I think I can say confidently that this is once again, a quality Yaakov Shwekey album, expertly produced by Yochi Briskman, and in conjunction with his usual partners in music, Yochi’s immensely talented son, Yanky, and versatile composer Yitzy Waldner among others. I am especially excited by some “different” things he did with this album, which I will elaborate on later.

Here are my song by song first impressions:

K’dai- The song starts fading in, with what sounds like a mix of techno and real music. It immediately quiets as soon as Yaakov starts singing, to highlight the beginning of the song, and the beat picks up the 2^nd time around the low part. In my opinion, it is a very tastefully done arrangement by Yanky Briskman. The song, composed by Yitzy Waldner, is a nice hora, and a perfect song to begin the album with.

Batuach Ani- This is a slow and hartzige song composed by Elimelech Blumstein, and arranged by Yanky Briskman. It is a beautiful song that really highlights Yaakov’s voice and amazing range, but it is a typical “Shwekey style” song. While I enjoy chiddush (as you’ll see soon) I still enjoy the classics, and this was an enjoyable song to listen to.

Lo Yaavod- If someone listened to the first to songs and stopped, they would probably think that this is another typical Shwekey album. Well my friends, I think that by the third song you will see it’s not. This song is composed by Yossi Muller, arranged by Jeff Horovich, and features a blast from the past (and perhaps the future) Metalish.  Metalish was a group of musicians, Yochi Briskman, Dani Maman, Menachem Herman, and Jeff Horovich, who put out 3 albums of Jewish songs with a heavy metal interpretation. I myself have never been into heavy metal (or any secular music for that matter) however when their first CD came out I was taking guitar lessons from a heavy metal aficionado, who asked to borrow the Metalish CD. He was not a Jewish person, nor had he ever heard Jewish songs before, and was so amazed by the talent and musicianship on the CD that he had me buy him a CD and told me it was the best heavy metal release he had heard in a long time. I have always enjoyed their work, and this song is no different.

Mi Bon Siach- This is another slow composition of Yitzy Waldner. It sounds similar to other songs out there. I am not sure if I have ever expressed my shita on songs written to Mi Adir or Mi Bon Siach before, so I apologize in advance if I have. There are so many songs being used for those special words sung under a chupa, and I find the words themselves to be overused on albums. In my opinion, it takes a special song to mesh with these words. The song is long enough however, for the kallah to walk around at least 7 times.

Hiney Anochi- Moshe Laufer! Need I say anything else? This is a classic styled Moshe Laufer lebedik song composition and arrangement. The Shira Chadasha Boys Choir, under the direction of multi talented Nachman Seltzer, add their talents to this song.

Oleinu- This is a slow and hartzige song composed by Ezi Reissman. At first, it sounds like a typical Shwekey styled slow song. Being that this is a composer who I have never heard of before, I wanted to listen a few extra times to see what stands out from the song. Ironically the first thing that jumps out at me is the words of the song. Usually people rush through Oleinu, when it is such a meaningful Tefila. In that respect, the song and the words really fit well. The song is really a sweet song, and I absolutely love the vocal arrangements and the backup vocals on this song.

Rabi Nehorai- This is an upbeat hora that is composed by Yitzy Waldner & Elie Schwab. It is arranged by Ruvi Banet & Yanky Briskman. The saxophone solo to start the song off, presumably by Arkady Kaufman is nice! I have a soft spot for songs about Torah, and especially songs about teaching Torah to the next generation. My favorite times of the week are the times I get to learn with my son.

Yesimcho- This might be the song of the album. Composed by Yitzchok Rosenthal, of Shalsheles fame, this beautiful and touching slow song with equally beautiful words really hits home. Combine it with the masterful arrangements of, in my opinion the best arranger in Jewish music, Yisroel Lamm, what more can you ask for? Oh yeah, Yaakov’s son, Menachem sings on the song too. The apple doesn’t fall far from the tree!

Retzoneini- This is a very lebedik Chasiddishe style song composed by Pinky Weber and arranged by Yanky Briskman. You can always count on at least one song in this style from Yaakov (e.g. Menagen and Emes). The song does go a bit too long, but there are some really nice arrangements that spice up the song.

Cry No More- This is a very poignant and emotional song about us yearning for the coming of Mashiach. The song is composed by Yaakov himself together with Yitzy Waldner, and the lyrics are written by Ken Burgess. The arrangements by Yanky Briskman have a techno pop feel to them, but are not overdone and enjoyable.

In conclusion, my first impression is that this is another quality album by Yaakov Shwekey. It is already available for download at http://www.mostlymusic.com/cry-no-more.html and will be available wherever quality Jewish music is sold shortly.

Much has been said about the recent explosion of Chassidic singers and performers, so for me to pile on is unnecessary. Since Shragee Gestetner’s new album has come out, I have listened to it extensively to really get to know the songs and to try and formulate an opinion based on a longer amount of time than I usually would before writing a review. As a whole, I think this album is a very enjoyable album and worth buying. When it comes to songs that will become popular on the wedding scene, I think it is not a fair barometer anymore to judge a new release. I am not sure why there have not been many new songs from recent albums being played at weddings (and maybe that can be a post at a later date), but the fact that there are not that many songs in the last year and a half that have come out and become big, means that we can’t judge an album by how many songs will become popular.  There are many more albums coming out today and every performer has to try to do something special or different so that people will want to buy their album. Shragee has a very sweet voice, a nice range, and he also composed some of the songs on the album, so we know he has a lot of talent to bring to the table. The album is produced by A Teem Production, Yossi Tyberg and Gershy Moskowitz, and many of the songs are composed by Yossi Green. The musical arrangements are by Shua Fried, Ilya Lishinsky, Yuval Stupel, and Mendy Hershkowitz, and while I will comment on some of the arrangements that I feel were a little underwhelming, I think as a whole they are arranged tastefully.

Here are my song by song assessments:

Sim Bracha: The 1^st thing that hit me about this song was the bass guitar solo to begin the song. If I might digress for a moment, this is a hot button topic by musicians (especially bass guitarists) in the Jewish music scene. If you go to a typical wedding, there is usually no bass guitarist and the bass lines are being played by the keyboardist. There are some keyboardists out there who can play a mean bass, but there is no replacement for the real thing. Aside for trombone, the bass guitar is probably the most underutilized instrument. For me it is a breath of fresh air, and very daring to begin the whole album with a bass guitar solo. It is amazing! The song as a whole, composed by Yossi Green and arranged by Ilya Lishinsky, is a pleasant Hora, and very enjoyable. Yossi Green adds to the song with his unmistakably unique background vocals. I am not sure why the song fades out at the end, but if there was no ending to be had, it is better than just an abrupt end (as I will expound on later).

Venizkeh: A surprisingly upbeat ballad that is just enough different to stick out, but a really nice song. The song is composed by Ari Haas and arranged by Shua Fried. Shragee sings the backup vocals himself on this song. I think the instrumentation and arrangements on this song are very tasteful. I especially enjoyed the guitar and saxophone solos, and the ending as well.

Maleh Mishalos Libi: Two slow songs one after another is not something you’ll usually find on an album, but in my book, it’s ok. This song is composed by Shragee himself, and arranged by Shua Fried. It has more of a haunting and somber feel to it. The very simple instrumentation the first time around the song is very tasteful, and I like how it progresses and builds up during the song. Shragee’s backup vocals are also very powerful in this song as well.

L’chaim: Yossi Green! Need I say more? This song is a prototypical Yossi Green song. It is an enjoyable song to listen to right up until the abrupt end. It just ends. (kinda like my assessment of the song just ended…)

Kerachem Av: This is another Yossi Green composition. The musical arrangements are by Shua Fried. This is a very nice slow and hartzige song .This is a song that really highlights Shragee’s sweet voice and range.

Dayoy: This is a very solid Hora that might be the best song on the album. It is composed by R’ Moshe Peretz Schwartz and arranged by Shua Fried. The choir is led by Moshe Kraus. There is a little techno/synthesized music that is not my favorite, but the song is so good that I can overlook it. This song also ends abruptly.

K’sheim: A real nice and catchy song. The song is composed by Shragee, the intro is composed by Pinny Ostreicher, and arranged by Ilya Lishinsky. This is a very upbeat song and is one of my favorites on the album.

Odeh Hashem: This is another Yossi Green and Shua Fried collaboration. It is a very sweet and emotional song with words (giving thanks to Hashem) that really fit the song. This song also fades out at the end.

Bnei Beischa: A very lebedik and geshmake song composed by Pinky Weber and arranged by Yuval Stupel.  There is a lot of brass in the song ala Moshe Laufer, but since I love brass, it works for me. The choir by Moshe Kraus really adds to the song as well.  I really enjoyed listening to it.

Uvruchim Heim: A beautiful and hartzige song composed by Shragee himself. The song is arranged by Shua Fried. The highlight of the song for me is the children’s choir, led by Moshe Kraus.

Moshe V’dovid: The final song on the album is a Yossi Green composition that came out a few months ago as a video in tribute to a bar mitzvah boy. It is arranged by Mendy Hershkowitz of Freilich Orchestra. I liked the song when it came out, and like even better with Shragee singing the whole song himself, with of course Yossi Green’s background vocals.

In conclusion, I feel that this album is a very solid album and an enjoyable listen. I highly recommend it. You can purchase it at http://www.topjewishmusic.com/index.php?main_page=product_info&products_id=236, http://www.mostlymusic.com/shragee.html, or anywhere good Jewish Music is sold.

Just when one may think that the Jewish music world was saturated with enough singers, the ” esTeemed” Teem Productions has treated us to Shragee Gestetner, a Haimishe Yingerman that sings songs with a wide range of styles that will please everyone who has taste for Jewish music. He has a clear sweet voice that reminds me of Shloime Gertner. So if you are a Gertner fan like most of us, you gotta get hooked on to Shragee!

The album consists of 11 songs. 5 are composed by Yossi Green – himself a multi-faceted composer and the best in the business. 3  are composed by Shragee himself and he is not a novice in composing great songs. For example, Shragee composed a song Anim Zemiros  for Shloime Daskal’s album. The remaining 3 are composed by Pinky Weber, Ari Haas and Moishe Peretz Schwartz.

Most songs are arranged by Shua Fried who is an amazing arranger and keeps getting better.

The songs on the album that stand out the most are as follows:

#3- Malei Mishalois Libi composed by Shragee is a hauntingly beautiful song. At the 4:10 mark, he comes in like a backup vocalist in a big time powerful way that’s very meoirer.

#5 – Kerachem Av composed by Yossi Green is a really hartzige nigun. (It’s funny that the last time I remember Yossi composing a song with these words was with New York School Volume 2 in the 70′s…) But you gotta hear this song…. Chamoil, Chamoil,Chamoil al ameichu….and the arrangements at the end of the song…very touchy.

#6 is Dayoy composed by Moishe Peretz Schwartz – The words are “Ma yisoinein ho-odom chai, dayoi shehu chai”. I remember hearing a drasha from Reb Zelig Pliskin that always talks about happiness and he mentioned this phrase base on a passuk in Eicha and that once a person appreciates the fact that he is alive there is nothing to complain about. This song brings out this yesoid in a powerful Hora – style way. So if someone fels a little down, he can just turn on this song and immediately start dancing!

#7 is Kesheim she-ani roikeid composed by Shragee. It is upbeat and catchy and reminds me of Dovid Gabay’s Havi’i Bonai from his first album.

#9 song is a leibedike geshmake nigun composed by Pinky Weber called Benei Baischa.

#10 is Uvruchim Heim composed by Shragee. It’s a really varemeh song and maybe the best song on the album. It includes a chidren and adult choir led by Moishy Kraus.

To sum up, when you have a new singer that has the best composer for the biggest portion of his songs, and includes his own compositions ” in er hot nisht vus tzi sheimen” then you know it’s a smashing success.

My first reaction listening to this album is where have they found this special talent? I have never seen any videos of him singing at weddings, like I have of most of the newest singing sensations. I have never heard of him, and I am probably not alone here. Amram Adar seems to have burst onto the Jewish Music scene (well actually danced his way in with his music video release) and taken us by storm. Amram is as versatile of a vocalist as I’ve heard. He can sing Ashkenaz, Sefard, Yeshivish, Chasidish, and Chazanus, and all of these really well. His voice is polished and full, and his range is amazing as well. Amram shows us he excels in singing both fast and slow songs. I don’t know if Yochi Briskman is the one who discovered him, but he has a great track record producing albums for solid and talented performers, and Amram Adar can be added onto that list as well. The album, Baruch Hashem, is sure to become a hit album, and I am confident that some of the songs will become big hits as well.

Baruch Hashem- As the title track of the album, this song really starts off with a bang! There are 6 different languages used to begin the song; Hebrew, Spanish, English, Russian, French, and of course Yiddish. It’s a very catchy tune, composed by Yitzy Waldner. The intro sounds like a classic Moshe Mona Rosenblum piece, complete with some nice piano and brass parts and he is the arranger of the song. This song really brings out Amram’s voice and is a great song to start off the album.

V’ilu – Wow! I think that sums up my opinion of the song. We all know Yochanan Shapiro, of Acheinu fame, is an amazing composer, and therefore we expect nothing less than an amazing and hartzige song from him. Add in Yanky Briskman’s arrangements and Amram’s sweet voice, and this has a chance to be a real hit song.

Halaila – This is the song featured on the recent music video that Amram released. It is mostly techno music, arranged by techno master Ian Freitor. This is a catchy horah composed by Yitzy Waldner.

Boee Kallah – This song is another sweet and hartzige song. It is composed by famous composer Yitzy Waldner, the main composer on the album, and arranged by the legendary Moshe Laufer. I can just hear this song as a staple by Chupas and as dinner music.

Aneini – A real nice upbeat song composed and arranged by well known Israeli musician and band leader Yoni Eliav.

Kesser/Kodosh – This is a two part song. The first part is a nice piece of chazzanus, composed and arranged by Dr. Mordechai Sobol, a legend in the world of chazzanus. Amram shows his versatility by doing an amazing job on the chazzanus. The other part of the song is composed by Yitzy Waldner, and arranged by Dr. Sobol’s son, Ofir, also a legend in the world of chazzanus. This song as a whole has more of a chazzanus feel, and as such, is not the usual style you would find on a regular Jewish music album. Nonetheless, it is a nice and enjoyable song.

Git Voch – Another Yitzy Waldner song set to the words of Havdala with added Yiddish words, hence the name Git Voch. The song is arranged by Ian Freitor. Although Ian usually is into techno programming, he also proves here is a talented arranger with regular instruments as well. This song is not one of my favorites, but is an ok song.

Ad Matai – A touching song about the long galus we are in. This is the Hebrew version of the song. The song is co-composed by Yoel D. Goldstein and Yitzy Waldner, arranged by Yonatan Razel, and features child soloist Moshe Green.  The Hebrew lyrics are written by Srulik Adler. This is the type of song that I expect to see eventually on Youtube with a touching video attached.

Moshiach – This is a catchy and upbeat song, which I find to be the perfect ending to the previous song. The meaning of the words is that we should be zoche to greet Moshiach! This song is composed by Yoni Eliav, and arranged by Moshe Laufer & Yanky Briskman.

Brich – Another sweet and hartzige song, this one co-composed by Amram Adar & Yitzy Waldner, and arranged by Moshe Laufer. From all the slow songs on the album, this is the weakest, which just speaks to how solid and amazing this album is! Brich also features child soloist Moshe Green.

Yismach – This song stats off in more of a sefardi style hora eventually switching to a disco beat. It’s a nice solid song that might also find its way onto the dance floor. Yismach is composed by Yitzy Waldner, and arranged by Moshe Mona Rosenblum.

Ad Mosai – This is a Yiddish version of Ad Matai, with the Yiddish lyrics written by famous badchan Motty Ilowitz.

In conclusion, this seems to be an amazing debut album by a real exciting performer. To buy baruch Hashem visit http://www.mostlymusic.com/adar-baruch-hashem.html or wherever quality Jewish music is sold.

How often can an album be released featuring an all star lineup of Mordechai Ben David, Lipa Schmelczer, Dovid Gabay, Shloime Gertner, the Mezamrim Choir, Chilik Frank and the Freilach Orchestra, produced by Sheya Mendlowitz, and arranged by Suki Berry,  and seemingly not even register a blip on the Jewish Music scene? Then again, with most of the musical focus nowadays on new sounds and styles, this album, Big Time Alter Heim – Then and Now, is one that could fly under the radar, undeservingly so. Set in a wedding type format this album mixes some older classics with some newer classics to make a very pleasant and enjoyable to listen to album. Since, this is not an album with brand new songs (except one) I will not do a song by song review, but will give some highlights of each medley.

Opening Medley (Od Yishoma) – This medley features Lipa Schmelczer, Dovid Gabay, clarinet virtuoso Chilik Frank, and both the Mezamrim Choir, under the leadership of Chilu Posen, and the Moshy Kraus choir. This begins with a couple of classic od yishoma songs. Although I am not a fan of the Israeli “knaytch” on the 1^st od yishoma, I still love the song itself. It also features a few classic chassidishe songs, including V’chol Karnei and Tzali Voroini, a favorite of my Rosh Yeshiva’s, a Rav Shmuel Brazil and Regesh classic, Uvo Litziyon, one of Baruch Levine’s nicer freilich songs, Avinu Malkeinu Galay, and ends with another wedding classic, Vayehi Bshurun. Between the songs themselves, the musical arrangements, and the harmonies of the choirs, this is a real solid medley.

Chupa Selections are the next five tracks. My favorites are Mama Rochel, a Mordechai Ben David classic, as Mi Adir, with MBD himself singing, a stirring rendition of The London School of Jewish Song’s B’ein Malitz Yosher by fellow Englishman Shloime Gertner, and another London School of Jewish Song classic, Hamalach, sung to the words of Mi Bon Siach by the Mezamrim Choir. All in all these selections are very calming and beautifully arranged.

Anah Avdah – This is the only brand new song on the album. It is a techno style song, that people who have read my reviews before know is not my favorite style of music. I must say that Dovid Gabay does an amazing vocal job on this song, and the animated video that was created from this song (http://youtu.be/9PWEAQ6RPIw) has been a big hit with many people, including my children and has over 25,000 views on YouTube. A JMR colleague of mine recently told me that for many it was the high point of the album.

Marches- the next medley is a couple of famous chassidishe marches sung by the Mezamrim Choir. This is also a very nice and relaxing listen.

K’neses Yisroel – a beautiful song composed by Shloime Kalish, and with Yiddish lyrics by Lipa Schmelczer, who also is the main vocalist on this song.

Closing Sameach Medley – The last medley on the album is a very interesting mix of songs. It begins with Sameach, which I had only heard before as an Uncle Moishy song, and one that I have always enjoyed. It follows with a Chabad niggun, B’cho Hashem and a Satmer niggun, U’vchein, which Lipa Schmelczer not only sings on this album but also on Non Stop Lipa. Two MBD classics follow, Samcheinu, from his Mashiach album, and a newer classic, Kulam Ahuvim. The medley ends with two older classics Chaim Shetehay, a Moshe Laufer song, and Vosik, a Chaim Banet special. In addition to Lipa, vocals on this medley feature both choirs, MBD, Dovid Gabay and up and comer Shalom Jacobs. The ending on this medley is a classic “back in the day” Suki Berry/MBD ending.

All in all this is a very enjoyable and relaxing album. If you are looking to wax nostalgic and hear what Jewish music once sounded like, I totally recommend this album. It is available at http://www.jewishjukebox.com/products/jewish_wedding_music/2362.asp, at mostly music http://www.mostlymusic.com/big-time-alter-heim-then-now.html, and wherever good Jewish music is sold.

Disclaimer : I’m sorry that the CD has been out for a little while and only now am I writing up this review. Turns out I got swept in the Yom Tov rush like many others and I was only able to finish it now.

From the moment I started listening to the newest Nochi Krohn album, I haven’t been able to stop. Since Nochi’s last album “Ananim”, he definitely stepped it up a notch. This album in particular moved more towards mainstream Jewish music while still keeping everything fresh and original. Although I could go on for a long time about how great I think this album is, I will do everyone a favor and try to keep it short as I run through each track and attempt to sum up this album.

1.Ein Kadosh Kashem – A funky techno beat starts off this album switching to a hora and then back to a disco/techno beat. As far as the composition: many artists sings songs nowadays that are tailor made to them (which is great) but it can be much harder for the typical person to sing these songs themselves. Nochi’s songs have a tendency to be easily singable and not too hard to pick up. This was the first song off the album that I found getting constantly stuck in my head.  The song is very jumpy yet still on the softer side making it a perfect album opener.

2.Esa Einay – Many people feel that this is for sure one of the best if not THE best song on the album. The song starts off with a guitar/mandolin/saxophone serenade. A beat settles in, almost country-ish but soft, then moves on to without a doubt one of the best melodies I’ve heard. This is one of those songs where you can really “feel” the song. The band put a lot of heart and soul into this one (as well as really great mandolin riffs through the song)

3.Yoshaiv – This song overall is very nice. Harmonies play a big part in the chorus in this song but harmonies is one of those things that Nochi and his brothers do quite well. Honestly other than that there isn’t anything specific I have to add about this song in particular

4.Oz Tischazeik – Although I don’t complain about songs I have a very large complaint regarding this song. IT’S WAY TOO SHORT! This must be one of the best nigun-songs that has come out in a long time and this song was stuck in my head for a very long time after I heard it only once. (I think it still might be). Great arrangements as well as melody, love the mandolin and definitely one of my favorite songs off of the album

5.Banai – For the cover song Nochi brought in the very well known Yosef Karduner.  A very well played song. I love the way that the chorus comes crashing in (in a good way).

6.Deah Es Hashem – The song starts off with an awesome rock intro, and flows into the groove of the song. A great mix of both softer and heavier beats. Nochi did an amazing job on the vocals.

7.Berosh Hashono – There are unfortunately many songs in the Jewish Music world where the words don’t quite match the music they are being sung to. This song is a lesson on how a song can be perfect for the words. This song is slow (without being too slow) and really has the flavor of Rosh Hashanna and Yom Kippur injected into it.

8.Rabos Machshavos –  This song was composed after Nochi went through in his mind what his Rebbi, Rabbi Geisler had taught him about these words. He even shares this understanding of these words with his fans at 3 minutes and 30 seconds into the song. It’s a real talent to throw a D’var Torah into a song still have the song flow so well. The D’var Torah is given through a great musical riff in the background.

9.Tzadik Katamar – Although I don’t think theres anything I specifically liked it still a great solid song. I don’t honestly think theres anything that Nochi has put out that I can say I didnt like.

10.Tzaischem – After releasing a softer version of this song on the album “U’Shmuel Bekorei Shemo”, the band stepped it up a notch by starting with a very synth-y arrangement. I personally love hearing that wild drumroll right before the song starts. This song (like many others on the album) is very catchy and is definitely a favorite at kumzitses (from my own personal experience playing them).  The first time I had ever heard this song was actually on the Sameach Music Podcast when it was still around and the song since then has improved greatly in all aspects.

To sum up :  I definitely recommend buying this album. It’s not easy to find a CD that has so many amazing songs, and Nochi being a musician, a producer, and a singer has a tripleheader in this case.

-HILLELKAPS

The all new issue of Ami Magazine  includes a six song CD, produced in honor of Succos, featuring the voices of Lipa Schmelczer, Yanky Lemmer, Shimon Craimer, Shloimy Zeiger and Moishy Waldner.  All six songs on the album, titled Big Voices, are original compositions by Moshe Lax, with arrangements by Shloimy Zeiger, Naftali Schnitzler and Patrick Wickham.  Big Voices will feature a contemporary take on classical music and chazanus with a Chasidic flavor and was produced by Shloimy Zeiger, who also created the album cover art.

Baruch Levine has long been known as a composer and performer, whose material is both sweet and enjoyable. Although he has some really beautiful songs on other people’s albums, his big break came on his first release, Vezakeini, with the songs Vezakeini and V’hu Keyli making everyone’s list of must listen to songs. Every time I pick up a new CD and see that he composed a song on the CD, I am confident that it will be a beautiful and enjoyable song. As a full disclosure, I had the opportunity to sing once with Baruch, at his brother’s wedding, and he is also a first rate mentch. Saying all this, Baruch has a very distinct style, and on his newest release, Hashkifah, it is very evident. For anyone who is not a fan of his, or is in the mood for change, this album will not be for you. For me, who loves Baruch’s music, this album really hits the spot for me. He mixes his hartzige and sweet songs, with lebedik and enjoyable, but not wild, songs. Yochi Briskman is once again Baruch’s producer, and the musical arrangements are by his son Yanky Briskman, and Baruch himself. I think that both the musical and vocal arrangements are done tastefully.

Here is my song by song assessment:

Hashkifah – Ok, so it’s not such a surprise that Baruch picks his title track to be the first song on his album, until the music starts, and it’s a slow song! Usually an album starts off with a real bang, but Baruch Levine’s signature songs are all nice, slow and hartzige so it’s not a complete surprise to me that he begins this album with another sweet and hartzige song. Whether this or any of the songs on this album become hits, only time will tell, but this sounds like another special song.

Tov Lachsos – This is the first lebedik song/Hora on the album. I like how the intro is very upbeat, and when Baruch sings the low part of the song the first time around, the drums, bass, and most of the other instruments are silent, to allow us to capture the sweetness of the song, in its most simple form. The high part is very catchy (and that’s really the first thing that caught my ear when I was listening to the sample promo clips). I also enjoyed the choir’s harmonies, especially by the bridge at 2:46 of the song, and the high part at 3:13.The key modulation (which I happen to love and seemingly is also a favorite of the Briskman Family with Yaakov Shwekey and Baruch Levine) at 2:30 only helps highlight Baruch’s tremendous range.

B’ni – Before I give my opinion of the actual song, I would be remiss if I didn’t mention my disappointment that the song starts with a very cheap and synthesized keyboard sound, which in my opinion, is out of place on such a nice hartzige song. Being raised by a professionally trained pianist, there is nothing nicer to me than a talented pianist playing a piece, and the sound used does not do justice. Now, to my assessment of the song, I don’t want to sound repetitive, but Baruch composes really nice, sweet and melodious songs, and B’ni is no different. He is joined by child/bochur singing sensation Dovid Dachs (whose voice sounds like it is finally changing….lucky him, my voice was changing within months of my Bar Mitzvah).

Tlas – This is Baruch’s 3^rd regular album (as evidenced by the 3 after his name on the front cover) and has a song named Tlas (three in Aramaic). Hmm…. Ok now onto the song itself. I am not a big fan of using obscure lyrics, especially not from the Zohar (or based on a Zohar). Despite that, the concept of the song is very meaningful. The song is a Mediterranean styled Hora, and it is a nice song, and I like how Baruch ends the song.

Bit’chu – While it is very hard for me to pick a favorite song on this album, if I had to, Bit’chu would be it. It is another beautiful hartzige song, with beautiful and meaningful English lyrics that just add to the song. This song is also the album debut for child soloist Dovid Ginsberg, son of my old friend Rabbi Doniel Ginsberg (from my CKT days). I have heard him live, and he is truly a talent. Once again, there is a key modulation (at 4:46) and my earlier comments can be inserted here as well. I will try to refrain from mentioning it again, but it is very prevalent on this album.

V’hogisah – I get a rush of adrenaline listening to this song, and it makes me want to get up and dance the hora. Ok, maybe I’m exaggerating a little bit, but it is a very upbeat hora, that in my opinion has the best chance of being a hit song at weddings. I am particularly fond of the intro.

Mo Ashiv – Not to beat a dead horse, but once again the synthesizer to begin the song is a bit disappointing, and the amazing guitar piece that follows really exposes it even more than before. Overall, however, I do like the arrangements on this song, and to my knowledge it is Baruch’s first time arranging. There are some really nice guitar solos on the song, a nice saxophone solo, and I also love the harmonies that Baruch sings with himself.

Sheyibaneh – Here is the first and only freilich/rock song of the album. It is an enjoyable song to listen to.

Rina – The intro of this song is very brass heavy, with trumpet blasts throughout the song, and what do you know, the song is about “Joyous song and salvation and triumphant trumpet blasts- when I went forth from Mitzrayim”(as copied off the cover). I personally think it’s cute and that it is a good “chop”. Dovid Ginsburg adds his vocals to this song (he actually is recorded as a boys choir) and does a real nice job. This song alternates between march and ballad styles so it doesn’t flow as well as I think it could, but I think it does alternate to reflect the mood of the song and the words of the song.

Kol Atzmisai – For a while it was very popular to have songs with the approximate style on albums. It is not a slow balad, but it’s not fast like a freilich song, or rocked up like a hora (I have seen songs like this classified as an “Oom-Pah”, but I do not know if that is an actual musical term). Actually one of my favorite songs is in a similar (albeit a little slower) style and composed by Baruch on Aish 2, Orech Yamim. Incidentally, my 3 favorite songs from that album are all Baruch’s compositions: Birchas Habayis, Orech Yomim and Ma Tovu. This is the type of song that could be played during dinner music at a wedding and those who don’t like “moan and groan” songs (there are people out there who do not like listening to anything slow….) would be happy. This is a nice song, and is enjoyable to listen.

Refuah – This is a song that was originally performed and recorded for Yaakov Shwekey’s concert Live In Caesaria II. It is a beautiful Baruch Levine song, and I think he really does it justice singing it by himself. This is another song that has a chance to become a classic.

In conclusion, I think this is a wonderful album and very worth your while to purchase. You can purchase this album as a download or a CD available at Mostlymusic.com (http://www.mostlymusic.com/hashkifo.html) or wherever Jewish Music is sold!

I was never really a fan of Hasc concert cd’s, I preferred my self made mixes of the songs and singers I like over the many performing artists at a Hasc Concert. Listening to Hasc 24 made me see this concert and its music in a different light. The first thing I realized was that although half the energy of the concert gets lost once its on cd, and in no way can you compare listening to a recording of this to being in a packed theater watching the singers live on stage, the album still projects entertainment and excitement to the listener. The second thing I realized was the brilliance it takes in putting together so many singers and all their hits into one.
The concert begins with an Overture by four percussionists conducted by Yisroel Lamm and starts to draw you in to the magic of Hasc and sets the tone for excitement. Its almost as if the blends of the symphony are writing an intricate story without saying a word. Once again Hasc brings all the great performers such as Abie Rotenberg, Avraham Fried, Baruch Levine, Eli Gerstner, Shloime Gertner, YBC, Lipa, and Ohad. I especially liked some of the newer, rising stars like Benny Friedman and Yonatan Sheinfeld. The most pleasant surprise “guest” was the voice of legendary Shlomo Carlebach singing “Am Yisroel Chai” If that song didn’t infuse the air with pounding excitement and love for every Jew, a mission which I believe Hasc shares, then I don’t know what will. If Shlomo Carlebach was still alive today he would for sure be appearing at every single Hasc concert. The sound quality on this cd is so good, you can hear all the “natural” sounds of a concert, the microphone, the orchestra, the audience yet it still has the crystal clear sound of an in-studio record.
Following with the theme “A Time for Duets” you have Shalsheles & Shalsheles Jr singing together, Ohad & Yonatan Sheinfeld, Lipa & Shloime Gertner, and a very touching duet by Avraham Fried and Benny Friedman (uncle and nephew) singing “Lama, Lama ma Nikrah Moriah” and Benny Friedman’s “Ta’amu U’Reu”. By far the funniest part is when Lipa meets Zeidy Lipa who tells him of all the new “advanced technology” of cell phones, and how great it is that Moshiach has finally come and the Levi’im are doing a great job on the singing. Lipa then goes on to sing about the great “kedusha yearning, Torah learning, mitzva earning” and “no more pain, no more struggles” in the times of Moshiach. There’s also another great and enthralling duet by “Yehudah Green and Ohad” singing about “Hinei Yomim Bo’im” the days of Geulah are coming, you can hear how they’re connecting to the crowd saying “its up to you and me”, just another example of what a great concert it must have been.
Although I really enjoyed hearing all these artists mixing and singing each others songs, I think Hasc could do great in the future in getting a few different and more “upcoming” stars, rather than just the same classic singers every year. Don’t get me wrong these people can really “rock the stage” (like Lipa said) but having a fresh voice, a recent singer whose gonna be big, or a new flavor to the music like more Sefardi or Israeli, or more alternative style would spice up the album and would still be able to retain its outstanding reputation of fun for the whole family.
The Finale is spectacular. Spectacular. Again an amazing orchestra, and the very best of Ohad, Lipa, Avraham Fried singing “Neshomele”, “Mi Hoish”, and a soon to be classic “There is so much we can do to make this world, just a kinder better happier place!”

Almost three months ago, a very highly anticipated album was released. Yumi Lowy, a very popular vocalist on the wedding scene on the east coast, released his debut album, titled Ahavas Hashem. Yumi is known for his sweet and smooth sound, somewhat a cross between Yeedle and Dov Levine at times, and his album has been a favorite of mine to listen to. Somehow I neglected to actually sit down and review this album, and it seems to have fallen through the cracks without anyone else reviewing it either. Having listened to it numerous times, I think I am even better equipped to review Ahavas Hashem. Ahavas Hashem is produced by the talented Naftali Schnitzler, and arranged by eight different arrangers, which as I’ve stated before, adds to the different styles found on this album.

Here is my song by song assessment:

Kadosh – A lebedik song to start off the album, composed by famous composer and badchan, Pinky Weber, this song is a pleasant song, and a nice song to begin the album. The arrangements and choir are by Mona Rosenblum, and without even seeing the cover, has his style with the brass lines, and base lines embedded in the song.

Ahavas Hashem – The title track is a Yossi Green composition, and in the Tanya and Aderaba style that Yossi has made so famously. Yossi is also a guest soloist in this song. The musical arrangements are by Yisroel Lamm, and the choir is led by Yoely Horowitz, of the Shira Choir. While the song is a little on the long side, it is a very Hartzige and melodious song.

Moshe Kibel – This is a disco styled horah that combines some techno style music with regular music. This song, together with the accompanying Yiddish lyrics, is composed by Motty Ilowitz. Since I am not fluent in Yiddish, I cannot comment on the content, but this seems like a catchy song. It is arranged and produced by Eli Lishinsky, who also provides the background vocals as well. The song ends a bit too abruptly for me, but otherwise it is a very enjoyable listen.

Yaaleh Vyavoh – This is a hauntingly beautiful and sweet ballad composed by Yossi Green. I love how Leib Yacov Rigler’s arrangements barely have any instrumentation the first time through the song, and even as the song progresses, it still is a very soft an easy to listen to song. Yossi Green once again contributes his own brand of vocals to the song, and Moshe Kraus conducts the choir. There are parts of the song that Yumi’s voice resembles Dov Levine’s sweet voice (and for the record, I grew up loving Dov Levine’s voice and have always been disappointed that he never put out more albums).

Aromimcha – This is a nice enjoyable song composed by Moshe Wertzberger and arranged by Moshe Laufer. The one thing that bothers me about the song is the choir alternates between pronouncing avaricheka (correctly pronounced) and avarichecha.

Ten Lo – This is a Middle Eastern style horah, where Yumi sings with an Israeli accent. The song is composed and arranged by Ruli Ezrachi, I personally like when the composer is the one who also arranges the music because then the full flavor of the song, and the intent of the composer really stands out. I really like the spots in the song where Yumi harmonizes with himself.

Ma Nomar – This is a beautiful and hartzige song composed and arranged by Eli Laufer, who also conducts the choir as well. It has already been documented how the apple doesn’t fall far from the tree, but this song is but another example of Eli’s talent. I think Yumi does a great job on the high notes and his background harmony on this song, and it actually highlights his range and sweet voice.

Pen Pen – This is another song composed by Yossi Green. This is more of a swing style song, and not one of my favorites. Besides Yossi’s vocals, this song has his style all over it, and fans of Yossi Green are sure to be all over this song. The arrangements and choir are by Mona Rosenblum on this song as well.

Eishes Chayil – This is another beautiful and hartzige song composed by Pinky Weber. It is arranged by Moshe Laufer and the choir is conducted by Moshe Roth.

Umipnei – Usually an album will try to end off with a bang and a lebidik song, but in this case, I think the perfect song to end off with is Umipnei. This is another hartzige slow song, which is really easy to listen to and once again, shows off Yumi’s sweet and smooth voice. The song is composed by Benny Hershkowitz, and arranged by Dudi Kalish & Ruli Ezrachi, with Dudi also conducting the choir.

In conclusion, this is a very enjoyable album to listen to. I found it to be mostly relaxing, and it has been on repeat for me for all this time. If you haven’t already gotten “wired”, my recommendation is to purchase this album as a download or a CD available at Mostlymusic.com (http://www.mostlymusic.com/ahavas-hashem.html) or wherever Jewish Music is sold!

Yosef Karduner one of the pioneers of Jewish music since its inception with numerous chart topping hits to his name such as the acclaimed Shir Lamaalot which generated a range of versions recorded by artists from across the musical spectrum, is currently celebrating the launch of his tenth album, with a difference.

In contrast to his previous albums, which contained a selection of new songs in Karduner’s unique style, his new album Kumsitz consists of the best of Karduner’s unforgettable hits and more, that were recorded at various live shows performed throughout the US last winter.

Karduner rarely performs live due to his modest nature.  The tremendous success of his many albums left his devoted producer, Yehuda Kunsman, no choice and he was forced to dispatch Karduner overseas for a round of performances. The overwhelming impact of the shows caught them by surprise and this together with the high quality professional recording as well as pressure from those involved ensured that a kumsitz album of the shows was just a matter of time.

The new album is comprised of sixteen tracks, among which are Tesameach, Yedid Nefesh, Vetaher Libenu, Tzaveh Yeshuot Yaakov, Shir Lamaalot, and others.

Karduner’s identity as a Breslover hassid finds expression in two of his albums which contain hassidic niggunim.One album contains Shabbat songs and features Shuli Rand, and another contains songs for Motzei Shabbat. The lyrics of the songs in the other albums as well have a trace of the enchanting quality of Rebbe Nachman.

With the release of the hugely popular Sheves Achim 2, JMR proudly presents a three way review of the album, co-written by Just A Fan, JM Derech and JM Maven.

JM Maven: The long awaited sequel to the first Sheves Achim album is out and while it took time for me to really appreciate the album, I’ve really been enjoying it.  I find that there are some albums that I love right away and others that take listening to a few more times until I really like them.   I often end up enjoying the albums that I didn’t love at first listen more than those that I liked right away.

When the first Sheves Achim album came out, once I had listened to the album a few times, I was blown away by the talent of the Bell brothers. Aside from the singing and harmonies, they wrote quite a few of the songs themselves and although I liked some songs more than others, there were quite a few songs there that were just amazing, especially considering how old the boys were when they composed them.

But as anyone knows, any album/group featuring boys only lasts as long as the boy’s voices. When the first Sheves Achim came out, both Bell brothers were already getting older, and their voices were already maturing. That worked fine for the first album, and Moshe Bell was even featured on Sheves Chaveirim, another amazing album put out by Ari Goldwag. But as rumors spread of another Sheves Achim album, I  wondered, as I’m sure many others did, “Aren’t their voices changing? How good can a second album be once their voices change?”

Once I heard the demo, I was somewhat relieved.  Sure, it wasn’t the same boys group that it was before, but it definitely didn’t sound bad. After hearing the album a few times, I saw that even though it was different, it was a very solid album. The Bells hadn’t lost their touch, and still sounded great. They definitely sound more mature, but they still are able to use their voices well and hit some pretty nice keys.

JM Derech: The Bell brothers are back and they lost their sweet child vocals, but have developed soothing, mature adult voices. The music is still great and their compositions are still the best around.

The first Sheves Achim was a solid hit from start to finish and I expected no less this time around; luckily, my expectations were happily met.  I’m going to compare songs from this album to the last album, there are a lot of similarities that I noticed, which I’m sure you noticed as well.

Just A Fan: I was late getting the first Sheves Achim album, so it wasn’t too long after that I heard there was a second album in the works. I’m a big fan of the first album and I think it was all I listened to for a few weeks last year (considering I had an hour commute, that’s a lot of listening). But I had to wonder– what in the world are they going to sound like on the next album? Are they going to still be good when they can’t hit the amazingly high notes that the Bell brothers gained fame from?

Then the sampler was released. This is a little weird, I’ll admit, but I listened to the sampler a lot. That’s when you know an album is going to be great, when you sit there listening to 30 second clips of each song…  Getting the whole album has obviously been a much better experience since …you know… I can listen to the entire songs.

The album is very different than the first Sheves Achim. Yes, there are parallels you can draw. But the Bell brothers have grown up and Baruch Hashem their voices are still amazing (in a different way) while the music has become a lot more mature and well, better. Let me assure you, though I am a big fan of kids CDs (as you can tell from my recent reviews), this doesn’t sound like a kids CD. The first album was composed by Ari Goldwag with some songs by Shimon or Moshe Bell. This one keeps that tradition while adding in other composers to mix things up a little bit. Somehow, with all the differences, there is still a consistency among the two albums.

Overall, the album is really amazing and top quality. I really commend Ari Goldwag for this. I remember on the first album he said something about this isn’t his style of music, but it’s the boys’ style. It’s probably very hard to write songs and do all the instrumentation when it’s not your style, but he did a tremendous job as usual.

Most importantly, Shimon and Moshe Bell are pretty unbelievable. They are still teenagers and they have put out two high quality albums. There are a lot of great child soloists who are only in the music business as children for various reasons, and I’m thrilled that Sheves Achim hasn’t followed that pattern and that we will hopefully be hearing music by them for a long time to come.

Sheves Achim – Composed by Elimelech Blumstein

I’ve heard Elimelech say before that Ari Goldwag was the first one to use one of his songs – I’ll leave this one as a quiz for the readers, if you know which song it is, leave it in the comments below – extra point if you know what the original words for the song were, before they were changed. Additionally, I know that Ari does a lot of the demos for Elimelech’s songs, so he probably had “first dibs” on this song, and it sure is a good one. Call it the Sheves Achim theme song, it starts off with a bang. This song is, in every part, an Elimelech Blumstein song, and I love the way that the song and the words flow. I’ve always liked Elimelech’s songs because he is very innovative in how the songs flow, and almost every one of his songs is somewhat off the beaten track, but in a creative and good way. There are a few things in the song arrangement here that really add to the song, like the way the song moves up a key in the middle. There’s a lot of word repetition, but I like it, especially how all the Gam’s fit into the song. Overall, great song, and great performance – not going to start with rating each one, but it’s a definite hit in my book.

They sure did want to come out of the gate with energy. This opening song has all the power and excitement of an opening song, much like Ve’hu K’Choson did on the first album. However, the song I want to compare this to is Modim. It has a similar tempo and uplifting feel to it.

Given that this is the title of the group, it makes more sense that the first album would’ve had a Sheves Achim song. That being said, this song was worth the wait. It starts almost a capella and with a very fast tempo, introducing the album with a bang. The musical interlude that follows is a little too long, especially for a fast song/first song. The tempo is slower throughout the verse, but still upbeat. The song is really catchy and wonderful and is one of my favorites.

Mayim Karim – Composed by Moshe Bell

When I first heard part of this song on the sampler that came out a few weeks before the album came out, the first thing I was trying to figure out where the words were from. Once I got the album and booklet, I saw that they came from Mishlei. I always liked exotic words, but this may be a bit too exotic for me… I’m also not sure how Moshe Bell managed to come across the words. Either way, it’s a great second track, and I love the way the intro starts off. It reminds me a bit of another Goldwag intro, but I can’t recall which one, so that’s fine ;) Although it’s a great song, I‘m not sure this song will make it by Simchas, because the words are a bit too hard, but it definitely was performed well on CD, it’s a pumping song, and live performances/Simchas aren’t everything, so it definitely gets a thumbs up in my book, and Moshe Bell did a great job with the composition.

Here’s your V’Hu K’Chosson. This techno song is amazing, and has the Sheves Achim signature sound to it. You can feel the energy with every horn sound in the chorus. This is a great song for exercising or doing household chores.

Here’s the first song on the album composed by a Bell, and it’s Moshe, the younger brother. On the first album, he composed Modim and co-composed Vehu…two fast and super high energy songs, so this one is exactly what you’d expect based on those– but of course it’s a more mature and better version of those. Great song, although I could’ve done with a little less of the techno sound here. I’d buy an entire album of them singing without music, so we don’t need too many effects.

Tov Lehodos – Composed by Judah David

I have no idea who Judah David is, but this is definitely a very nice song. I like the way it start off with very little in the background, and gradually builds to a fuller arrangement with background vocals. The key switch is very smooth and almost unnoticeable, and I really like how the high part flows. One thing I might have done towards the end to add to the song is some a capella of the high part, with just singing and harmonies, and then bring the music back in to finish the song off, but I wasn’t asked, I didn’t arrange the song, and it definitely works the way it is :) Overall, a solid slow song with solid arrangements that I really enjoyed.

Ruchnius. That defines this song. This song is spiritually uplifting and makes me feel like and want to be a better person (huh, someone called me a bad person? :-D). This is possibly the best slow song from this pair of brothers and will be a guest at my Shabbos table for weeks to come. The closest song to this one is Avraham Yagel.

Here’s the first slow song on the album. It’s the Tov Lehodos words that we all love with a new and beautiful tune. This is one of the songs that best shows off their voices. It’s relaxing and just all around a very pretty song.

Hu Ha’Elokim – Composed by Ari Goldwag

Starting off with a simple guitar intro, this song has somewhat of a different feel to it. I like the low part, but didn’t love the high part as much. I also thought that the combination of the words used for the low part, from Yeshaya, with words from Devarim for the high part (and in the end of Neilah on Yom Kippur, in case that’s the connection) don’t really mix, and the words on the high part are a bit too repetitious. Definitely not a bad song, I just didn’t love this one as much as some of the other ones.

Acoustic guitar? Nice change. I love it! This song has the same “happiness effect” as Yaavducha from Benny Friedman (don’t ask, it just does). I guess the best comparison for this song is Ashreinu from the first album. It has the same summer camp feel.

Here’s the first song composed by Ari Goldwag. This is definitely one of my favorites and you’ll see why. It’s got a fast tempo but a laid back feel. On the first album, it’s closet to Ashreinu. This is one of those songs that makes you smile and is very pleasant to listen to. I love 3:00-3:35 when the words change up a bit.

The Artist – Composition and words by Dovid Klaver

This song seemed to have been one of the featured songs on the album, as all the releases and information on the album highlighted this song. I enjoyed the melody very much, and the music is very fitting for an English song, but I personally feel that English songs on Jewish albums can’t be too complicated, in terms of the story/message. I always had an easy time following the Journeys songs – they were clear, easy, and straight to the point. This comes across more as a poem, with a hidden meaning, but since the main purpose of a song is also the music, you have to be able to understand the words while listening as a song. I didn’t really understand it until I sat down and read through the words in the booklet, which isn’t a bad thing – I just don’t normally don’t have to do that. Either way, it is definitely a nice song, and once I read through the words, I did appreciate and enjoy the song, and this is one of the songs that I think we’ll really see feedback from in a few months, depending on where it goes.

Best English song EVER. Okay, maybe I’m a bit biased because I work as a graphic designer and this song’s topic strikes a chord. Remember the emotional power the verse “He’s learning in a kollel, now he’s their superman” from the first album was? Ya, listen to this song and the power of the last chorus with the verse “You see in the end, you do play a part in bringing the painting to life”. Awesome song!

This song starts with a metaphor of an artist with a masterpiece where every color is important and intentional, etc., and to be honest I originally thought “Nice thoughts but it’s pretty cheesy.” Then there is a change, and the comparison changes to how some people feel worthless, unloved, etc., but in truth there is no such person when we can see the whole “painting”. Ok, it still sounds cheesy, but if you listen you will see that it’s very beautiful. It’s got a great lesson and the composition of the song is really nice as well, so this is a very enjoyable song.

Sameach – Composed by Ari Goldwag

I liked the way the song started off, but the whole accent thing – Israeli, then Chassidish, just didn’t work for me. I think the song would go a lot further if they would have just sung it normally (OK, that’s a relative term, but I mean without any accent) – I like the song as a song, just the way it was done was, in my opinion, not the best way to do it.

I’m not quite sure about the change in pronunciation from sefardi to chassidishe, but otherwise it’s a good song. With the words chosen, I assume this song was intended to be sung by weddings, but the beat may be a bit hard to dance to. This song is a good fast song, but I won’t go beyond “good”. I think it’s safe to compare this song to Lo Lanu from the first album.
After three laid back songs we have another very (in the chorus it’s very very) high tempo song. Throughout the accents change up and you will hear a Chasidish accent as well as an Israeli accent all mixed together, and it reminds me (since it’s a wedding song) of the way some weddings bring all different types of people together; it’s a really nice thing. This song is super fun and exciting.

Shema Koleinu – Composed by Shimon Bell and M. A.

I don’t know who M. A. is, (unless it’s the Bell brother’s mother), but I don’t know why they wouldn’t write the whole name of whoever was involved, especially on such a nice song. Anyways, this is another beautiful slow song, which also features Ari Goldwag’s son, Moshe Dov, who was part of Sheves Chaveirim. The intro reminds me of Mi Haish from the first Sheves Achim album, but that’s not a bad thing… ;) Moshe Dov Goldwag sings a good part of the song, and while I thought that he may have been a bit too young on Sheves Chaveirim, he sounds older and in more control of his voice now, and he really adds a lot to the song, including harmonies and background vocals. There are some amazing harmonies on this song, and combined with some excellent arrangements, this is an overall amazing song.

Insert Goldwag’s son here. Moshe Dov Goldwag has definitely improved and is quite talented for his age, but his voice is still a bit “babyish” for me. This a slow song, but a good one, however, it is a bit typical. I think this song is the equivalent of Mi Ha’ish.

Another slow song, this time starting out with Moshe Dov Goldwag of Sheves Chaverim. I love Moshe Dov’s voice; it’s very sweet and pure sounding. This song was composed partially by Shimon Bell, who composed the brilliant  and beautiful Avraham Yagel on the first album. This song follows in that path, and it sounds like a lot of heart went into both the composition and the vocals.

Beshuvi – Composed by Ari Goldwag

For some reason, when I think of these words, I always envision a slow, hartzig song, but this composition by Ari Goldwag just goes to show how a well done upbeat song can bring out the meaning in words just as well. The intro is in line with the rest of the Sheves Achim intros, including some harmonies , which I really like. I like the somewhat toned down arrangements with mostly guitar in the background, but there are some sections and chords that were really done well, especially on the low part on the second time around. I also liked the bridge, how it went together with the background, and how they did the key change. The vocal are done very well, combining for an all around great song.

Ogil Viesmach Bilvavi… Oh? It’s not that song, could’ve fooled me ;). Much like Ogil, Beshuvi is a fantastic song with a great tempo. There’s not much to the song, but there beauty of it is that it still sounds great!

Of all the songs on the album, this one isn’t the most fun, the prettiest, or the one that best shows off the voices of the Bell brothers. Still, it’s definitely my favorite. I keep playing it on my iPod and I’m upset when it ends. It’s another one of those laid back but higher tempo songs, without the techno feel. I love the words, I love the tune, I love the feel, I love the vocals– I just love everything about this song.

Horeini – Composed by Moshe Bell

Time again for a slow song, and Moshe Bell’s composition doesn’t disappoint! I love the intro, and how it’s used later on in the song as a bridge with vocals. In some ways, I like the low part of the song better than the high part, but it’s still a pretty solid high part, and definitely has a lot of potential. The only thing I would have done differently with the arrangements and background is that it’s pretty much the same throughout the whole song – I would have had it increase somewhat in intensity and add something more as the song goes on, but the arrangement definitely does the job. Overall, great song, with some very nice vocals and harmonies.

This song threw me off. I was not expecting it, yet I was pleasantly surprised. There a yeshivahs taam (feel) to this song and it’s also very heartwarming. The light guitar strumming throughout the song goes to show that this song would be a great kumzits song. It’s best to compare this song to an Eitan Katz song.

Back to another slow song with this track, composed by Moshe Bell. This is the first we’ve heard of his slower compositions, and it’s great. I like that it starts out right away with harmonizing. The lyrics are very nice, and all around it was very well done. Love the na-na-na…s going with the music which might’ve instead been a long musical interlude– very pretty!

Shema Hashem – Composed by Ari Goldwag

This song, composed by Ari Goldwag, and with Ari singing guest vocals, takes a bit of a different twist, with more of an alternative feel to it. When I first heard it, I thought there wasn’t enough to the low part, though I did like the high part. The more I’ve heard it though, the more I’ve come to appreciate it, and I like how the high and low part compliment each other. The whole thing with the English words wasn’t really up my alley, and I thought the saxophone and guitar pieces were a bit too long, but I did like how, towards the end, they alternated between the Hebrew and English, and between Ari and the Bell brothers. Definitely a great song though with great arrangements, and I like that they mixed something with a different feel into the album.

Shema Hashem (HOT!) – Hello Ari Goldwag! This is totally Goldwag’s song (he sings on it as well) and I’m loving it; in fact, I can’t get enough it. It’s funky, fresh and has a great sound. The English in this song is a nice touch. It’s a close one, but this song gets my vote for best song on the album. No comparison here, aside from Sheves Chaverim’s “Hashem Loves You”.

This song is really unique. It’s got a jazzy coffee shop feel with both the music and vocals, which Ari Goldwag starts off. It’s catchy, it has a good message, it’s got great vocals… then there’s a change (don’t worry, those things stay) when English lyrics come in. The theme stays the same– “I always knew You were there for me, I knew that You were listening…” I love it! They got this jazz feel right on- different without being weird and still retaining the Sheves Achim feel and the Jewish feel, of course. Great, great song!

Leshana Haba – Composed by Elimelech Blumstein

This is Elimelech’s second song on the album, and although I liked his first song (Sheves Achim) better, this song was a nice way to end of the album. In some ways, I felt that there could have been more to the song, and there were some parts that sounded a bit repetitious, but that could just be the way it was arranged. Definitely a decent song though, and a nice end to the album.

Nice lyrics for a closing song. This song goes out on a mediocre note with this song. It’s a very repetitive song, much like any other Leshana Habah song out there. It’s not a bad song but it doesn’t really add anything to the album.

Of the fast songs, this is my least favorite. There is something great about it in that there are amazing harmonies throughout, but it gets really repetitive since they only say “Leshana haba byerushalayim habnuya” for over 5 minutes. So, yes, great vocals and fun tune, but not as good as the other fast songs mostly due to the repetitiveness.

Conclusions

It seems ironic that JMR ran a post on best Jewish songs that double as lullabies at the same time that I was asked to review an album titled “Lyla Byes”, a bedtime CD for mothers and children by Tamar Rudy.  Featuring fifteen original and classic lullabies in addition to six bonus instrumental tracks, Lyla Byes clocks in at 54 ½ minutes, offering soothing music designed to make bedtime just a little bit easier.

Rudy, a Beit Shemesh resident has starred in several of Israel’s renowned Zir Chemed Productions, as well as being a featured guest on Rebbetzin Tap:  Get Ready for Shabbos.  Her vocals shine on Lyla Byes and the songs, a mix of Jewish, secular, classical and original songs can be enjoyed by both those who are being tucked into bed and those who are doing the tucking.

My favorites on this album?  Mimini Michael and the classical pieces.  And while I enjoyed the vocals on Lyla Byes, I thought that the instrumental pieces were especially relaxing and hopefully, conducive to sleeping.

What parent out there hasn’t been at wits end trying to get a stubborn little one to drift off to dreamland?  Lyla Byes might just be the answer to your prayers.  Check it out at mostlymusic.com.

For all those who missed my introduction and part one (volumes 1-3) here it is:http://jewishmusicreport.com/2011/07/01/review-of-hasc-the-remastered-collectors-edition-part-1-volumes-1-3/

Continuing on:

HASC 4: Right off the bat, my first impression when it came out was WOW, and that was even before I opened up the triple cassette. Yes, I said triple, as in 3! The concert had gotten longer (or at least there was more material to share with the consumer) and now I had more music to enjoy! The Neginah Orchestra, conducted by Yisroel Lamm, begins with an overture, once again featuring features the original HASC theme song, this time in a rock style and later in the more classical style. I really used to look forward to hearing how they tweaked and changed the song every year. They also play an instrumental Memories Medley, which features some of the hit songs performed at the first three HASC concerts. The concert featured both of Abie Rotenberg’s groups, Journeys, singing Time to Say Good Shabbos and Ride the Train, and Dveykus, singing some of their hit songs, including one of my favorites, Shalom Rav. Abie also composed another song special for HASC, Candles, and it is performed by him and the entire cast. The entire cast also sings the Finale, U’vney, from Abie Rotenberg’s first Lev V’Nefesh album (and one of my favorite songs back then. Mordechai Ben David, is once again one the main performers, and he sings among other songs, a couple of medleys with some of his hit songs, Refa’einu, composed by Yerachmiel Begun and originally performed by Miami Boys Choir (I really love MBD’s rendition of the song), once again Yidin, and at the time his newest hit song, Daaga Minayin, complete with the original vocal tracks that begin the song on his “Double Album”. The Goldshmid Brothers, known as Kol Achai, sing one of their songs, Hinei Ma Tov. I always liked their work, and actually own all four of their albums, the last released in 2003. Their harmonies and togetherness, is very nice and enjoyable, and since I did see this concert on video, they even choreographed to move together on stage in step. The main highlight and performer of the evening, was The London School of Jewish Song, under the leadership of Yigal Calek. I know it wasn’t their first ever performance in the US, since they came to the US in December of 1976 (I was at their Chicago concert, but I was busy learning with the malach, so I don’t remember anything from that evening), but for the choir to come over was a big deal. They sing many of their hits and favorite songs, including Ko Amar, Mareh Cohen (yes, it is one of their songs from the 70’s), Vechi Yadav, Oshirah, and many more of my favorite songs. I grew up listening to their records, so I really enjoyed hearing them live in concert. This concert also marked the first concert where Nachum Segal was involved, as he was the Master of Ceremonies along with Zale Neuman. This was one concert I know I enjoyed, and would have loved to be at live.

HASC 5: The concert, called “Five Years in the Making” was another innovative concert. For starters, it’s the first one I have on CD, which I am pretty sure means it was the first one released on CD when the concert was originally released. It also features a brand new HASC theme song, titled “A Time For Music”, composed by Yossi Green with unbelievable lyrics by Abie Rotenberg. It is sung at the beginning by The MBD Vocal Quartet and at the end by the entire cast (and I love the Piamenta Brother’s line….”but time has come now we must part.” I don’t know why, but I always got a kick out of it). The Regesh Vocal Ensemble, with Abish Brodt singing behind a curtain, sings Shalom Aleichem (with the Piamenta Brothers singing Barchuni) and Modeh Ani (I love how Abish goes an octave higher on the low part to end the song). A few notable members of The Regesh Vocal Ensemble are Shloimy Dachs (one of the soloists), Avremi Gourarie (known to the world as Avremi G), and the director, Rabbi Eli Cohen (master keyboardist). They also sing another song, V’yaazor, later in the concert. Mordechai Ben David is the night’s featured performer and has several interesting additions to the concert. He sings a Regesh song, S’lach and Ma Ashiv (the one he made famous from an All Star tape) with the Ensemble. He sings a couple of songs with The MBD Quartet, and Neshomele with Abie Rotenberg. My two favorites by MBD are the History Medley, where he imitates many of the previous generation’s musical “superstars”, and Reminiscing, where he narrates and his son Yeedle sings, all about his own journey through Jewish music. The highlight of the evening however, is the “Showcase of the Masters”, a classical performance by Yisroel Lamm and the Neginah Orchestra, along with some of the amazing musicians of our time. My two personal favorites are Yaron Gershovsky’s version of Abie Rotenberg’s Hamalach, and Yossi Piamenta’s adaption of the Sabre Dance, which he renames the Sabra Dance.

HASC 6: This concert was called The HASC Concert of a Lifetime. It certainly had a multitude of performers, and is quite packed with memorable performances. To begin with, the main performer, yes once again Mordechai Ben David, only sings 3 of his own songs, Rashi’s Nigun (where he screams out in the middle “shmaltzer”), Moshiach, and Ko Amar (composed by Yossi Green, Mona Rosenblum, and  Chaim Banet respectively , and sung as part of the composers tribute), plus 2 other songs that we will talk about later. There is a new HASC theme song, that also incorporates the earlier songs, and other HASC favorites. Abie Rotenberg sings a HASC medley, featuring his compositions for HASC from over the past few years concerts, followed by a medley of HASC favorites sung by Mona Rosenblum and his vocal Sextet, including famous drummer, producer and arranger Yochi Briskman (and a special shout out to my old friend and fellow Chicagoan, Chaim Richter, for his chazzanus). Yoel Sharabi, one of the performers from the first HASC concert, returns and sings A Prayer for HASC, including some really funny (and corny) jokes. Yossi Piamenta sings a song, Vaani, with his signature guitar solos interspersed throughout the song, and Yaron Gershovsky plays another classical/contemporary piece, named Tain Shabbat/Pitome Medley. Avraham Rosenblum and Ruby Harris, both of Diaspora Yeshiva Band, perform one of Diaspora’s big hits, Tzaddik. Then there is a tribute to many of the top composers in Jewish music. Yossi Green,Mona Rosenblum and Chaim Banet, all have songs sung by MBD. Abie Rotenberg’s Hamalach is sung by a duet of Dov Levine and Rivie Schwebel. Shlomo Simcha, who at the time is new to the Jewish Music scene, makes his HASC debut singing one of Moshe Laufer’s songs. Another great friend of HASC who also makes his HASC debut, and at the time was also a relative newcomer to the Jewish Music scene, is Dedi, who sings a Yossi Green song from his debut album, which incidentally was Yossi’s first foray into producing albums. Dov Levine also sang a solo medley of songs composed by Yerachmiel Begun and Rabbi Shmuel Brazil. Before I get to my two personal favorite highlights of the concert, I want to jump to the end of the concert, where there is a Composer Finale, where Yigal Calek and the London Vocal Quartet sing and narrate a tribute for the composers, with Shlomo Carlebach joining them for his song, and the new HASC theme song being sung by the cast (including Yossi Green singing in his HASC debut as well) for the Concert Finale. I do find it ironic that back then they had the same song used for the Opening and Finale, and it was (and still is) so enjoyable. The first of my two favorite highlights of the concert are: The song Ki Heim composed by Boruch Chait, and performed by him and Mordechai Ben David. R’ Boruch talks about the anatomy of a song, and shows how it is composed. He first plays the song on his guitar and harmonica, and eventually is joined by MBD, accompanied by Yisroel Lamm and the Neginah Orchestra. It was a song composed a couple of weeks earlier on the spot for some cancer stricken boys. I have always had a special spot in my heart for that song. It is later found on one of Dedi’s albums, but it is always a HASC concert original in my mind. The other one of my favorite highlights is the section of the composer’s tribute dedicated to Shlomo Carlebach, and performed by Abie Rotenberg, MBD, and in a surprise, Shlomo Carlebach showed up and joined them on stage singing Ana Hashem, Esa Einai, Borchi Nafshi, and V’Yesayu. I can’t even imagine nowadays anyone showing up in the middle of a concert and making it on stage, but R’ Shlomo was one of a kind! This was really a HASC concert of a lifetime!

HASC 7: This concert was called The Next Stage, and they changed the format and venue for the concert. The concert was held at Radio City Music Hall, and it was mostly a play, with vocal performances mixed in. I must say, since I never watched the concert, and only had the audio, it was not my favorite concert, as it is only 1 CD, and there is much less audio content. Supposedly this was a very revolutionary performance, and is much more enjoyable being watched (maybe I’ll go watch it at my in-laws house one day).The concert begins with a new HASC theme song, named The Next Stage of A Time For Music, composed by Yossi Green, and performed by the Time For Music Vocal Quartet, Yerachmiel Begun and the Miami Boys Choir, and Mordechai Ben David. Of course the original theme song finds its way into the middle of the song. I find it real cute how every year they tried to find a new name for the adult choir each year! The first performer of the night is Sandy Shmuely, singing Shabbat Shalom. This is one of only two songs of his I have ever heard, but it was one of my highlights of the concert. Yerachmiel Begun and the Miami Boys Choir are the next performers, singing one of their hit songs, and my favorites from back in the day, Lo Yisa Goy. They also perform later on in the evening A Wedding in Chelm, together with the Chelm Chasidic Singers and Dancers, interspersing some of the famous traditional wedding songs with some of their hit songs. Mordechai Ben David sings a Yosselle Rosenblatt song, Keli Keli, one of his son Yeedle’s songs, Oz Yemoleh, and Mimkomcha (which is one of my favorite classic MBD songs). there is also a special performance of Spanish Rhapsody by world famous clarinet virtuoso Andy Statman. Abie Rotenberg and MBD sing another one of  Abie’s special HASC compositions, Hamalach (not his famous song by the same name). This is a very interesting song because he mixes in English and Hebrew lyrics, and even though it has never become famous, it was also one of my favorites from this concert. The Grand Finale of the concert is once again the same theme song from the opening of the concert, performed by the cast. This time around the original HASC theme song gets more play time. This concert seems to have been a fabulous concert, and even though it wasn’t my favorite, it still is an enjoyable listen.

In conclusion, this DVD set is a must have for collectors and lovers of Jewish Music. It is worth it just to hear what Jewish Music once was, and to hear the beginning of the tradition that is now about to be 25 years old, the HASC concert!

This can be purchased at http://www.mostlymusic.com/hasc-the-remastered-collectors-edition.html

Aderet’s recent release of the digitally remastered HASC’s A Time For Music Concerts Collection: 1-7 has brought back some very fond memories of my youth.

Let me explain. Nowadays, Jewish Music is a much larger and more sophisticated industry than it was back then. The HASC concert was the biggest and most anticipated event back then, and for us youngsters the release of the cassettes, videos, and later CDs, were eagerly awaited. Truthfully, however, that really has nothing to do with my love for the early HASC concerts or the memories that they bring me. I remember the summer of 1988, the first time I went away from home as an eleven year old boy to sleep away camp, Camp Kol Torah. The whole summer people were playing and talking about this amazing concert that had come out on double cassette, and after hearing parts of it over the summer, I decided that I had to buy it for myself.

Time passed by and somehow the next summer of camp was only a few days off and I had still not purchased it. My siblings and I were staying at my grandparent’s house overnight, since my parents went to play at a wedding in Detroit and I finally had the opportunity to walk to the bookstore where my grandfather worked to purchase this amazing concert. Imagine my confusion when I looked at the music section and saw not one, but two A Time For Music Concert double cassettes staring at me. One had a gold cover (volume one) and the other a blue cover (volume 2). Not only did I not know which one I had listened to the summer before, but I didn’t have the money for both of them although I really wanted to get both of them. I reasoned if the concert I had listened to the previous summer had been so awesome, then chances were both of these concerts were amazing. I don’t remember the next details exactly, but somehow my grandfather became aware of my dilemma and offered to let me “borrow” the money from him. Of course when I tried to pay back the loan to him and then to ybl”ch my grandmother, they wouldn’t accept the money.

I had one problem left and that was listening to the the albums. It was already the 3 weeks! All the cassettes got packed for camp, along with my Sony Walkman (that I still have, but haven’t tried to use in years). Boy was I waiting for chatzos on Yud Av! That day my bunk (Bunk Tahara for those CKT veterans) was playing basketball in the gym (on the 1^st court) for first activity. We did not get to play basketball often, since we were still from the younger bunks, so it was a big deal. I don’t remember the exact time of chatzos, but it was in the middle of first activity. I brought my walkman and tapes to the gym with me, and told my counselor that I would only play until chatzos. After that, I had very important music to listen to. That day, was the first of many that summer that I enjoyed both volumes of the HASC concerts.

I became a huge HASC concert fan, and waited every year for the new concert to come out. Seeing that this new collection was released, it has afforded me to relive many memorable memories, and to listen, once again, to some really amazing times in Jewish Music history, in crystal clear sound. To recap all 114 songs would be very tedious, however, I will give a brief synopsis of each concert and point out a few of my highlights and favorite songs.

HASC 1: The concert begins with a musical overture by The Neginah Orchestra, featuring the first HASC theme song, and a medley of songs from the night’s featured performers. It is arranged and conducted by  Yisroel Lamm.  The performers at the concert were Mordechai Ben David, Avraham Fried, and Yoel Sharabi. The Master of Ceremonies is Zale Neuman. My favorite songs from MBD were Yidin (which incidentally was performed in part or the entire song at three of the first four HASC concerts), Rachem, and Let my People Go, with a killer saxophone solo by Arkady Koyfman. My highlights from Avraham Fried are Tatenyu, Sholom Aleichem (Regesh’s song, which in my opinion, Avraham Fried’s version at this concert is the best I ever heard it performed), and Forever One. Yoel Sharabi sings a few songs; my favorite is V’ani B’chasdicha, and his performance on the recorder in the Recorder Medley. It was a very simple concert, as far as HASC concerts go, but for 1988, it was quite a trend setter, and a real joy to listen to.

HASC 2: This concert was also a groundbreaking event. The music was performed by a 60 piece orchestra featuring Yisroel Lamm and the Philharmonic Experience, and really has a sweet classical sound to it. The overture once again featured the HASC theme song, but it evolved into a classical sounding piece. There is also a choir under the direction of Moshe Mona Rosenblum called 101 Talented Voices. I am not sure if there actually were that many (I only counted 69 total between the adults and children) but it is still quite an impressive choir. Their highlight is singing Avraham Yogel, featuring solos from Laibel Hashel z”l. Mordechai Ben David is once again the main performer, singing among other songs, Meharoh, Golus Pharoh (which is what it’s called on the cover of my original cassette from the concert, yes, it is on the original cassette despite the advertisement saying otherwise), a couple of medleys with MBD classics, Someday followed by Yerushalayim, and Ribono Shel Olam, sung together with the 101 Talented Voices. There was a 25 year tribute to Jewish music  featuring performers who sing one song a piece, including Canter Yakov Motzen, Benzion Shenker, Or Chadash, Pirchei, D’vekus, and Disapora Yeshiva Band, featuring Avraham Rosenblum, however a few stood out to me at the time. Abie Rotenberg sings the first of many special songs he composed for HASC, titled Who Am I. Jo Amar sings Barcelona, with special words added for the evening. The Piamenta Brothers perform Asher Bara with the crowd continuing to sing after they finished, prompting the MC, Zale Neuman, to remark “Alright, calm down, calm down”. The highlight of the concert has to be Shlomo Carlbach z”l’s HASC debut. He was announced as the Rebbele of Jewish Music, and after he finished singing (he sang for under one and a half minutes) the crowd continues to sing, prompting Zale to remark “Alright, alright, you’re all hired next year!” As someone who has met and spent time with Zale over the years, it is but a tip of the iceberg of his witty and spontaneous lines.

HASC 3: Once again, Yisroel Lamm and The Neginah Orchestra was the Orchestra of choice, this time going under the name of The Jerusalem Bandstand. The overture also once again features the original HASC theme song in a swing style. They also perform an instrumental Hora Medley and a cute medley of shul songs, named Rhapsody in Shul. The main performer of the evening is Avraham Fried. My favorites of his are the Opening Medley (check out the rocking slap bass in Lefonov Na’avod), Tanya, A Yossi Green Medley (featuring some of his early hit English songs), and Avraham Yagel (with some chazzanus at the beginning and some more killer slap bass). A group called Harmony, featuring Avraham Rosenblum, Moshe Yess z”l, Avrumie Flam, Gershon Veroba, Jonathan Hill, and Matthew Hill (I am assuming the world famous drummer) sing a cute song called Harmony, and a greatest hits medley, featuring My Zaidy, Malchuscha, Chozok Yimalei, and Od Nagiya. Abie Rotenberg sings another one of his especially composed for HASC songs, A Small Piece of Heaven, my favorite from all of his special HASC songs. There is a special guest appearance by Mordechai Ben David, and he sings a medley featuring among other songs, Eliyahu Hanavi and Yidin (with more slap bass) and Sameach, a Boruch Chait song, featuring bouzouki by Avram Pengas. This was another very enjoyable concert.

To be continued…..

This can be purchased at http://www.mostlymusic.com/hasc-the-remastered-collectors-edition.html