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.

By: Dave Sharpner

Anyone who’s been following the Jewish music scene over the last few years,will no doubt be familiar with the group called A.K.A. Pella.  This talented group broke out onto the music scene a few years back with their smashing debut album Premium Blend.  I remember hearing it for the first time, and I was like, “WOW! These guys are really good!”  They were combining secular intros with pop jewish music and doing it really well. Then along came Volume 2 which was even better than Volume 1. The next year was followed by ADAPTATION which really started getting interesting. They were now mixing and weaving secular intros with jewish intros, harmonies and instrument sounds so well that they had at this point already become one of the most anticipated CDs of the entire year.  Finally came along PLATINUM, which basically blew away any previous notions of what an AKA PELLA album could be like.  At this point,it had already become official.  AKA PELLA was now king of a cappella! Their groundbreaking and original lyric adaptions, intros,outros,harmonies,and realistic instrument sounds simply had to be heard to be believed.

I remember thinking to myself,there is simply no way in the world they would ever be able to top this. Well,top it they did! I have no idea how. But one thing I could say is this:  the combination of professional sounding good music and hilarious shtick is something I have never heard before in my life on any album.Period.

Okay, now on to the songs.

1.KULAM AHUVIM TELEPHONE. The song starts off with a dial tone and automated voice telling us the number can not be reached. I must say, I was caught a bit off guard. I knew there would be a lot of shtick in store, but I wasn’t expecting it right at the beginning. Once again very original! They then start off with Gaga’s Telephone intro to the words of Kulam Ahuvim. At One minute in,Avi Stewart comes on giving us a nice rendition of MBDs original low part. I’ve never heard his voice before but I would describe it in three words: Sweet and Crystal Clear, sort of how I like my chicken soup. Then we have C.D.Eichler, Shmuel Braun and Sholom Engel doing the high part. One thing I just want to add: I found the melodies and the harmonies on this song in particular blend so well together that it’s hard to even notice where they start and stop. Its just one long beautiful seamless harmony. I’ve always loved the original Kulam Ahuvim but I’ll admit,I found this version much more exciting! In fact the Gaga song and the MBD song blend so well together, that if I didn’t know better, I’d be convinced they’re actually one song.

2.TGIF MEDLEY. They start off with the usual (yawn inducing) AKA Pella “DumDums” and then suddenly they come on with Flo-Rida Good Feeling intro. “On Shabbos,I get a good feeling!(YEEEEAAH!!)That I Neva Neva Neva had before!!(OH NOOO!!)” Then Pitbull(A.k.a.Yaakov Eidelman) comes on and he does the rap part about Shabbos.  I must say Yaakov really nails it and if Pitbull ever needs to call in sick one day, he can always call on Yaakov. Special mention also, by the way, goes to Zevi Daniel for the funky and inspirational lyrics. At 1:20 they “Find Sholom Aleichem in a heartless place”(Originally Rhianna) and they go through the entire Shalom Aleichem.Then at 1:50 they do “Lchah Dodi on the floor.”(The sefardim I think,actually do it on the floor.  On a mat)  ,We then get some more rap,with Chris Brown’s “International Ashes Chayil”(I think that would help the shidduch crisis btw,if we had more international Ashes Chayils,instead of just marrying people from our hometowns.) I never thought I’d see a Chris Brown tune with King Solomon doing the lyrics, but here it is. The very first King Solomon/Chris Brown collaboration!

3.”Moves like Nilli Milli”(Say what?!) Okay guys.If you’ve never heard Yitzy(Spinner) before then listen to this! Yitzy,who btw was a major Miami soloist a few years back, really shines on this song, which starts off with the whistle of the original “Jagger” tune and then Yitzy comes on with MBD’s Im Ain Ani Li off Kulam Ahuvim.Surprisingly enough,this song actually goes on at this point for about a minute straight with just beautiful singing and no shtick.  Then Yitzy does a nice spin(pun intended)on the song and does it in English to the Jagger tune. At 2:52 Yitzy nails that high part as his voice soars to a really scary height and finally rounds it off with “And it goes like that!”Awesome Job Yitzy!!

4.Next up is Gertners 7th Heaven.(No he doesn’t really have a song called that, but if you listen to his Hashamayim,you’ll feel like you’re in 7th heaven!) Just a word on the original song.I am a huge Gertner fan and when I first heard the song on Say Asay,I was literally blown away! It gives you a  “soothing, floating” feel. They start off with the original Gertner song and I just love how they do the high part on the second Yihaaaaaalilucha, exactly like Gertner does it!!  10 points for that!  Then they do Shwekey’s Mimkomcha from Ad Bli Dai. Beautiful job, but still not like Shwekey’s original. Btw this is the first of the 2 slow songs on the album, actually 4 if you break up the songs in both medleys, and it is really beautifully done. If youre a “pure” a cappella person,than this song is for you.Its the only song with no fake music or shtick at all.

5.Back to the “DumDums” again, this time its Shea Rubenstein’s Tick Tock.WOW!! Really Really great drumwork btw!!(Ok,sorry.I should really call it mouthwork,but that would sound more like something that happens at the dentist)They start off with the “Smashing” (there really is smashing btw, later in the song) low part and quickly move on to Kesha’s revised version of Tic Toc.Love the part “Tonight wer’e gonna shteig til we see the sunlight!”, and then back again to Shea’s Tick Tock.(Which reminds me btw Hayom Kotzer,so I really gotta finish this review already and get back to my day job!) At 3;25 we get another surprise, it’s Katy Perry’s California and then back again to Shea’s TickTock. This song is just plain “CRAZY” with a Capital “C”!!Simply no other way to describe it!

6.MOSHIACH-MOSHIACH.This starts off with Yitzy saying something in fluent Spanish.I really have no clue what he said but I will ask one of my Mexican coworkers later what it means.We start off with Benny Friedman’s Moshiach.What could I say about this song that hasn’t been already said?Its just really really good and these guys actually do Benny justice! Trust me,it’s no easy feat but they do it.Then they do Miami’s Moshiach which is also a great song. At 3:23 we get Eglasias’s Bailamos and Gaga’s Alanjenro.(I think Gaga’s on this cd more than CDEichler himself)

7.NO LYRICS. Starts off with WRITTEN IN THE STARS and then Benny’s NO LYRICS and a bit of E.T. followed by “Watch You Burn” Guitar work. WOW! The blending of four different songs in the end by the way is just incredible!

8.PRUZ CONTROL. This song starts off with some really wacky stuff going on, surprisingly enough, and from reading the jacket,it seems to have something to do with Seinfeld.Then we get a nice lineup of four Pruz songs.The first is a nice rock track off his Pruzbul album called Taaseh Mitzvah.I like this song which has a nice repetitive and funky groove.They even do the digitized muffled voice thing which adds a cool touch. (Autotune?) Then comes BackStreet Boys Larger Than Life, which if I remember correctly,came out like 13 years ago. Then Litav Uvid. Nice trumpet work  at the end and also a nice job once again on the Kesha-Blow part! Next is another good Pruz song, Uray Vanim and I gotta admit,I like the secular shtick after even better than the song itself! Finally they end off with Zeh Lazeh. I  loved this song,from the first time I heard it on Shloime Kaufman’s Avodas Tzedakah album and I believe this is their second time doing something from that album. The first was Sunshine in the Rain, which they did last time around on Platinum.

9.Birchos Avicha.They start off with the typical Akapella Woohoo’s and then go right into Birchos Avicha from Dovid Gabay’s second album,Omar Dovid. It is a reall,y really beautiful and heart tugging song and the AKA guys do a stunning job! At 2:30 child soloist Gavriel Klatzko comes on and does Ohad’s Birchos Habonim.Iv’e never heard his voice before but it’s really sweet and pleasant. Then the adult soloist comes on with a much deeper voice doing the high part. WOW! Really really nice job! The contrast of child and adult voices on this song compliment eachother perfectly. Everytime I hear this song I can just picture Ohad standing there on stage,with all of his children standing around,and he’s dramatically spreading his hands, emotionally blessing them all. Just a word on the creativity in general on this albumand on this song in particular.The concept of combining Birchos Avicha and Birchos habonim is just brilliant. Not only do they go together perfectly in theme, but musically  they blend together perfectly and like every song throughout the album,is well thought out and very originally blended.

10.YAALILI.Before you read any further,I just want to give you a little disclaimer.No Sefardim, Ashkenazim, Misnagdim or Chassidim were harmed in any way in the writing of this review. And that’s how the song starts. The first thing that really shocked me on this song was the instrument sounds, particularly the guitar work,and some other Middle Eastern sounding instruments.(Sorry.Dont know all the names)  When was the last time you actually heard Electric Guitar work on a pcapella album? It is so real sounding that its actually kind of scary! At 14 seconds in, the song starts and basically what they do is go through different hilarious Ashkenazic Sefardic comparisons,like for example ‘Marlboro Reds,Ashkenazi, smoking hookah, oh Sefaradi.Boring last names(Weiss,Cohen,Katz)Ashkenazi, exciting last names, Oh sefaradi.(Actually that’s only the Syrians.) I don’t really know why.But I find the sefardim like this version more then the Ashkenazim! It ends off with someone sneezing!(I guess they didn’t catch that in the editing process.)

11.ARAVIM.Starts off with Rhiannas “NANANA C’MON! and then goes into Shwekey’s Aravim.At 1:39 theres a cool Yeshiva Boys Choir style autotune and then Bruno Mars comes on! (Don’t know how they got him to agree to be on the album.) Well, ok.It’s actually Shlom Kaufman, but he definitely sounds a bit like Bruno. First he does the Grenade lyrics.”I’d even catch a grenade for ya!” And then the AREIVIM lyrics and it really works, because ,to my mind at least,the definition of true Ahavas Chinam is being willing to catch a grenade for another Jew. Shira Chadashah choir comes on and does the high part and these boys are really good. Simcha Leiner also sings on this one and his vocal range really adds alot to this song. Look out for him in the near future, he’s really good!

12.NO LYRICS “OLD SCHOOL” 90’S ALTERNATE VERSION. Once again they really nail Benny’s No LYRICS on this track. This time they mix it up with a few interesting secular songs which I’m not really familiar with.I just love the Jamacian(?)song at 2:11.Really cool Mash-Up!

13.CUTTING ROOM OUTTAKES.First they start off with NO LYRICS beng overlapped with Written In The Stars and Watch You burn and E.T. All at once, which is really cool! Then comes EDGE OF YITZY, in which Yitzy does the lowpart of ARAIVIM and purposely goes really screechingly high. Hilarious! Then Yitzy advertises for MOZICA beer in a Spanish accent, “Be thirsty,my friends!” Next comes that “Seinfeld thing” with George’s parents – not really sure exactly whats going on there. Then a yeshiva bochur comes on and starts ‘TYNING” and finally we get Goofy himself.

In summary, there really is no excuse not to buy this album.It’s by far one of the most original and well done albums to come out in a long time.  My only complaint is that they don’t come out with another album Purim time. ENJOY!!!

I like to start my reviews off subjecting my readers to a quick word about the artist/musician/singing group so here goes. Aka Pella has set off a musical explosion since they started releasing their material. This is by far the wildest acapella group in the Jewish Music World and their motto holds true. “So Good It Should Be Assur”. Lets get started

1.Kulam Ahuvim Telephone – The album starts with a cover of MBD’s Kulam Ahuvim. Although I am not going to go into detail on the tune that the song is mashed up with, they definitely have their sounds right.

2.The TGIF Medley II – I love the flow of this song, especially the rap towards the beginning. I’m am curious though why they used the same tunes as Six13′s “Good Shabbos” Video. Either way they really made the words fit well.

3.Moves Like Nilli Milli – I think its awesome that the theme for “The Good, The Bad, and The Ugly” starts off this track. Featured on this track is the multi talented Yitzy Spinner singing a cover of MBD’s “Im Ain Ani Li Mi Li” We’re only at the 3rd song and already they have covered 2 MBD songs, I can only assume that C.D. Eichler (the producer) is a fan. I still crack up when I hear Yitzy sing “I’ve got the moves like Modche”.

4.7th Heaven – This song featuring Avi Ganz (I’ve actually gotten the chance to play with him myself and he’s a great musician too) is a cover of “Hashamayim” originally performed by Shloimie Gertner. The song continues with a Cover of “Mimkomcha” Originally on “Ad Bli Dai” performed by Yaakov Shwekey.

5.This song takes the song “Tick Tock” from Shea Rubinstein to the next level. This is a great remix to the original song.

6. Moshiach/Moshiach – This track features a Cover of “Moshiach” off of Benny Friedmans first album as well as “Moshiach” From the Miami Boys choir.

7.No Lyrics – Another of the songs of off Benny Friedmans first album is covered here, the famous “No Lyrics Nigun”. There seem to many many Niggunim that pass through the Jewish Music World but this one has stuck around for quite a while.

8. Pruz Control – For those of you who recognize the intro to this song I think we can all agree that it is awesome!!  This song is a mashup of awesome songs from Michoel Pruzansky featuring the voices of Shloimie Kaufman (who is actually the original performer of Zeh Lazeh) and Simcha Leiner. This mashup consists of Taaseh Mitzvah, Letav Avid, Al Yisroel Shalom, and Zeh Lazeh. We all know that Simcha Leiner sounds good on slow songs (ex:Kol Berama) but this is solid proof that he can really rock a fast song as well.

9.Birchos Avicha / Birchos Habanim – This song features covers of Dovid Gabay’s “Birchos Avicha” and “Birkat Habanim” by Ohad. I like how Aka Pella made sure that the tracks that feature more than one song, incorporated songs that had a connection to one another.

10. Ya’alili – This song seems to be one of the most popular on this album and listeners can’t seem to get enough of it. Aka Pella took the original concept of the song “Ya’alili” and blew it completely out of the water. The group alternates through different stereotypical things normally associated with Ashkenazim and Sephardim (and as you’ll hear… Syrians) and pokes some good natured fun at them. There’s a little something for everyone in this song and it is sure to get you to crack a smile.

11.Aravim – As the name of the song suggests this is a cover of the song “Aravim” made famous by the one and only Yaakov Shwekey. This song features vocals by Shloimie Kaufman and Simcha Leiner as well as special surprise vocalists….. The Shira Chadasha Boys Choir directed by Nachman Seltzer from Eretz Yisrael. If you take a look at the booklet (when you buy this album of course) you will notice that Eretz Yisrael is just one of the many places this album was recorded in. I am a big fan of this approach. There are many musicians/singers/arrangers that can help add something to an album, and I appreciate when artists get input from others instead of doing it all in one place with the exact same people.

12.No lyrics “Old School” 90’s alternate version - If you thought that the “No Lyrics” Nigun was only going to get featured once in this album, you are incorrect. Aka Pella decided to give it another remix . This song features on some of the popular sounds of the 90′s. For those of you who “get” all the references, you might appreciate it more than those that don’t but the ones that don’t will still appreciate this fresh (but old school) take on the song.

13.Cutting Room Floor/ Outtakes – As if the album wasn’t enough, Aka Pella decides to give us a sample of some other tunes that could have potentially made it on this album as well as some hilarious outtakes recorded throughout the making of the album. In this track are 6 “sub-tracks” all of which have something which is so good, it’ll make you wish they had added it to the album. Even though they didn’t, luckily they decided to share this piece with us so we could at least hear a snippet of it.
All in all this CD may not be for the faint of heart (Just kidding) but it definitely is pretty wild (in a really GOOD way!) Regardless of your opinions regarding a cappella music during Sefira, this is definitely an album that belongs in your Jewish Music collection because whether or not you will listen to it during Sefira you will find yourself listening to it throughout the year. I definitely recommend this album and I’m excited for all the future Aka Pella albums although I have no idea how they are going to top this one.

YBC – Amein Amein Amein
I’m going to make a disclaimer on this review and point out that unfortunately I did not get the booklet for this album and am not as informed as I would normally like to be before reviewing an album. That being said, let’s get started

1. Amein – The title track of the album, definitely a good candidate for the starting song of the album. I am aware that Eli Gerstner himself did the “drum” sounds for this album. All things considered they aren’t too bad. I see many times when it comes to a capella music that some artists just throw in one “beatbox” type of beat, and then loop it (this is the term for when something is played over and over). Most a capella albums do a “looped” beat and then make the focus of the album to be the vocals and vocal harmony. I’m impressed that Eli went through making the drums change constantly throughout the songs on this album. I’m sure it took him a while but it was definitely worth it

2.Al Naharos – I believe I read in my fellow JMR writer SPLASHNEWS’S article about this album that Eli composed this song with the three weeks in mind. I like the key change at about 4:15 in the song.

3.Es Panecha – This is an old favorite from the “Chevra 2″ Album. I like how Eli does thae backing vocals on this song. He makes sure to spice thing up a bit during this song.

4.V’yazor – “Another bouncy” song. YBC seems to do these kind of songs a lot (not that anyone is complaining, because they pull them off really well)

5.Odcha – Another song originally performed on the “Chevra 2″ Album. I think it was smart of Eli to put some of the older songs on the album since all too often songs from past albums are forgotten. This gives us a chance to hear a song that Eli apparently liked very much in a different style than it was originally presented in .

6.Yismichu – When you listen to the intro of this song the first thought that comes to mind is “another slow song……?” Then the song explodes into one of Eli’s compositions from his “V’ishei Yisrael” Album. This is a very fun song featuring anIisraeli soloist. Definitely something we don’t hear too much of in boys choirs.

7.Ma Ashiv – Another nice soulful slow song. Nothing in this song really jumped out at me. Overall, very nice.

8.Yiram – The start of this song has a great feel to it. A soloist with Eli pulling a very cool background vocal. Eli keeps it up throughout the song.

9.Eishes – According to my colleague SPLASHNEWS’s article, this song was composed by none other than the Choir leader himself : Yossi Newman. Although you may not see much from Yossi Newman himself, he is quite talented. Yossi is a very successful One Man Band as well as the leader of YBC. He also had a spot on Tech-noy. With this song it seems as if he can add “composer” to his list of musical talents.
10.Hayom – Love the reggae feel of the song from the moment it starts. Its also nice to hear words that aren’t in the “overused” category in Jewish Music. That bass voice is great, I wonder if Eli found someone that can sing that low or if he just worked on the voice in the studio to make it sound like that.

11. Ah Ah Ah – When Eli first announced that he was coming out with the YBC Acapella album last year and it didn’t come out there were many people who I believe were disappointed. I do however agree with what he did next. Eli released this song (as I’m sure you all know by now due to its widespread fame) along with a music video. this video is currently over 600,000 views online and still climbing higher (but not so much during Sefira ) . This song came out great in this a capella version as well. It is almost completely similar to the version released with the video. And the album finishes off with a typical YBC ending (one that everyone seems to love) the little kid who’s high (but good) voice ends off the song.

In Summary : If you’re not too stringent about what you listen to during Sefira and you’re more into the a capella music that has instrument simulators on the voices so its not “techincally” music but its the closest thing to music, then this CD is NOT for you. If you are a Eli Gerstner/YBC fan who wants something Kosher to listen to during Sefira, Go for it! For everyone from kids to adults everyone is enjoying this album.

I am a huge fan of Ari Goldwag’s and I miss the Jewish Music podcast he used to put out. Known not only for his own musical career but also for starting Sheves Achim as well as Sheves Chaveirim, Ari just doesnt stop! Hopefully he never will. He actually just released a music video for one of the songs on this album so definitely go check it out! Lets start the track-by-track portion of this review.

1. Naya Niggun – As I wrote in my review on the new YBC A Cappela album , a starting song is very important especially for an A Cappela album. It really needs to lead the listener into the album. A poor choice of starting song can make the listener lose interest in the album without even hearing anything else on it. That being said, Ari made a great choice by doing this song. According to the booklet this Niggun will actually be performed on an upcoming album.

2.Mi She’ana – Orignially off of the Sheves Chaverim Album, this is one of those non-typical slow songs that we come across every so often. The members of Sheves Chaverim as well as Ari’s son do a great job on this track .

3. Another track originally off of the Sheves Chaverim album. I love that he keeps the song fun and the different members keep switching between lead and backgroud vocals.

4.Ki Nicham – Very nice song sung by Ari himself. You’ll notice especially during the high part of the song that Ari has amazing control over his voice and a very wide range vocally. I don’t think I’ve ever felt during one of his songs that he was straining in the least. Hold out for the key change towards at the end, it just takes Ari’s voice up and beyond what he starts off the song with.

5.Finally Here – Is this isnt my favorite Goldwag song then it has to be in the top 3. One of the best songs I’ve heard in a while with one of the most subtle but powerful messages.

6.Kah Ribon – The famous Ari Goldwag Shabbos Zemer. Who doesn’t sing this on Shabbos!? If you know someone who isn’t, buy this album for them or convince them to buy it so they can learn it immediately! This song has a spirit of Shabbos in it that you can feel even by listening to it during the week.

7.The Sheves Chaverim hits just keep on coming! If you’re a Goldwag fan you’ll recognize this song in the first few seconds. I like that Ari threw in some new songs but also made the album with many favorites. Anyone who would have wanted to listen to these songs on their original albums now not only has one album where they can all be found, but also has a Kosher way to listen to them during Sefirah .

8.The Artist – I actually consider myself very lucky to personally know the composer of this song. Dovid Klaver composed this gorgeous song, also with an amazing message. Originally featured on the Sheves Achim 2 Album.

9.Kel Adon – You know those times you wake up for Shabbos Shachris and by the time the Shul is up to Kel Adon you still haven’t completely woken up? Well then your Shul should hear this tune. This is a great jumpy tune which works perfectly with the words of Kel Adon.

10.Superman – Originally off the first Sheves Achim Album. Some albums are released with one solid English song, maybe two if we get really lucky. This album is up to its 3rd great English song. I give Ari a lot of credit for going this route. Nowadays I believe it is hard for people not well versed enough in the words of many songs to know what they are talking about. These kind of songs take everyone in that category into consideration

11.Ogil – Off of the first Sheves Achim album this song has made many rounds since then. Very catchy with words that aren’t too complicated either this song has been sung in many camps to date and is still going!

12.Aleinu – This is an A Capella version of Aleinu, the hit song that originally appeared on Ari Goldwag’s album Lishuascha Kivinu. This song stars his son Moshe Dov who seems to have gotten a dose of Ari’s talent.
13.Hashem Loves You – Who doesn’t like this song? I doubt thereare many people who do. Its not too slow, not too fast, and has a good message. This song was actually just released as a music video so make sure you check out the main page at www.JewishMusicReport.com to watch the video!
Overall for any fan of Goldwag (like me) this is a must have! A perfect addition to any A Cappela Music Collection!

SPLASHNEWS- So its that time of year again, the one that’s really hard on us music lovers. Yes, it may be sefira but Eli Gerstner, together with Yossi Newman have given us more than just something to listen to, with this newest version of the Yeshiva Boys Choir all done a capella! This cd features a great assortment of songs including the already popular Amein Amein Amein Amein. Wow, that’s a lot of ameins! This brand new song is an upbeat song and very catchy. You may ask how you can have a catchy song with no music but Eli Gerstner suprises us with his amazing drumming. No, not with drums, but with his mouth! Without any computerization, I must say I am highly impressed. Most songs on the album feature these “drums” and this really adds a lot, without leaving you wondering if it just might be music… The album also features some heartwarming slow songs including Odcha and Ess Ponecha from the Chevra albums. The beautiful Eishes Chayil which was composed by Yossi Newman (originally for a color war song) is also featured on the album. Yisimchu and Hayom are the more funky songs and really fun to listen to. Yisimchu also has something we haven’t heard on previous YBC albums, which is an authentic Israeli soloist. I think this contrasts beautifully and I would like to see more of this in the future. My favorite song on the album is the brand new Al Naharos Bavel which was written by Eli for the three weeks. It is a stunning song with great solos that really bring out the high part beautifully. This song is sure to be a hit in many camps this summer. At the end of the album lies a real treat, with the super popular Ah Ah Ah done in acapella, although I must admit almost had me checking to see if this one has music! It sounds that good.  Many people are asking me why they would put out a sefira album? Well, for that and much more, you can read our interview with Eli Gerstner right here on JMR. Just click on interviews in the news section and see SPLASHNEWS-Jewish Star. All in all this cd will please kids of all ages as well as adults who enjoy the angelic voices YBC.

Ah, Chol Hamoed.  A time to spend quality time with the family, take a break from the hustle and bustle of everyday life and pack on out to a concert to enjoy great music and some plain old fun.

In my case, the concert in question was YBC Live! Pesach 12, featuring Ohad, the all new Chevra and, of course, Eli Gerstner’s Yeshiva Boys Choir, singing a mix of classic YBC songs and some brand new additions.  This year YBC staged two shows, one at Queens College and the other at the Bergen Performing Arts Center in Englewood, New Jersey.  As someone who lives in the suburbs, I was thrilled to have the opportunity to attend a concert that was located outside New York City.  Hats off to EG Productions for putting together a show that was an easy commute, at this beautifully redesigned 1920’s theater with seating for over 1300.

The evening began fairly promptly, only twelve minutes after the announced start time of 7:30.  The crowd consisted of many YBC parents and relatives, with numerous people holding signs to cheer on their favorite singer. There were also many families with small children, with so many little kids in attendance that I felt like I woke up and found myself somehow mysteriously planted in the middle of Chuck E. Cheese.  But let’s face it.  This is a YBC concert and despite the talent onstage, the stars of the show are, all too young to drive a car, buy alcohol or even qualify for working papers in New York State.  First and foremost, this is about adorable boys getting up on stage and winning the audience’s hearts, something that they most certainly did.

The emcee for the evening wasn’t customary host Yossi Sharf, but YBC member Shabi Soffer who, with an incredible amount of poise and humor, ably filled Sharf’s much larger shoes.  The evening kicked off with an opening medley by the Yosis Orchestra, directed by Eli Gerstner, playing a mix of YBC songs, both old and new, including Kol Hamispalel, V’Ahavta, Shabichi, Daddy Come Home and Those Were The Nights and it was interesting to see how seamlessly the songs flowed into each other.  The orchestra was outstanding throughout the evening, always energetic without ever overshadowing the vocalists.  A special shout out to Avremi G who, as always, did a superb job.

First up was a surprise act, the Nochi Krohn Band, performing Ein Kadosh KaHashem, the opening track from Krohn’s latest album, Banai.  They were extremely enjoyable and it was entertaining to watch Krohn who seemed to be dancing and playing the keyboard simultaneously.  I was disappointed to see them leave the stage after just one song.

Ohad took the stage next, singing Shalom Aleichim and Stop, both tremendous crowd pleasers, with the crowd chanting “Ohad!  Ohad!”  For his next song, Ohad was joined by YBC soloist Yitzy Waldman to sing Birkas Habanim from his latest album Ohad III and while I was hoping for the two to sing a duet instead of just alternating parts, it was still a lovely rendition of this touching song, originally sung by Ohad and his son on the album.  By the time Ohad began singing V’erastich, there were the requisite yeshiva bochurim jumping up and down in front of the stage.

While the crowd loved Ohad, they went totally ballistic when Shabi introduced the stars of the show, the Yeshiva Boys Choir.  Dressed in white shirts, black pants and skinny black ties, each song was accompanied by YBC’s signature choreography and I am guessing those kids definitely burned off some of that matza by the time the night was over.  Over forty boys, ranging in age from eight to fourteen, were adorable and vintage YBC, singing Shmoy, Chasoif, Those Were The Nights and Amein, Amein, Amein off their new a capella album.  Throughout the evening Yossi Newman introduced the boys, giving the audience an opportunity to put names to the faces, a nice touch for those of us who had no clue who any of the kids were.

After a short intermission, the orchestra played another medley after which Eli Gerstner, who had been on stage the entire evening conducting the orchestra, finally turned around, schmoozing up the audience and describing how over the years, Yeshiva Boys Choir concerts have a benefitted schools and tzedakas and attributing YBC’s success to their linking their music to this very special mitzvah.  This concert will benefit the Bnei Israel Matza Fund, which provides food for Pesach for needy families in Northern Israel.  To share in this mitzvah click here.

Gerstner enlisted the audience’s participation for Baruch Haba, a song that debuted on YBC Live 4.  Both Ohad and the choir came out for the song and at its conclusion, Ohad once again took center stage, singing Boi B’Shalom  which the Maccabeats sang as L’cha Dodi, but is actually a cover of Leonard Cohen’s Hallelujah.  (Most interestingly, the person I asked to help me identify the song, because I knew I had heard it before, named it as Hallelukah from the movie Shrek.  Apparently a lot of people have heard, liked and used this song.)  Ohad finished up with an Eli Gerstner composition from his latest album, Malchuscha, which again, was a real crowd pleaser.

The next act up was just a small taste of the Chevra who are hard at work on a new album.  They started off with a Yehei/Chizku medley and while this is only their fourth live performance together it was impressive to see how well the group worked together.  They finished off with a new song from their upcoming album, Chai and it would have been nice to have heard them do another song or two in order to really get a feel for this new group.

But alas, that was not meant to be.  Not that anybody minded seeing YBC come back on, singing Yevanim in a costume that was totally eye-popping.  The stage lights were off and each boy had a green glow stick encircling his face and another on each arm and each leg.  With the lights off, the effect was very cool and the crowd went wild, especially when Yossi Newman started throwing glow sticks out to the audience.

While we have all heard the song Daddy Come Home, Yossi Newman told a touching story of an email that YBC received from a soldier in Iraq, who received an emotional phone call from his daughter when the song was released, saying “Daddy, this is our story!”  Soloist Mendel Nebenzahl brought the story to life, joined by the choir who followed with Mizmor Shir and the all new Ah, Ah, Ah with some funky choreography.

The evening ended with a finale that encompassed some long standing YBC traditions:  Omar R’ Akiva, Kol Hamispalel, beach balls being tossed out into the audience and children from the audience coming onstage and taking their turn with the microphone.  At the end of the day, despite innovative choreography, some great songs and a number of exceptional voices, YBC remains as popular as ever because it is all about our most precious resource:  our kids.

I have lots to say about concert etiquette…stay tuned for a future post on the subject after Pesach.

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!

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!

SPLASHNEWS- The album that we have all been waiting for has finally arrived. It’s not often that two super stars release their albums at the same time, but it just happened. This album was years in the making as is quite evident from the quality of the album. Featuring 13 songs in all different styles, this CD has something for everyone. Everyone knows that Fried’s voice is unreal but what really hit me in this album is his ability to adjust his voice to the specific style and emotions of each song. That to me is what makes this album a masterpiece. Produced by Avraham himself, this album arrived with a bang and is here to stay. Here is what I think of the songs. Many songs were arranged by Yuval Stupel; I will note if not.

1-Hofachta- Composed by Fried together with Yitzy Waldner, this song will be an instant hit and if you are looking for “that” song, this might just be it. Exciting intro, but not too much, leads into a fast paced thumping song. Interestingly, there is an Irish interlude at 2:52. I would have liked to hear more of the high-harmony that he does on the high part a couple times but even without that, this song did it for me. 5 out of 5 stars

2-Yehalelu- This song, also by Waldner & Fried, is a waltz and pleasant to listen to. I just can’t figure out when this song can be sung. Maybe as a dinner song? I will leave this song unrated as I don’t really understand waltz’s, but you could tell me what you think.

3-Vezakeini- Composed by Yossi Green, I know many of you will say how can he dare put out another Vezakeini?! When I first saw it, I thought it would be a fast song because it is right after a slow song, but he went two in a row. Sounds nothing like the song by Baruch Levine and I guess that’s a good thing. For those Kallah’s that insist on walking down to Vezakeini, now you have two options. Arranged by Moshe Laufer. 3 1/2 out of 5 stars

4-Ein Kelokeinu- This is a fast Yeshivishe style song that could have been the opening track. It is also a three part song with the main high as the more intense part but switches to the less upbeat third part. This creates a well rounded song that doesn’t get boring. Great chasunah potential. Composed by Meshulam Greenberger. 4 out of 5 stars

5-Retzoneinu- Guess who composed this one? Yes, Yitzy Waldner. For those that miss the Fried songs of old, this one is for you. Starts off in the chazzanus style that Fried loves and he really displays his voice nicely at 1:49. It also features a kids choir that does a great job and at 3:57 the mens choir harmonizes over them which creates a gorgeous affect. This song is stunning and you may have to listen to it a couple times to learn it but it is worth it.With a group that knows what they are doing, this can be the kumsitz song that will take over. Personally, this is my favorite song and when I listen to the melody while thinking about the words, I get the chills from it. Arranged by Moshe Laufer, featuring Shraga Gold’s Shira Choir. 5 out of 5 stars

6-Kach Es Sheli- Starts off with heavy guitar riffs and the music gives the first low a sense of urgency. This song is not an original song, but that’s okay in my books as long as it’s not well known. The song also features great contrast between the low and the high parts. Exciting bridge at 3:28. Composed and arranged by Yuval Stupel, originally recorded by Yisrael Parnes. 3 out of 5 stars

7-Keep Climbing- The title track is a typical Avraham Fried english song composed by himself. It features a good message and great arrangements by Avremi G. The highlights for me were at 3:47 while singing the word climb, he literally climbs with his voice to heights rarely heard on this album. Also towards the end of the song on the words, “where you want to go” there is really good falsetto harmony. I don’t like how he transitions from low to high, but that is obviously how he wanted it. 4 1/2 out of 5 stars

8- Amein- Also starts with heavy electric guitar. This song, composed by Mendy Gerufi, is a typical Yeshivishe song and features a very interesting musical interlude at 2:29 that I don;t even know how to explain, so I won’t! This song can go both ways, either it will become popular, or we will never hear it again. 2 1/2 out of 5 stars

9-Lomoh Hashem- Starts with acoustic guitar, percussion, and possibly harmonica but I doubt it. In general this is a very pleasant song to listen to and I particularly like the non-typical arrangements. One part that I listened to a couple times is at 4:04 where his voice fades out and almost breaks but I think it’s to contrast with the transposition. I’m not sure if I agree with choice of lyrics, asking why from Hashem but as is evident from the album jacket, he also wasn’t sure about it but apparently he decided to go through with it. Composed by Fried and arranged by Ruli Ezrachi. 4 out of 5 stars

10- Sharei Mizrach- A horah that is sure to become a hit. Expect to hear it at  the next chasunah that you attend. As he writes in the jacket, “what’s an album without a good horah?” It sounds almost like a dig a Shwekey’s new album that doesn’t have even one horah, but of course it’s not! It is ironic though. Composed by Elimelech Blumstein and arranged by Ruli Ezrachi, also featuring the Shira Choir. 4 out of 5 stars

11-Elokai- This song features an all acoustic intro and is the second song with the nostalgic Fried feel. One highlight is at 3:06 where the choir sings the high part and gives a slightly Chassidishe feel to it. Very nice, solid song. Composed and arranged by Moshe Laufer. 3 1/2 out of 5 stars

12-Light- Both the intro and the low part have a sudden start which I like because it is something I am not used to and I always like something new. The song also features a very interesting bridge at 2:35. From the lyrics to the music, this is something you have never heard before. It is worth listening to this just for the arrangements, although it doesn’t take a genius to realize that they are not your regular. Great job by Yitzy Waldner, with Ilya Lishinsky on the arrangements. 4 out 5 stars

13-Heimoh Heimoh- This is a Lipa Schmelzer classic and has been out there for a little while but will now become super popular with it being featured on this album. When I first heard the intro, all I was able to say was, “what?!” Then I had to listen to it again before listening to the rest of the song. You will probably do the same. In the beginning the song doesn’t sound so exciting but at 2:35 it really picks up the pace and can get you up and dancing. Make sure you are not driving. The song seemingly ends at 3:35 but then takes a 360 degree turn and then spins around again at 3:52 for the ending. Not for the faint of heart. Please keep all hands and feet in until the ride comes to a complete stop. Respect for Naftuly Moshe Schnitzler who arranged this masterpiece but there is no way that Lipa was not involved! This should become an instant hit which means… 5 out of 5 stars

Congrats to those who made it to end of the review. All in all, this album, while it does not feature any major breakthroughs, is an excellent album from top to bottom.  It has three songs that I rated 5 star and I do not do that often. Even the weaker songs are great songs and a lot of time was obviously spent on this album. Overall, I rate this album 5 out of 5 stars which means be careful not to spill your drink in your rush to get out.          

Sarah Dukes’ Finding Forever, a collection of fourteen original piano solos, isn’t like most other albums.  Then again, Sarah Dukes isn’t like most other musicians.

A self taught composer, Sarah’s songs come straight from the heart, musical expressions of her emotions.  Sarah began playing piano at age six and composed her first song, titled Elephant in Tights, at age eight.  She continued composing and two of her songs won awards in the Performing Arts Senior Division for the Pittsburgh JCC’s Annual Holocaust Arts and Writing Composition.

Finding Forever clocks in at just under thirty seven minutes of sheer musical beauty.  There are no vocals at all, just Sarah’s beautiful compositions played to perfection by Yaron Gershovsky.

I have to say that at first, I found myself pining for words to go along with these songs but as Sarah explained, keeping her songs instrumental gives people the opportunity to interpret them in a multitude of ways.  With names like “If Only”, “A Breath of Fresh Air” and “Rays of Hope”, I found them to be light, ethereal and optimistic.  While as a writer I couldn’t help but imagine the lyrics that I would set to these songs, the fact that they weren’t limited by words almost seemed to set them free and they seemed to be floating through my kitchen as I listened to them.

This album is a little different than most but is a truly magical music experience.

Finding Forever is available at your local Judaica store and at www.mostlymusic.com.

You can get an idea of how the night went but just to give you the rundown

• The Show started with Baruch Naftel and Hillel Kapnick of One Man Band + Plus (www.onemanbandplus.com) They played a medley of Motzai Shabbos Songs
• Shalom Bondar and Hillel Kapnick performed two brand new songs that they are planning on releasing somewhat soon.
• Yair Shahak then joined Hillel to play “Modim”, a song that Hillel composed and dedicated to his wife whose birthday was that night.
• Nochi Krohn came on and played some of his amazing compositions including

1. Ma Rabu
2. V’nikeisi – Baruch Naftel joined Nochi for this song

• Yair Shahak then played a few impromptu pieces. What this means is that an audience member at the Seforim Sale gave Yair a scenario such as “Trying to find parking in Washington Heights” or “A baby crying at two in the morning”. Yair then translated these scenarios musically and played them on his violin. It really was an amazing thing to see.
•  Nochi then came back on and played his well known composition “Tzeischem”
• Then the Grand Finale!! – Nochi, Yair, Baruch, and Hillel finished off the show with a medley of songs including Nochi’s “Oz Tischazeik” and Hillel’s “Hinei Kel”.

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.

1-Kdai- The album starts off with an exciting intro and is a great lead up, not only to the song, but to the entire album. The song is sure to be a popular chasunah second dance song. Shwekey reaches his climax in the song at 3:08 where he harmonizes himself and really sound great. This song also reminds me a little of Viohavta from Shwekey 5. Composed by Yitzy Waldner.  4 1/2 out of 5 stars

2-Batuach Ani- Composed by Elimelech Blumstein, this is a very nice song and more of a typical Shwekey song. Beautiful words. 3 out of 5 stars

3-Lo Yaavod- Here is the first song of a different style than what we are used to from Yaakov. In a bold move, the song which is arranged by Jeff Horvitch, features ”Metalish” which is a heavy metal guitar group. The song starts off with the heavy metal and has a few Metalish interludes. It is a very energizing song and you can just amagine yourself at a Shwekey concert with the crowd rocking away with this song. Especially at 2:52 and at 3:36 with the heavy interlude and then the clapping. Composed by Yossi Muller. Every album has “that” song and this just might be it. 5 out of 5 stars

4-Mi Bon Siach- I know many of you will say “another mi bon siach!?” The truth is that it’s still a nice song and will probably be used at many simcha’s. It also sounds  more up do date so don’t just skip it! Arranged by Moshe Laufer. 3 1/2 out of 5 stars

5-Hinei Anochi- The intro starts off with the Shira Chadasha Boys Choir from Ramat Beit Shemesh. A fast song that says Shwekey all over it. Composed and arranged by Moshe Laufer. 3 1/2 out of 5 stars

6-Oleinu- This is a gorgeous slow song and touches me especially because a few years ago I realized that Oleinu is the most overlooked Tefilah and decided to make this very important Tefilah into “my” Tefilah. This is sure to become a popular song as it is beautiful and also very easy to sing which is always very important. As I listened to it for the first time I was thimking that it would make a great acapella song. Sure enough the song finishes off in acapella! Composed by Ezi Reissman. 5 out of 5 stars

7-Rabi Nehorai- A very catchy song composed by Yitzy Waldner & Elie Schwab. Arranged by Ruvi Banet & Yanky Briskman. It includes a bridge that  has a sefardi taste to it at 1:46 although the song isn’t sefardi at all. The ending is like this as well. By the way, as I write this I just realized that there aren’t any sefardi songs on the album. I guess after Libi Bamizrach he thought we had enough of that! 4 1/2 out of 5 stars

8-Yesimcho- The song starts off sounding like one of those baby lullabie machines that go on top of cribs. The song nevertheless is a beautiful song and features Menachem Shwekey at 3:24. Yeh, that’s his son. It also has the potential to become a camp alma mater. Arranged by Yisroel Lamm and composed by Yitzchok Rosenthal of Shalsheles. The low part sound more like a Shalsheles song than the high part. The song ends with Yaakov reaching the highest note that I have ever heard him sing. He may have used auto-tune so I’ll have to wait to see if he can do that live! 4 out of 5 stars

9-Retzoneini- He may have left out the sefardi song but not the chassidishe one. This geshmake chassidishe style song is sure to enhance many simchos. Composed by Pinky Weber. 4 out of 5 stars

10-CRY NO MORE- This is the title track and the second song in a style that we haven’t seen from Shwekey. As soon as I saw the name Ken Burgess,who wrote the lyrics, I got excited. I just love his stuff. A lot of his stuff sounds eerie but very moving. Yanky Briskman did a great job on the arrangements keeping the Ken Burgess feel. Each part of the song is enhanced by added music. The second low brings the guitar line. The third low starting with the musical interlude features a beat using brush drumsticks which gives more of an orchestra sound. The last highs have more of an electric drum beat. Although this sound like an overly-arranged song, it is far from it. The music never once outshines the voice and it perfectlyenhances the song. Composed by Yaakov together with Yitzy Waldner, who did the backup vocals as well. 5 out of 5 stars

Overall I give rate this album 5 out of 5 stars which means you should already be on the road to the closest music store!

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.

SPLASHNEWS

Meydad Tasa is back with another brand new album. “Atah Hamelech”, produced by Aviad Gil, is a little different than Meydad’s previous albums. This album is mostly a Middle-Eastern\Sefardi style album. All 10 songs have lyrics written in Ivrit. As we started to see in the last album, “Gadol Hashem”, Meydad’s voice continues to mature and is really starting to develop into a rich and strong voice. What does this mean for him? For starters, this album, can apeal to all ages. For those that don’t enjoy child singers, you can now hop on the Meydad Tasa band-wagon as you will not be hearing a child’s voice on this album. A plus for Meydad is that his younger fans will probably continue to listen to him as they have enjoyed his music until now and they will also continue to connect with him for he is still a bochur in Yeshiva and is closer in age to the younger crowd than other singers. In the big picture, we now see that Tasa has retained his voice, which is always a big question for child singers, and potentially has a big career ahead of him if that is what he chooses to do with his life. Here is a look at the songs on the album.

1-Oy Nah Lanu- The first song on the album and also a slow one. I always say that if you are going to start your album with a slow song, you better make it a good one. Wow! He absolutely nailed it with this song! It is a stunning song that talks about Hashem crying over our aveiros but still expressing His love for us and asks us to return to Him. Then, Klal Yisroel pleads with Hashem to pardon us and take us back. Medad sings it with a lot of feeling and hartzigkeit. The song is also a bit different than your average jewish slow song and at times reminds me of the “Titanic” soundtrack. If you want a reason to buy the album, it’s this song.  5 out of 5 stars
2-Atah Hamelech- This song is the title track and a great choice. Many songs on the album talk about Klal Yisroel recognizing and connecting with Hashem, the King of all Kings. I would have enjoyed the song more, if i had not heard Ben Shel Melech which i think is too similar. 3 out of 5 stars

3-Kol Mah Sheani- The high part says that everything I want is only to serve Hashem, which is why we are here. Is is very enjoyable to listen to as the high part is not as rocky as the lead up bridge
(1:45) implies. The song is already popular in Eretz Yisroel. 4 out of 5 stars

4-Melch Malchei Hamelochim- This is the third fast song in a row. I would have done without the computerized intro which I think is not needed at all and does not sound like the rest of the song at all. The song talks about Hashem only wanting what is in our hearts. It is an average song. 2 1/2 out of 5 stars

5-Torah Hakedosha- The second slow song on the album. The lyrics to this song were written by Harav Yaakov Adas Shlit’a who is from the more famous Mekubalim in Yerushalaim. Probably the first Mekubal to write lyrics for a modern Jewish music album! Beautiful song. 4 out of 5 stars

6-Bachatunah- A very pumping fast song and fun to listen to. It has a chance to become a popular chasunah song for Sefardim and those daring Ashkenazim! 4 1/2 out of 5 stars

7-Ben Adam- Too similiar to the previous song.  2 out of 5 stars

8-Rachem V’nachem- Eighth song and only the third slow song. Very few lyrics which will make it easier for those American listeners to understand. A very hartzige song and more traditional sounding than
the first song on the album. 4 out of 5 stars

9- Al Tishabar- A very intense thumping song that is sure to get you to move. An excellent song and is also more Sefardi sounding than the others. 5 out of 5 stars

10-Aufa Eshkonah- Also very Sefardi sounding but different than Al Tishabar. Meydad also does some Sefardi chazzanus at 2:22 and general sounds very at home on this song. Listen to 3:00 and let me know what
he is doing there. I am not sure myself and maybe that’s why I’m not Sefardi!

All in all, a great album especially if you prefer fast songs over slow as there are only three slow songs on the album. Also makes for great driving music! If you haven’t got hooked on Meydad Tasa yet; now is the time. I give the album 3 1/2 out of 5 stars which means, not the best album I heard all year but a great buy.

You can purchase Ata Melech by clicking here.

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.

As someone whose daily workout includes a two and a half mile hike through the hilly terrain that is my neighborhood, winter presents quite a challenge.  Despite the mild weather we have been having, the days are short, frequently cold and any snows really wreak havoc with my exercise routine.  A new fitness video, titled The Best of Shape Kosher Workouts, may just be the answer to my dreams.

Comprised of four twenty minute segments, each offering a different type of workout, Shape does a remarkable job bringing the gym experience into the privacy of your own home.  The instructors are appropriately attired, the music, while certainly not MBD or Avraham Fried was not in the least way objectionable, and each segment offers a warm up and cool down in addition to a nice workout.  Shape offers a choice of Zumba, Kickboxing, Pilates and something called Bootcamp which, as you can imagine, involves some pretty serious exercise.

I am sure there are those who will have objections to this video, saying that by definition Zumba isn’t kosher, it is not “our type of music” and that nice Jewish girls shouldn’t be doing any routines that involve punching or anything called kickboxing.   I suggest that you not buy this video and instead go look for a nice heimishe dance video that has Shaavtem Mayim and Shmelke’s Niggun instead.   For anyone looking for a fun, funky way to exercise, burn up calories and make fitness part of your routine, Shape is for you.

For all you men out there reading this, no need to read the rest of this post.  Let’s be realistic.  As much as your wife might enjoy this workout, if you come home, hand her an exercise DVD and say “here, I thought you might like this” she is likely to think you are suggesting she needs to lose weight and will probably throw the nearest heavy object (or the Shape DVD) at you and you will be eating peanut butter and jelly for the next three days.  If you can find a way to buy Shape for your wife without getting your head handed to you, feel free to leave a comment.  I would love to hear how you pulled it off.

For all my female readers, there really is a lot more to say.

For starters, I was very curious to see how they were going to present this in a way that would afford a real workout and yet still be tzniusdik and honestly, I think they did a great job.  Dressed in lightweight below the knee flared skirts over of leggings, t-shirts and shells (duh, all black, of course…this is New York, black is the only color in our fashion rainbow) they are modestly clad but still able to move.  Yes, there are instructors doing workouts in sheitels.  I don’t know how they do it, but they do.

As for the workouts themselves, two of them (Pilates and Bootcamp) are more like typical exercise segments and are fairly easy to follow, although somewhat challenging for the not-so-physically-fit.  The other two (Zumba and Kickboxing) are dance segments, broken down into four and five minute dances and, like any other dance, it does take time to master the steps.  The instructors call out most of the steps as they are doing them and as an added bonus, they are shown at both an easier and a more challenging level in order to accommodate people at different levels of physical fitness.  The instructors, who appear to be made out of rubber and have no internal organs given how flexible they were and how easy they made every move look, were encouraging without being annoyingly perky or demanding and the routines were fun, if a little intimidating at first.  The routines must have accomplished something as I could feel numerous muscle groups aching the next day.

The sound is a little off on the Bootcamp segment, but it is still easy to follow Tammy as she finds new and creative ways to make you torture muscles you didn’t even know you had. Be aware that you will likely embarrass yourself the first few times you watch this video until you get the routines down pat and you probably want to lock the door so that you don’t humiliate yourself in front of anyone who happens to be around.  But hang in there, it is loads of fun once you get the hang of the routines.

All in all, I really enjoyed this video and think it will yield tremendous results for anyone who takes the time to incorporate it into their daily routine.  Available at your local Judaica store or at www.mostlymusic.com for $22.99 it is probably one of the cheapest exercise plans out there and well worth the money.

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.

By Kol Isha

(If reposted please include link and credit to JewishMusicReport.com)

Having seen my share of HASC videos and having heard the timeless classics that were introduced at HASC concerts over the years, going to an actual HASC concert, long touted as “the concert of the year” has always been on my to do list.  Being presented with a pair of tickets to a HASC concert seemed like a golden opportunity to experience this musical event firsthand.

As with any concert, there are both advantages and disadvantages to seeing an event in person.   A concert video doesn’t capture the energy and the excitement of a sold out audience, the majesty of a room like Lincoln Center’s Avery Fisher Hall which seats 2,738 people.  But a live performance doesn’t offer any chance for do-overs.  You have one chance to get it right and if you mess up, chances are good that people will notice.

This year marked the 25^th anniversary of the annual concert originally conceived by Sheya Mendlowitz as a fundraiser for the children of Camp HASC and in general, the concert focused more on the concept of the HASC concert than the music itself.  That is not to say that there weren’t some memorable performances, but by and large the night was all about the concert itself.  Performers were mostly limited to a single song each, with a never ending stream of singers taking the stage one after another, introduced by the number of times they had each appeared in previous concerts.  Only two acts were invited for a debut on the legendary HASC stage:  The Maccabeats and 8^th Day.

The evening began promptly at 7:30 as advertised, with Yisroel Lamm conducting a Neginah orchestra that had approximately twelve pieces.  The HASC choir, led by Shloime Kaufman and featuring Sholom Jacobs, Yaakov Klein, Yaakov Ettinger, Meir Popowitz, Asher Fine and Shua Nachman,  was on the stage for much of the night and did an outstanding job. The stage featured a big center video screen flanked by two 21 feet high banners bearing the words “HASC 25 A Time For Music,” artfully designed as was all the HASC artwork.

Before I go through all the songs, let me just issue a disclaimer.  I will probably get some names wrong.  Feel free to correct me in the comments section and I will be happy to make changes as needed.

First up on stage were Avraham Fried, Lipa Schmeltzer, Shloime Gertner and Ohad who used the nusach of Maariv for Kol Nidrei night as an introduction to a set of songs including Ribono Shel Olam, the HASC classic Small Piece of Heaven, Abi Mileibt, Adi-Tanya as performed at HASC 20 and Avraham Fried’s Shalom Aleichem.  Dedi came onstage to join the quartet and the group sang Dedi’s Kulanu Nashir B’Yachad, with lots of help from the audience, occasionally substituting the words “twenty five years together” for “everyone sing together”.

A breakdancer dressed up as the aging Six Flags dancer used in previous HASC campaigns came on stage for a few moments and the last song sung by the group was London School of Jewish Song’s Mareh Cohen.

Next up was a quick, modified video clip of Dovid Gabay learning with his son, from the Ana Avda video released by Sheya Mendlowitz in conjunction with his Big Time Alte Heim album, followed by Dovid Gabay dancing all over the stage as he sang Ana Avda with the choir.  Abie Rotenberg was introduced as the HASC record holder, having appeared at fourteen HASC concerts and he spoke briefly and beautifully about both HASC and concert founder Sheya Mendlowitz who was not in attendance.  After asking the audience to give Sheya a standing ovation, Abie launched into the first song he ever wrote for HASC, the truly touching Who Am I, which all these years later is still as beautiful as ever.

Zale Newman, master of ceremonies for the first six concerts introduced the next segment of the evening, paying tribute to six performers who had previously graced the HASC stage but are no longer with us.  After first mentioning Laibel Heshel, Danny Berkowitz of Menucha and Mikey Butler, Newman introduced musical tributes to three musical greats who were all HASC alumni:  Shlomo Carlebach, Jo Amar and Moshe Yess.  Eitan Katz, Yehuda Green, Chaim Dovid and violinist Ruby Harris performed Carlebach’s U’fros Aleinu followed by Hashem Oz.  Ohad returned to the stage for an impressive performance of Jo Amar’s Barcelona, followed by Avraham Fried singing Moshe Yess’ signature song My Zaidy.

The next singer, Israeli entertainer Yoel Sharabi, was introduced by Uncle Moishy as one of the original HASC performers.  Sharabi, who plays several instruments proficiently, came out on stage with bongos, beginning with a few bars of the chorus of the classic Kol Haolam Kulo, before launching into a rendition of the Eyal Golan hit Mi Shemaamin, recently redone and made popular by up and coming superstar Benny Friedman.  While the middle aged Sharabi can’t possibly match the energy and voice of Friedman who is so many years his junior, he gave an enthusiastic performance, jumping all over the stage with a temporary segue into Mordechai Ben David’s Mitzvah Gedola.

Next on stage was concert chairman Miles Berger.  After all, you can’t possibly have a benefit concert without thanking all those involved in the process, can you?  But the expressions of gratitude were short and in no time at all, Shalsheles and Shalsheles Jr. took the stage.  Neither group was full, as both Simcha Sussman and Edan Pinchot live outside of the New York area and were absent.  Following a short medley of Heyma and Gadol, the Maccabeats (or most of them anyway) appeared singing their viral hit, Candlelight.

Chazzan Yitzchok Meir Helfgott delivered a flawless performance of Moshe V’Aaron  and was followed by Lipa, in an electric jacket and hat.  I mean, literally electric, as the trim on both Lipa’s jacket and hat were trimmed with lights, which was pretty cool on a darkened stage. Lipa launched into a cute bit as he reminisced about previous concerts and a video showed first a five year old Lipa singing at his home in New Square when the HASC concert series began and we see Lipa singing at age ten, then at age twelve in his first pair of unconventional glasses, which Lipa described as having been paid for by Medicare.  Lipa continued in his musical musings, consistently crediting the wrong singer with a particular song, describing Shlomo Carelbach singing Diet, Abish Brodt singing Ya’alili and launching into a nigun he claims to sing every Shabbos with his children, the theme from the Godfather, before conductor Yisroel Lamm attempted to set him straight.

Up next was, what for me was probably the best performance of the night, as Journeys, aka Abie Rotenberg, Elie Kranzler and Gershon Veroba took the stage, singing Abie’s first English song, Time to Say Good Shabbos.  From there it was time for the second debut performance of the night as 8^th Day rocked the house with Ya’alili.  Another tribute followed, this time to the numerous gedolim that were niftar recently, by the trio of Srully Williger, Mendy Wald and Shloime Dachs singing the touching songs Lev Tahor and Acheinu.  Sadly the accompanying background video with pictures of the gedolim never went on.

Dedi was the next performer to take the stage which was already occupied by a royal guardsman, one of the unsmiling sentries who flank the gates of Buckingham palace.  In an attempt to get the guardsman to smile, Dedi hums Shloime Gertner’s Shmeichel, but to no avail.  Hoping that perhaps a fellow Englishman would have more success coaxing a smile out of the guard, Dedi is joined by Gertner and after a rousing chorus of Shmeichel and Dedi’s V’Koivei, the guardsman starts to loosen up, as his limbs start to twitch and by the end of the set he removes his tall black hat, puts it in front of his face and we are rewarded with a smile from the Justin Bieber look alike dancer who we first saw at the Ohel concert this past November.

Singer/Composer Baruch Levine took a seat at the piano bench, singing Bitchu from his latest album, Hashkifa, followed by a song and dance number from Miami Boys Choir as the boys bounced all over the stage singing the opening track from their latest album, Shema Yisroel.

The evening ended on a bizarre note, as Yigal Calek took the podium, reminiscing about his youth in Tel Aviv, as he was addicted to music but there was no Jewish music available and in a short sermon, he both thanked HASC for a quarter of a century of beautiful concerts and chastened the performers to keep the “Jewish” in Jewish music.

A video of Camp HASC set to Avraham Fried’s Forever One was a poignant reminder of what the HASC concert series is all about, as the beautiful faces of the HASC children and the dedicated staff filled the large video screen.  The entire cast gathered onstage for the HASC theme song, Candles, complete, of course, with candles illuminating the darkened stage in addition to Lipa’s electric couture.

There is no question that while the HASC concert is a huge fundraiser and one of the most highly anticipated musical events of the year.  For music lovers everywhere, the fact that other organizations have also begun staging top notch fundraising concerts that give HASC a run for its money is a positive development as it raises the musical bar for everyone.  For those who are looking for musical perfection, where every vocal and every note is dead on, I strongly suggest you stay home and wait for the HASC concert to come out on video.   For those who are looking  to make a sizable donation to Camp HASC, while enjoying an evening of live music, you might want to start thinking about HASC 26 before it, too, sells out.

The release of Mi Shemaamin, an infectious single released last week by crowd pleaser Benny Friedman, marks the first time that I have ever reviewed a single.  Then again, there aren’t too many singles out that grabbed me like this one did, with it’s can’t miss message of emunah and bitachon set to a soundtrack that just doesn’t quit.

The song originally appeared on an album called Derech Lachaim, released by singer Israeli Eyal Golan in January 2010.  A quick glance on YouTube reveals that this is clearly a popular song.  Golan’s original version has over 3,800,000 hits and it was also recorded by Meydad Tasa, as well as being adopted by several summer camps.  What makes this song so well loved is the combination of a terrific composition, paired with killer lyrics.  Add in the dream team of singer Benny Friedman, producer Avi Newmark and engineer Ian Freitor and this version of Mi Shemaamin really stands out.

What makes this song so popular is that aside from being great from a musical perspective, its lyrics define the essence of Judaism.

“The song expresses a pride and a joy in being Jewish, in being Hashem’s chosen people, and it also expresses Hashem’s love in return for us,” explained Benny Friedman.  “Some people have the misconception that G-d and G-dliness are the exclusive property of religious people. But then along comes Eyal Golan, an artist who does not call himself Dati, or Charedi, or anything like that, but most certainly still counts himself among the believers, who have nothing to fear because ‘Lanu Yesh et Melech Haolam,’ Hashem loves them because they are his children and we love Him for the same reason, and whatever it is we might do in our spare time doesn’t get in the way of that very basic and unbreakable love that exists between our Father and us.”

The song was also recorded in honor of the Israeli Defense Force and the cover art for the single depicts an Israeli soldier, wrapped in tallis and tefillin, standing in front of a tank.

“I want to dedicate this song to the Israeli army,” said Avi Newmark.  “As we saw in the case of Gilad Shalit, we kept the emunah and he came back to us. When I heard the news of Shalit’s release it was this song that instantly came to my head. The IDF is what keeps our nation alive and the Jewish flame burning strong. It is our small way of saying thank you to them.”

The song is available for 99 cent download on both Mostly Music and iTunes.

Well,well, well, Marvelous Midos Machine #3  told a story about a time machine going back in time and contrasting 1968 to 1988. Well it took 23 years, but Volume 4 has arrived in 2011. However, we are transported back to 1988 because the story picks up just where it left off. Shnooky(Abie Rotenberg) is about to become Bar Mitzva and comes with his brother Shloompie (Moish Blaustein)and Dizzy (Shloimie Goldreich) to Dr. Midos (Rabbi Shmuel Klein) to invite him to shul for the first time he puts on his tefillin and show him his Tefillin, when they realize in horror that they switched bags with a Chinese man and instead of Tefillin they have fortune cookies!!! The story is full of suspense as they try to hunt down the tefillin. Along the way they are involved in saving the U.S. president after he was kidnapped, and he ends up finding Shnooky’s tefillin and giving it back to him.

Now this story is sort of a time machine because it talks about President Reagan, not Obama. Also, TWA – which is not around anymore and Polaroid cameras.However, the kids of 1988 are introduced to the “Middos-pod” an invention of the new millenium. It also mentions other new things like sushi.

The booklet starts with a lovely tribute by the producer Abie Rotenberg to the late Moshe Yess a”h with a picture of him. Moshe was the voice of Dr. Doomshtein and sang “I’m a Hippopotamus” and was “a creative partner in the birth of the MMM.” which was born winter of ’86 when they both lived in Toronto with little kids and decided to do an entertaining yet educational album for kids.

The first midda is patience. Anybody with kids knows this situation! I love how Abie sings the word “paaatiiiieeeennce” to slow down and not feel that you must have it now. That tune keeps playing in my head.

The next one is chesed. We are treated to the sweet voice of Baruch Levine singing a hartzige song by Rabbi Shmuel Klein. The words describe how one should put himself in somebody else’s shoes and how important it is – oilom chesed yibone and that one becomes like Hashem when he does chesed – hadbeik bimidoisov. It’s a really beautiful song – especially by the harmony with a  child soloist.

Dizzy comes thru with his cute quips like calling Shloompie “shloompers” and Shnooky “Shnookels”and his youthful enthusiasm describing the kiddush in shul.

The next midda is “Mevater”. It is explained beautifully by Dr. Middos. They could have gone the easy route and teach a lesson about being selfish, but instead they took the story and song to another level and shows how even if someone has the full right, it is a great thing to give away of himself for somebody else.

Finally, the last midda is hislahavus – enthusiasm. Another thing that wasn’t around in 1988 – the town Ramat Bet Shemesh. The MMM goes global! It’s very cute hearing kids with Israeli accents (even though I’m sure we can hear plenty American accents in Ramat Bet Shemesh). And Dr. Middos as a former English teacher can’t resist but correct Shnooky with how to pronounce “enthusiastic”. The guest singer is appropriately Shloime Simcha who sings with a bren. The song  ignites a spark in the neshoma  and to look at Mitzvos as gifts to to want to serve Hashem with a geshmak as it says “Vichai Bohem”.

Then a surprise guest – Uncle Moishy and it’s Dr. Middos who convinces him in 1988 to come out with videos. It’s also nostalgic as Uncle Moishy talks about vising Country Yossi to go over the latest Kivi and Tuki tapes.

Then Dr. Middos finds a “cassette” from Shnooky that he wrote a song about being a “Bar Mitzva” . It is actually composed by Shnooky (Abie Rotenberg). It is sung beautifully by Tzvi Felder. It describes all the ingredients of a Bar Mitzva – not just turning 13, but among other things – that Hashem loves us and we should not let him down.

At the end we have a special appearance by Ronald Reagan… just in time for the Republican primaries! Which candidate represents his values? It arouses emotions about how we miss him and are lacking a leader of his caliber since he left office. At the end Reagan calls Shnooky “Master Shnooky” . The title “Master” is used for a boy instead of “Mister”. I am pointing this out because in all the years living here in New York I never heard that and it is probably more used in Canada than in the U.S. and many listeners wouldn’t understand that title.

So I would like to congratulate my friend Rabbi Shmuel Klein on his performance with another great album! Keep up the great work!

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.

Beri Weber – Thank You Hashem

Naftali Schnitzler does it again! The new Beri Weber album, “Thank You Hashem” is out in stores, and is worthwhile as a Chanukah gift for a friend or for you!

Vani Bechasdecha – The song provides a solid start to this album. The words, Vaani Bechasdecha Batachti Yagel Libi B’Shuasecha, are the only words in the song. There are some very unique arrangements in this track. The song is energetic, with a simple and profound meaning. Its simplicity creates its profundity.

Thank You Hashem – This is the title track, which has a display of Yiddish, English, Hebrew and a variety of other languages. Would you believe Lipa Schmeltzer composed and wrote the lyrics? The message: Thank You Hashem! This has a rock theme with some unique arrangements which keeps it entertaining throughout. At almost 3 minutes in the track, the music slows and he adds a classic Carlebach ‘Return Again’ theme to give the album a whole other element which enhances the song – nice touch. It is clear that Beri and company had fun with this track. Thank You Beri!

Zechor – This is a slow song which asks Hashem to remember the love of Yerushalayim and Eretz Yisroel. The song has a classic new age slow sound to it, but the greatness of the album is that, once again, Beri keeps the song to few words which makes it easy to learn.

Chabadsker Nigun – This song begins by fading in an acapella choir singing and clapping in a classic klezmer style. The song then quickly turns into a cool techno-hora. The music in this track is excellent and energetic.  This songs take a long time classic and raises the bar.

L’Chu Neranena – Just imagine Beri out in the field singing by himself and while he is singing, he happens upon a band that happened to be waiting for him a few feet away.  This song begins with birds chirping and Beri singing alone, and then breaks into a reggae style feel. I doubt this song will actually be used to welcome the Shabbos Malka, but this is a great song! Shkoyach!

Acheinu (or Achaini) – This music for this track sounds Disney-like with chimes and piano. This is another solid slow song for Acheinu Kol Bais Yisroel. Beautiful.

Inenu – Composed by Lipa Schmeltzer. This song is fun fun fun! This song will be part of the regular wedding repertoire immediately. Are you ready for this one?!

Esa Einai – This one is a heartzig slow tune.

Sheyibone – This song starts out with a choral arrangement the traditional chazzanishe shtickel for Sheyibone Bais Hamikdash. That introduction is followed by an upbeat version of the same words using a mix of sefardishe and pop styles. As is thematic from the entire album there seems to be an element of entertainment in many of these tracks that keeps it interesting. There is nothing like a chassidishe singer using a Sefardi accent!

Haneshama – This song is both Hebrew and English and has a secular slow rock sound to it. This is a very profound song and a unique track to this album.

Tate – This song, seemingly a sister song to Lipa’s Heib Oif Dana Hentelech is catchy and brings an energy to make you not want to turn the album off. It includes some very creative choral arrangements as well.

I highly recommend this album. Please purchase it for friends and family! Thank You Hashem!