“Two Of Us” (The Beatles Cover)

Originally posted 2009-09-08 23:52:35. Republished by Blog Post Promoter

By Jim Fusco:

I swear we didn’t plan this… I’m sure by now, if you’re a rock music fan, you’ve heard about the Beatles Rock Band game that’s coming out tomorrow, Wednesday, 9/9/09.  Everyone in the gaming world is excited about this new release, and you better believe I am, too!  You see, it’s very rare we get an official Beatles release (any more “interview” discs floating around?), and it’s great to see the Beatles music brought to a whole new generation of youngsters that are sure to fall in love with it just like the rest of us did.  I’m excited about the new Rock Band video game for Playstation 3, but I’m especially excited about the entire Beatles catalog (including the collection of singles in Past Masters Volumes 1 and 2) being remastered and re-released.  I’ve wanted the Beatles albums remastered for as long as I remember hearing them.  The original tape transfers sound so tinny- the discs they were selling on shelves all the way up until today were made in 1986 and have just been duplicates.  Go ahead- check your CDs- they all say 1986 on them!  That’s back in the time where they had to tell you the “great sound quality and fidelity” you get with CDs…  Anyway, as I am happy that they’ve remastered the original two-track masters of the Beatles albums, I’m a bit disappointed in two things:

First, they’re not remixed.  Not to say that they weren’t mixed great for the time, especially because (next to Brian Wilson, in my personal opinion) George Martin was the best producer ever.  But, now you listen to these songs and many leave a lot to be desired.  Imagine if you heard some of the songs on “HELP!” without all the vocals to the right channel and the music in the left.  Imagine if the drums in the early records were panned more towards center so they don’t cut through the mix (especially the tambourine).  As tacky as the “Love” CD from Cirque de Soleil is, it’s still pretty cool to hear the songs in such lush stereo, as opposed to the duophonic sound that they achieved before the late 60s.

And second, there are no bonus tracks.  My father is quick to point out some key missing tracks that were left off the Anthologies (“The extended version of “Dig It”!”, he always yells) and we’re left with nothing more than the albums that we’ve already bought on LP, 8-track, cassette, and original CD.

So, there’s Beatlemania in the air and I love it.  It’s been WAY too long since the fervor of the Anthology series and it feels great to say, “Oh yeah, well I’m only 25 and I’ve been a fan ALL 25 years!”

Which brings me to tonight’s Beatles cover song video.  Let me tell you, folks- prepare to be blown away.  Along with my mystery guest Steve and other off-camera guest Chris (not Moore) (from my new cover band, the Traveling Acai Berries, also featuring Bill, who couldn’t be at the session), we play a completely effortless version of “Two of Us” from the “Let It Be” album.  Chris appears on-camera in the video I’ll be posting next week, but Steve, by request of his college-age daughter who would commit social suicide if her friends found out her father was on YouTube singing Beatles songs with a 25 year old :-) , decided that he would just show his guitar skills on camera.  Actually, that’s Steve singing with me on this one, too.

And that way I described the performance: effortless.  That’s what makes it different from many of my past collaborations.  Whether it be getting the chords right, remembering the words, or remembering harmony parts, past duets have always been troublesome.  But Steve, Chris, and I play this like we’ve been playing for years, and that’s what I love about this video.  You can barely hear Chris in this video- he’s playing mandolin away from the microphone, but at times, especially late in the chorus, you can hear him plucking away.  His sight reading was impressive.  On next week’s video, you can definitely hear him, though.  Steve’s playing is great, as he took the time to learn all those parts I don’t on guitar, which is just so great knowing that I can just sing and play rhythm.  Steve reminds me a lot of my father- not only in his love for the Beatles music, but in how he can sing harmony parts without having to teach him every note.  Somehow, he just knows.  And that’s where this familiarity comes from- it really shows through in the video.

I sincerely hope you enjoy tonight’s performance- one’s that’s been in the works for months now.  It was a lot of fun and I hope they’ll want to do more, especially when they see all the good reviews we’ll get!  I’ll be back next week and hopefully I’ll be enjoying the new Beatles Rock Band game, too.  I’m going to wait until Christmas for the Beatles remastered albums, though- in stereo, of course.  And don’t even get me started on the new “mono” box set… :-)  Until next week!!


“The Night Was So Young” (The Beach Boys Cover)

Originally posted 2008-04-06 22:22:15. Republished by Blog Post Promoter

By Jim Fusco:

Welcome to your Sunday, Sunday, Sunday! edition of the Laptop Sessions with me, Jim Fusco.

I promised a new Beach Boys video today, and even though it took me until 10:30 to do it, it’s finally here. Actually, this is one of the rare Sessions that was recorded the same day I’m posting it.

I’ve been practicing this song for weeks now, as I needed to make sure it was perfect before I did a video. “The Night Was So Young” is my favorite track off the Beach Boys “Love You” album and shows the great songwriting skills of Brian Wilson coupled with the singing of Carl Wilson.

I love the minimalist approach to the recorded version of this song- it’s great in contrast to the terribly-dated synth-sounds of most of the tracks. This song also doesn’t have that cheesiness factor that some of the others have. Although, this song does tell of Brian Wilson’s lonely trip to the sink to pour some milk at 3 am…

I hope you like this toned-down Session. We’re still chugging-along at one-a-day here in 2008. I’d like to wish a Happy Birthday to my brother, Mike, who’s 22 today. Hope you had a great one!!



The Weekend Review New Music Report: 2010 Edition

Originally posted 2011-01-17 10:00:06. Republished by Blog Post Promoter

By Chris Moore:

In the past, before the Weekend Review was officially a segment on the Laptop Sessions blog and my articles had the oh-so-clever title of “Music Review” — and I know, I know, “the Weekend Review” isn’t all that much more clever — I have been accused of writing reviews that were positive to a fault.

This may well be true, as I have found it challenging these past couple years to define and refine my voice as a music critic who is also a singer/songwriter.  After all, it has been difficult to find a comfortable middle ground between praising music simply because someone labored over it and pointing out flaws to bring others down a notch.

Being an “amateur” has allowed me the opportunity and relative privacy to hone my craft.

I’ve come a long way from the every-so-often, knee-jerk nature of my early “CD Reviews,” articles that I typed and saved on my computer long before the Fusco-Moore Productions blog — now known as the Laptop Sessions blog — was launched.  I’ve also come a significant way since the aforementioned “Music Reviews.”  And, I’d like to think that I’ve progressed as a writer over the past year of “Weekend Reviews.”

So, this being my fifty-second and final Weekend Review of 2010, I decided to dedicate it to laying out a table of contents of sorts for the fifty-four reviews I’ve written this year (including “Yes, No, Maybe So?” one-sentence reviews).  They’re arranged below in descending order from my one five-star rating down to my handful of one-star reviews.

What it all amounts to is a lot of music from a diverse range of artists that run the genre gamut.  The one common denominator here, the one solid link between all subjects of the Weekend Review, is the presence of the singer/songwriter.  With the exception of a couple of cover song albums, these are albums of original music released in 2010.

The best I can offer as an overall statement for the year’s music is that this was, overall, an excellent year for new music.  The range tended to follow the bell curve (1 five star, 14 four stars, 23 three stars, 13 two stars, and 3 one stars), but this should not undercut the fact that there were fourteen very strong, interesting, entertaining albums released this year.

In all fairness, what the year was lacking was any albums that really blew everything else out of the water.  Although several have argued this point with me, I do not hesitate a moment to give All in Good Time (BnL) the full five-star nod.  That being said, I do not consider it their best album, not by a long shot.

So, where does that leave us?

In my opinion, it leaves 2010 as a very strong year with at least fifteen strong reasons to buy new albums, but it also leaves a gap for those attuned to and awaiting the next, best classic albums for the ages.

I hope you’ll check back for my final post (at least for a while) on the blog tomorrow and that you’ll consider checking some of these albums out while they’re still available on the ever-increasingly trend- and contempo-centric CD shelves.

54 New Albums, 2010: Arranged in descending order of star ranking (out of 5).

All in Good Time (Barenaked Ladies) – 5 stars
Bad Books (Bad Books) – 4.5 stars
Be in Love (Locksley) – 4 stars
Broken Bells (Broken Bells) – 4 stars
Heaven is Whenever (The Hold Steady) – 4 stars
Kaleidoscope Heart (Sara Bareilles) – 4 stars
Lonely Avenue (Ben Folds & Nick Hornby) – 4 stars
Mines (Menomena) – 4 stars
Mojo (Tom Petty & the Heartbreakers) – 4 stars (4.5 w/o “Candy” & “Takin’ My Time”)
Night Work – (Scissor Sisters) – 4 stars
Sea of Cowards (The Dead Weather) – 4 stars
Suburba – House of Heroes – 4 stars
The Grand Theatre Volume One (Old 97’s) – 4 stars
The Suburbs (Arcade Fire) – 4 stars
Volume Two (She & Him) – 4 stars
A Postcard from California (Al Jardine) – 3.5 stars
A Singer Must Die (Steven Page with the Art of Time Ensemble) – 3.5 stars
American Slang (The Gaslight Anthem) – 3 stars
American VI: Ain’t No Grave (Johnny Cash) – 3 stars
As I Call You Down (Fistful of Mercy) – 3.5 stars
Brian Wilson Reimagines Gershwin (Brian Wilson) – 3.5 stars
Brothers (The Black Keys) – 3.5 stars
Dark Night of the Soul (Danger Mouse & Sparklehorse) – 3.5 stars
Death to False Metal (Weezer) – 3 stars
Destroyer of the Void – (Blitzen Trapper) – 3.5 stars
Easy Wonderful (Guster) – 3 stars
Everything Under the Sun (Jukebox the Ghost) – 3.5 stars
High Violet (The National) – 3.5 stars
How to Destroy Angels (How to Destroy Angels) – 3 stars
Hurley (Weezer) – 3.5 stars
Light You Up (Shawn Mullins) – 3 stars
Lo-Fi for the Dividing Nights (Broken Social Scene) – 3 stars
Page One (Steven Page) – 3.5 stars
Sigh No More (Mumford & Sons) – 3.5 stars
Something for the Rest of Us (Goo Goo Dolls) – 3.5 stars
Stone Temple Pilots (Stone Temple Pilots) – 3.5 stars
To The Sea (Jack Johnson) – 3 stars
Transference (Spoon) – 3.5 stars
Court Yard Hounds (Court Yard Hounds) – 2.5 stars
Crazy for You (Best Coast) – 2.5 stars
Eureka (Rooney) – 2 stars
Everything Comes and Goes (Michelle Branch) – 2 stars
Familial (Philip Selway) – 2.5 stars
Forgiveness Rock Record (Broken Social Scene) – 2 stars
Heligoland (Massive Attack) – 2 stars
Infinite Arms (Band of Horses) – 2 stars
National Ransom (Elvis Costello) – 2 stars
Realism (Magnetic Fields) – 2.5 stars
Women & Country (Jakob Dylan) – 2.5 stars
Write About Love (Belle & Sebastian) – 2.5 stars
Y Not (Ringo Starr) – 2.5 stars
100 Miles from Memphis (Sheryl Crow) – 1.5 stars
Clapton (Eric Clapton) – 1 star
Interpol (Interpol) – 1 star

Music Review: Jim Fusco’s “Halfway There”

Originally posted 2009-04-13 23:55:34. Republished by Blog Post Promoter

RATING:  4.5 / 5 stars

By Chris Moore:

When Jim Fusco released What About Today? in May 2005, his official website claimed that “this album will prove to be Jim’s best work to date.”  I didn’t think about it much at the time, but that tag of “to date” is key, particularly now — four years later — as he releases a new album.

Now, his website asserts that Halfway There is “his most professional and mature album to date.”

There is certainly something very appropriate about the title of this new release.  Careful listeners will certainly appreciate the conceptual and thematic connections.  In most places on the record, Fusco seems upbeat and generally optimistic, and yet there is a clear feeling of being stuck in a transition phase.  “You go on for miles then you stop,” he sings in “On For Miles,” possibly referring to his fiancee (now only months away from their wedding).  On “Exception,” he sings, “Why can’t we be an exception to the rule?”

Fusco is even more blunt on “I Got You,” as he wails, “I’ll always have you here and shouldn’t that be enough?”

Halfway There is truly unmatched — as promised — in Fusco’s catalog in terms of not only sound quality and “professionalism,” but also lyrical content and overall effect.  This is an album that should draw listeners in and make them feel something.  From the opening track, this is apparent, as much from the snarl of the verse as from the fed-up indifference of the chorus.  The guitar solo is emotive and supported with a classic Jim Fusco — no, better — bass riff.

Go on: I dare you not to get it stuck in your head.

The Best Indie Album of 2009!

The Best Indie Album of 2009!

“Go Back to Him” sets the tone for an album that does what great albums are supposed to do, leading you from highs to lows as you wind your way through its eleven tracks. Perhaps due to his experience with the recording process (and life in general) or an array of new equipment and instruments, Fusco’s vocals are warmer, his guitar effects are more unique and authentic, and the overall sound quality is higher.  The volume level is impressive — sometimes to0 much so, as I’ve had to turn down a couple tracks during pronounced, high-pitched guitar parts.

Indeed, longtime Jim Fusco fans will find traces of sounds here and there that are reminiscent of past work, but this time around there is sense of evolution and a clear progression.  “Our Love Doesn’t Translate” should clearly be the single, as catchy and pretty as it is, weaving a tale of two lovers who don’t always understand each other or see eye to eye.  “A Night Away” is the distortion-drenched track for this album, showcasing just one of many energetic guitar solos and — although he sings “I’d rather be ashamed than proud and angry” — some considerable resentment.

The standout track of the album is “I Got You.”  It is placed perfectly on the album, just past the halfway point.  It begins as a quiet song, just an electric guitar, then a bass, and finally a lead vocal.  When the drums shake and roll into place about a minute in, the song picks up speed and continues its slow assault until just over a minute and a half in when Fusco belts out the first chorus.  The lyrics are my favorite on the album; indeed, this would be the first song I would discuss with him if I were to sit down for an interview.

The album closer, “Ruins,” makes a final and interesting statement on the overall theme of the album.  Using the metaphor of ancient historic ruins for a relationship, Fusco sings, “There was a time when everyone had admired you from afar… But nature has a way of tearing apart what we’ve built, and if it stands, it’s eroded away.”  He leads up to the conclusion in the chorus, “I guess that’s what you call progress.”  The song itself is a dark, haunting number, and you won’t find a better mix anywhere on the album.

As “Ruins” fades, you are left with a momentary silence before a quiet hum fills the speakers.  Almost a minute later, a guitar fades in to the pop powerhouse that is “Winning You Over.”  Not officially included on the album, all I can say is that this song fits firmly into the company of such songs as America’s “Here and Now” and the Wallflowers “Empire In My Mind” — all quality tracks that make you wonder, “Why not include this on the album proper?”

Fusco has said the song was recorded much later than the other songs and didn’t really fit into the album as a whole, which does make sense.

Halfway There is easily his best, most accessible and enjoyable album to date — it is clearly a prime time for Fusco to attract new listeners while impressing his current fanbase.

In his review of Jeff Copperthite’s 2008 album Greenlight, Fusco wrote, “As an independent artist, I’ve found that people don’t take our music seriously. They won’t listen to it in the car like every other album they own. They won’t recommend it to their friends and write online reviews. It just doesn’t happen very often.”  Halfway There is an infectious record.  I’ve already listened to it a half dozen times in the car alone, not counting just as many iPod listens, and I don’t see a time coming when I will want to take it out.  (Well, maybe when the Dylan album is released later this month… :-))

Oddly — perhaps sadly — this level of mastery comes at a time when Fusco, for the first time, has eschewed all the frills, including music videos, enhancedCD content, and even his own original design for the album cover.

Fusco at work in the Meriden, CT-based FMP Studios

Fusco at work in the Meriden, CT-based FMP Studios

This is yet another visible sign of advancement — he brought in talented and accomplished painter Ben Quesnel to design and create an original work that would be used for the cover.  If you watch Fusco’s Laptop Session for “Our Love Doesn’t Translate,” you can see the painting in all its glory.

The album isn’t perfect, though.  The fourth track, “Write it All,” is both a writing collaboration and a rare duet — his first since My Other Half.  Fair warning: that second voice is disconcerting and may lead listeners to frisbee-toss their discs out the windows of moving cars.  (Actually, that second voice is me!)  In all seriousness, “Write it All” is perhaps my favorite collaboration I’ve ever written and performed — and there have been many — with Jim, and I think fans of MoU will especially appreciate this track.

Another notable collaboration showcased for the first time on this album is with longtime friend Alberto Distefano.  “Go Back to Him,” “Our Love Doesn’t Translate,” and “Ruins” were written while on vacation in Italy, and the influence of a new environment with a rich history and unique language is apparent in the writing.  His previous album may have been “purely Jim Fusco from top to bottom,” but the injection of a second perspective seems to have sparked new and different ideas and perhaps even a new era for this already established, accomplished songwriter.

If you’ve made it this far in reading my review, there really isn’t much more that can be communicated in words.  The bass is bassier.  The guitars are crisper, more jangly.  The vocals are as ambitious as ever.  Truly, this is an album that deserves your attention —  it’s only the second great album of 2009, in league with Bruce Springsteen’s Working On A Dream.

Click HERE to listen to the album for free!

Trust me, you’ll be glad you tuned in.