Imagine a cd where the vocal harmonies are heavenly, the production is clean and complements the singing, and the songs are FUN to listen to, and you have the Fun Girls album entitled Seduced. This album has grown on me immensely, and if you have an hour to give a cd to simply put a spring in your walk and a big smile on your face, this is the album to get. Michael Clark, the producer has previously been nominated for a Grammy, and his work has been steadfast and true for many years. The performers known as The Fun Girls are veteran vocal performers who all have been singing for at least ten to twenty years. Becky Kevoian, Teresa Giles Kelly, and Cozette Myers are all residents of the Midwestern United States, and which coincidentally, is where my family also originates.
If you have read my previous review of the Bamboo Trading Company album, you will be interested to know that this album is fun, joyous, and drips with pheromones. These singers know how to infuse their vocals with attractiveness as only women singers of the highest order can accomplish. The selection of songs begins with the title track, Seduced, which offers a pre-rock and roll, almost Forties vocal jazz sound. The keyboards are exquisite, as is the tuba, which kills. Bobby Troup, author of Their Hearts Were Full of Spring, a Beach Boys chestnut, had a huge multi-artist hit with Route 66, and the gals' vocals here are edgy and swing to the max. Again, the keyboards shine, as does Vince Gill's guitar solo on the bridge. The brass is up front, and the whole tune is a tour de force.
The ambiance shifts to a stunning vocal acapella version of Brian Wilson's signature tune, In My Room. The womens' version is simply elegant. The vocal arrangement by Greg Gilpin is memorable and gorgeous. My World Is Over, a ballad with a bluesy lyric and torchsong feel is a tune I could hear Brian Wilson producing in a similar manner. Each vocalist contributes a soulful, heartfelt vibe that tells you they mean what they sing. The next tune, Men, is the rocker of this part of the album. Michael Clark's guitar and a mean Hammond B3 played by Troye Kinnett shine on this track. Chris Pyle's timekeeping on drums is steadfast. Wayfaring Stranger begins with a beautiful prelude composed by Michael Clark, and this traditional song is an album standout. The mandolin here is played by the incomparable Sam Bush, and shines. The womens' vocals are as one, and offer a contrast to the dramatic track itself, which reflects both country and jazz together. This track is one of the most musically ambitious on the album, and succeeds admirably.
Paul McCartney's Baby's Request follows, and is arranged in a Forties Jazz feel, which swings easily and brings back Rex Martin on Tuba in a central role as both bass player and soloist. The late Doc Pomus and Mort Shuman are present here songwise, represented by their classic I Can't Get Used To Losing You. The track has a nice and tasteful use of synth on it, arranged by Gary Mielke. I Can Hear Music follows, recalling Carl Wilson and The Beach Boys version of the song, yet also hinting of Ronnie Spector as well. The producers choose to hold the acapella singing which was on the bridge of The Beach Boys version, to the tag of the arrangement here. It is stunning on headphones and has to be heard to be appreciated.
Lesley Gore's contribution to Sixties Music is often overlooked, and her version of You Don't Own Me is often cited as an early anthem of the modern women's movement. Here the Fun Girls turn dead serious and sing like they mean it. It is a great version. Holland-Dozier-Holland's You Keep Me Hangin' On is rendered profoundly country in a version that is both imaginatively produced and arranged, yet retains the soulful vocals of the original Supremes version.Sam Bush shines here again on mandolin, and is supported perfectly by Jeff Guernsey on fiddle and Scott Vestal on 5 String Banjo. Michael Clark flat picks his butt off on guitar.
Speaking of butts, Butt Dialed is a tale of cheating that chronicles the thoughts of a woman (women?) done wrong. The brass arrangement here is especially tasty, with trombones by Peter Brockman standing out. To speak of this tune any further would be to spoil the flavor of the tune. It is an album standout. Executive Producer Bob Kevoian and Whitney Grayson are the writers here. Ohio's own Roy Rogers is recalled in the finale, as a lovely version of Happy Trails is the stated end of the album, with an impromptu version of You Are My Sunshine being done by family members concluding the album.
If you love the music of the vocal jazz era, with healthy helpings of humor, good vocal vibes, country feels, and standout production, arrangements, and musicianship, this is the album for you. My apologies to Michael Clark, who sent me this cd, for being so overdue with this review. This cd is available at ITunes. The Fungirls are at thefungirls.com.
If you have read my previous review of the Bamboo Trading Company album, you will be interested to know that this album is fun, joyous, and drips with pheromones. These singers know how to infuse their vocals with attractiveness as only women singers of the highest order can accomplish. The selection of songs begins with the title track, Seduced, which offers a pre-rock and roll, almost Forties vocal jazz sound. The keyboards are exquisite, as is the tuba, which kills. Bobby Troup, author of Their Hearts Were Full of Spring, a Beach Boys chestnut, had a huge multi-artist hit with Route 66, and the gals' vocals here are edgy and swing to the max. Again, the keyboards shine, as does Vince Gill's guitar solo on the bridge. The brass is up front, and the whole tune is a tour de force.
The ambiance shifts to a stunning vocal acapella version of Brian Wilson's signature tune, In My Room. The womens' version is simply elegant. The vocal arrangement by Greg Gilpin is memorable and gorgeous. My World Is Over, a ballad with a bluesy lyric and torchsong feel is a tune I could hear Brian Wilson producing in a similar manner. Each vocalist contributes a soulful, heartfelt vibe that tells you they mean what they sing. The next tune, Men, is the rocker of this part of the album. Michael Clark's guitar and a mean Hammond B3 played by Troye Kinnett shine on this track. Chris Pyle's timekeeping on drums is steadfast. Wayfaring Stranger begins with a beautiful prelude composed by Michael Clark, and this traditional song is an album standout. The mandolin here is played by the incomparable Sam Bush, and shines. The womens' vocals are as one, and offer a contrast to the dramatic track itself, which reflects both country and jazz together. This track is one of the most musically ambitious on the album, and succeeds admirably.
Paul McCartney's Baby's Request follows, and is arranged in a Forties Jazz feel, which swings easily and brings back Rex Martin on Tuba in a central role as both bass player and soloist. The late Doc Pomus and Mort Shuman are present here songwise, represented by their classic I Can't Get Used To Losing You. The track has a nice and tasteful use of synth on it, arranged by Gary Mielke. I Can Hear Music follows, recalling Carl Wilson and The Beach Boys version of the song, yet also hinting of Ronnie Spector as well. The producers choose to hold the acapella singing which was on the bridge of The Beach Boys version, to the tag of the arrangement here. It is stunning on headphones and has to be heard to be appreciated.
Lesley Gore's contribution to Sixties Music is often overlooked, and her version of You Don't Own Me is often cited as an early anthem of the modern women's movement. Here the Fun Girls turn dead serious and sing like they mean it. It is a great version. Holland-Dozier-Holland's You Keep Me Hangin' On is rendered profoundly country in a version that is both imaginatively produced and arranged, yet retains the soulful vocals of the original Supremes version.Sam Bush shines here again on mandolin, and is supported perfectly by Jeff Guernsey on fiddle and Scott Vestal on 5 String Banjo. Michael Clark flat picks his butt off on guitar.
Speaking of butts, Butt Dialed is a tale of cheating that chronicles the thoughts of a woman (women?) done wrong. The brass arrangement here is especially tasty, with trombones by Peter Brockman standing out. To speak of this tune any further would be to spoil the flavor of the tune. It is an album standout. Executive Producer Bob Kevoian and Whitney Grayson are the writers here. Ohio's own Roy Rogers is recalled in the finale, as a lovely version of Happy Trails is the stated end of the album, with an impromptu version of You Are My Sunshine being done by family members concluding the album.
If you love the music of the vocal jazz era, with healthy helpings of humor, good vocal vibes, country feels, and standout production, arrangements, and musicianship, this is the album for you. My apologies to Michael Clark, who sent me this cd, for being so overdue with this review. This cd is available at ITunes. The Fungirls are at thefungirls.com.
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