It’s the Three Weeks again, which means it’s time for more a cappella music!

I have found that there are three main varieties of Jewish a cappella: 1) “Mainstream” or “pop” a cappella, which can range from barbershop-quartet-style groups (Beatachon), to modern groups who could star on NBC’s The Voice (The Maccabeats, Lev Tahor), to groups and albums that can only exist in studios with lots of computers (AKAPella, Six13, Ari Goldwag’s Soul albums, and others); 2) “Kumzitz” albums, which typically feature a soloist and a large backup choir (e.g., A Kumzitz in the Rain or Around the Campfire by Miami); and 3) “Chassidishe” a cappella—think Meshorerim Choir, Farbreng by Berry Weber, or the Chassidishe Oitzrois collection—which usually feature chassidishe singers (duh), very little from the digital effects department, and zero beatboxing or fake rhythm sections.

My Father’s Zemiros, Avraham Fried’s first contribution to the a cappella genre, falls squarely into category 3.  This album features Avremel with his sons, brothers, and nephews, singing the songs which they remember from the Shabbos table of Avraham’s father, R’ Yaakov Moshe Friedman z”l.  The album was originally meant to remain a private family project, to be given out at family simchas and other events, but soon the Friedman family was inundated with requests for copies.  Eventually, they released the album in 2009 through the Yad L’Shliach foundation, the tzedakah organization run by the Friedman family which provides funds to Chabad shluchim around the world.  After being available as a download-only album for nearly five years, Yad L’Shliach released the album this past sefirah for sale in Jewish Music outlets everywhere.

Getting to the album itself, it’s an absolute treat to listen to, especially if you are a fan of chassidishe music in general.  Avraham himself is the cornerstone of the album (understandably), but it’s obvious that this is an insanely talented family, even beyond the Friedman nephews we have come to know and love over the last decade or so (to the best of my knowledge, Benny Friedman and 8^th Day don’t even appear on this album).  Autotune is nowhere to be found (yes!), and the vocals carry that unmistakable Fried(man) ta’am which make their voices so instantly recognizable.  Interestingly, the Friedmans sing in a pure chassidish accent (i.e., וּ is pronounced “ee”, not “oo”) on this album, not the Lubavitch/Litvish havara we’re used to from Avraham’s other albums.

The song selection (sorry, no track-by-track analysis this time) tilts squarely chassidish, as is to be expected.  Considering that the songs are from Avraham’s childhood, don’t expect any Yossi Green compositions on this album.  On the other hand, even if you’re a pure cold-blooded Litvak (like me), you will definitely recognize some of the songs on the album.  For example, Track 6 (“Niggun Gaaguim”) will be familiar to most people as the niggun which commonly follows “Yedid Nefesh” in many shuls, and Track 5 (“Baruch Kel Elyon”, also known as “Kel Adon”) was featured on the first Philharmonic Experience album in 1989, among other places.  As you might expect, many of the songs on the album are Shabbos themed, but not all.  Track 1 (“Mimizrach”) could fit any time of week, and Track 12 is a rendition of “Maoz Tzur”.

In summary, the Friedman family’s private project is now out of the underground, and if you buy it, you can help support shluchim all over the world.  If your concept of “Three Weeks music” begins with the Maccabeats and ends with AKAPella, then My Father’s Zemiros isn’t for you.  However, if you want a heimish (haimish?), professionally produced listening experience for the Three Weeks which features the industry’s absolute best, then you should join the Friedman family’s reenactment of their father’s Shabbos table.

2003 was a pretty good year for Jewish Music.  That year saw the release of Abie Rotenberg’s Aish 2, the first Yeshiva Boys Choir album, Ohad’s first solo album, the satire/parody album I’m So Sick of Racheim, and, of course, Journeys 4.  Therefore, it was definitely understandable if a certain Yochi Briskman production starring a former Miami Boys Choir soloist named Michoel Pruzansky slipped through the cracks for some people.  The same thing could not be said, however, about Michoel’s second album, 2007’s Pruzbul, produced by Yitzy Bald.  Pruzbul took the world by storm, setting up Michoel’s first self-produced album, MP3, released in 2011.

Three years after the release of MP3 (actually a relatively quick turnaround time for Pruz), Michoel has released his newest offering, Pruz Control (he’s apparently got a thing for eponymous albums).  Pruz Control takes everything we’ve come to love from Michoel’s last two productions and gives us more.  Yitzy Waldner returns with the bulk of the compositions on the album, instrumental arrangements are handled by Shai Barak, and choirs are handled by Yochanan Shapiro.

Track 1, “Am Echad” (composed by Michoel Pruzansky and Yitzy Waldner, lyrics by Malky Giniger): Two is a couple, three is a crowd, four is a trend, five is…?  “Am Echad” is Michoel’s legally required contribution to the “Achdus” genre of Jewish music which has apparently become a cottage industry since the release of Yesh Tikvah nearly two years ago.  Good thing it’s actually a good song.  This track is a techno/disco with original lyrics by famed singer-songwriter Malky Giniger, with backup vocals by Yitzy Spinner.  Also, special shout-out to our very own Hillel Kapnick, who is credited with additional choirs on this track and also helped record this album at his studio.

Track 2, “Simchat Chatanim” (composed by Yitzy Waldner; lyrics by Miriam Israeli, Yanky Glazerson, and Chilu Posen): Wow—a unique, original hora which 1) doesn’t appear on a Shwekey album, and 2) features original lyrics!  The lyrics are actually the most interesting part of the song; I don’t think I’ve ever heard a song which, while mainly in Hebrew, throws in Arabic and Yiddish lyrics without missing a beat or sounding awkward.  Expect to hear this one a lot during the new wedding season.

Track 3, “Aleinu”, feat. Yitzy Waldner (composed by Yitzy Waldner):  Hey, who knew that Yitzy Waldner can also sing?  He is the guest vocalist in this song, a beautiful, slightly bluesy ballad.  Dor Assaraf provides sax solos throughout the song, which grows in fullness and intensity as it goes along.  The bridge and key change which starts at around the four-minute mark is especially nice.

Track 4, “Ain Od Milvado” (composed by Yishai Lapidot): As if the “üntz-üntz” techno beat and electronic arrangements didn’t give it away, this upbeat track is composed by the one and only Yishai Lapidot.  This track featues Chaim Meir Fligman’s Shir V’Shevach Boys Choir, which also appeared on Baruch Levine’s Modim and Simcha Leiner’s Pischi Li, among other recent albums.  Interestingly, and I can’t imagine this wasn’t done on purpose, the lyrics to the high part of this song are also from “Aleinu”, so it’s a natural progression from the last track.

Track 5, “Koli” (composed by Ari Goldwag):This track is a heartfelt slow song which starts off sounding like it could be an MBD song, but then blossoms into a ballad which is pure Pruz—think “Yiskereim” from Pruzbul and you’re in the right ballpark, complete with a stanza in English.

Track 6, “Ashrei Mi” (composed by Dovi Brazil and Yitzy Waldner): Speaking of themes legally required to be on a Jewish album, here’s our requisite “Torah-learning-is-a-really-good-thing” song from this album.  This disco can be slotted into second-dance-sets at weddings which are too yeshivish to play “Simchat Chatanim”.

Track 7, “Pray” (composed by Yitzy Waldner; lyrics by Bella Levitan, Chanale Fellig, and Yossi Beren): Wow, a fast English song by Michoel Pruzansky?  Good, because I don’t know if my fragile psyche would have been able to handle another “You’re Watching Me” or “Show Me the Way”.  Unlike those gut-wrenching elegies, “Pray” is a song of hope; a poppy, happy, power ballad which also has elements of reggae and rock.

Track 8, “Shuva” (composed by Mordechai Klein and Yitzy Waldner): This track is a rock-ballad slow song featuring child soloist Moshe Kahan.  I see this song becoming more of a concert staple for Pruz as opposed to a kumzits or chasunah standard.

Track 9, “Chaveirim” (composed by Doni Gross): Pure Pruz.  If you liked “Zeh Lazeh” from MP3 or “Hu” from Pruzbul, then you’ll love this hopped-up disco.  Michoel dedicated this song to the volunteers of Chaveirim who are always there when they are needed to help their fellow Jews out of sticky situations.

Track 10, “Orech Yomim” (composed by Yochanan Shapiro): Chazzanus in the intro! Apparently Michoel needed to remind us that he really does know how to sing.  After the intro, the song transitions into a medium-speed “oom-pah”-style song (think “Shiru LaMelech” or “Kechu Imachem Devarim”), aimed at yeshivishe kumzitses and shabbos tables across the world.

One quick rant before I go: Why are these albums so short recently?  Pruz Control is the fourth album this year which I have reviewed that clocks in at under 48 minutes—we’re not listening to LPs here, what gives?  Minor nitpick aside, Pruz has provided us with another very solid album.  It’s not his greatest (that honor still goes to Pruzbul), but definitely well worth your time.

A note to my adoring fans: I apologize for not being able to write any reviews of many of the recent amazing releases in Jewish Music. I am hoping to be able to “catch up” and write about all of my favorites in the next month or so. The review below I began pretty soon after it was released and now that it’s been about 6 months or so…I love it even more!

Yaakov Shwekey is one of the most versatile and talented performers today in Jewish Music. Every time that it seems that his popularity might be slipping or that his style might be getting stagnant, he manages to come out with an album that blows everyone away. With his recently released album Kolot, it is now 3 straight albums that Yaakov has really opened eyes with how versatile and innovative he and his producer Yochi Briskman are. This album is mostly Israeli style with some of his signature Yeshivish and Sephardi styles mixed in.

Without any further ado here is my song by song assessment:

Am Yisrael- The album starts off with a bang and this song gets my feet tapping along and ready to dance along. This Yishai Lapidot hit really speaks to us in these times we are living through. Yishai’s lyrics, while always applicable, have a new meaning after what we have gone through in Eretz Yisroel. The song is arranged by Udi Damari, who has arranged songs on other recent Yochi Briskman productions and adds a nice dimension to the song with the synth sounds and distinct style.

Kolot – One thing I have to mention before talking about the song itself is how I have made it pretty clear before that I don’t understand Ivrit that well and it’s hard for me to comment on the meaning of songs when I don’t understand them. I love that the cover of the album has a translation of the words so that I can understand it! This song, Kolot, is the title track of the album and is a haunting melody, composed by Tomer Adaddi and features guest vocals of Israeli star Shlomi Shabat. This is a beautiful song.

Smeichim – One of the people who I neglected to mention above when mentioning the versatility of Yaakov was his favorite composer, Yitzy Waldner. Yitzy and Yaakov composed this rock ballad together and along with Yanky Briskman’s arrangements have created a really catchy and popular song. The background vocals on this song feature The Zemiros Choir.

Tefilat Kallah – This Elie Schwab masterpiece is already a huge hit and often requested song by chupas. It is a beautiful song that builds up as the song progresses. I really love how Udi Damari’s arrangements on this song make Yaakov’s sweet voice and amazing range stand out.

Ach Sameach – This Mediterranean style Horah is another masterpiece of composer and arranger Udi Damari. I have not heard it played at any weddings or simchas but it’s a real enjoyable song.

Zeh Hakatan – Ok so I’ll admit it, I have a brief moment of panic any time this song starts and I hear a baby crying…yes I do still get woken up by my knayna hara baby twins, but their cry is way cuter! In all seriousness, this is a very moving song and no wonder; it’s composed by Yitzy Waldner. Yitzy joins in with background vocals on this song as well. The Ivrit lyrics by famous lyricist Miriam Israeli take a quick spin through the various milestones of parenthood. The song starts so soft and the emotion builds as the expert arrangements of Amit Harel build up as well. I really like how the song builds up after Noam “Hargol” Burg’s guitar solo. Oh, and the cry at the end doesn’t scare me as much because I’m ready for it.

Osim Tshuvah – Yaakov has brought back his Metalish friends on this album singing their hit from their 2nd album. With all due respect, I love their musicianship but I much prefer this version with them playing and Yaakov singing. It’s a real solid rock song composed by Dani Maman (and if you Google his name you will find some real wicked guitar solos on YouTube) and arranged by Jeff Horvich.

Kamu Baneha – This is another Yitzy Waldner/Yaakov Shwekey collaboration and just as nice and beautiful as the last one. Yitzy sings the background vocals and Yanky Briskman’s arrangements are solid. This is one song I could listen to over and over again.

Et Rikod – Usually when I review an album it is too soon to know which songs will be the big hits. Since it took me so long…I can say that this without a doubt is the HIT of the album. Yaakov co-composes this song with Yitzy Waldner, and the techno arrangements by Amit Harel make this a real catchy song. The Zemiros Choir once again does a real formidable job with the background vocals. The lyrics are a little tongue twisting but sing it a few times and you’ll get it down pat…talking from experience of course!

Assara Bnei Adam – This ballad/rock song is one of my favorites on this amazing album. Composed and arranged by the talented Aaron Razel this song carries a strong message for us to strengthen our learning to help bring Moshiach. Aaron guest sings on this song as well and I really like how Yaakov’s voice blends with Aaron’s voice. This song is a perfect ending to an amazing album.

In conclusion, if you missed the boat and never bought this album…what are you waiting for! You can buy it at http://www.mostlymusic.com/kolot.html or anywhere quality Jewish Music is sold!

I have been a huge fan of Michoel Pruzansky and was sure I had written at least one review on him previously. I was shocked when I went back and checked and saw that besides a brief mention about him in my HASC 26 recap I’ve never written about him before. Michoel is something like the handy man of the Jewish Music scene. He has a very nice powerful voice, energy that can be felt by just listening to him, nice enjoyable songs on his albums and tasteful arrangements. He sometimes can get lost amongst some of the other singers who might have sweeter voices or a wider range but just because he flies under the radar a bit doesn’t mean he isn’t as talented and pleasant to listen to. Michoel also manages to come up with catchy album names such as Pruzbul, MP3 and his latest release Pruz Control (ok Ashrecha isn’t catchy…but give him a break, it was his 1^st album). On this album Michoel co-produces together with Yochanan Shapiro of Acheinu fame, and the inimitable Israeli music superstar Shai Barak arranges the music. Without any further ado here are my song by song assessments:

Am Echad – The album begins with an upbeat techno styled song composed by Michoel together with Yitzy Waldner. Even before Michoel sings, I already can hear the unique and incomparable backup vocals of Yitzy Spinner. This song is a catchy foot tapper and a real enjoyable listen.

Simchat Chatanim – This is certainly the most interesting song on the album and the way it begins definitely threw me the 1^st time I heard it. It is a sefardi style horah with a sefardi (he gives special thanks to Uri Bitan and Avi Perets so it must be one of them) chanting to begin. The song itself is composed by Yitzy Waldner, who has proven before that he can compose sefardi style songs. I like how some Yiddish gets thrown in the middle (ok, it’s only ayn, tzvei, drei but still is cute).

Aleinu – I think there is only 1 thing I have to say about this song: Yitzy Waldner ballad. Get it? I do. Love it too! In keeping with recent tradition, Yitzy guest sings on this song.

Ain Od Milvado – This song is a Yishai Lapidot special. It’s obviously a techno song and also a very good one too! Add in the Shir V’shevach Boys Choir and you have yourself a real pleasurable listen. And to think that I used to not even be able to listen to a techno song without skipping it…..

Koli – This is a real heartfelt and hartzige balled composed by Ari Goldwag. It is a beautiful song. Michoel adds some English lyrics to the song that really add to the song. The backup vocals are compliments of the Shapiro brothers and in the Acheinu style.

Ashrei Mi – This is a rock song co-composed by Dovy Brazil and Michoel. I love the horn heavy arrangements on this song. The backup choir on this song also has an Acheinu feel to it and to no surprise it features 3 of the Shapiro brothers.

Pray – This is another quality composition by Yitzy Waldner. The lyrics of this song are obviously about praying when things look bleak and not to give up hope.

Shuva – A rock ballad co-composed by Mordechai Klein and Yitzy Waldner, this song is enhanced greatly by the child soloist Moshe Kahan. I like how the electric guitar is used in this song, both the solos and in the background.

Chaverim – On an album filled with techno style songs, this is another techno, composed by Doni Gross. It is dedicated to all the chaverim volunteers for all the chesed they do! This is a very enjoyable song that is even more enjoyable because it seems that the composer is a newcomer into the Jewish Music scene. That’s something that always makes me happy. The Shapiro brothers add a lot to the song with their background vocals as well.

Orech Yomim – With all my mentions of the Acheinu style found on this album, nothing is more Acheinu style than this song. Composed by Co-producer Yochanan Shapiro and with him adding the background vocals, this is it. Michoel’s chazzanus at the beginning is really nice and shows off his talent. This song is an upbeat one but after all the techno on the album it has a very calming feel and is a great song to end off the album.

In conclusion, if you are looking for an album with today’s sound that you want to be able to play over and over again this is for you. You can find it on www.nigunmusic.com or anywhere quality Jewish Music is sold!

Very few people have had as much influence on the current state of Jewish Music as Yitzy Bald.  When I was in high school, Mendy Wald’s Sameach was lighting the world on fire, and ten years later he introduced bagpipes into the genre on Dovid Gabay’s Legabay, with many other hits in between.  In 2011, he unveiled a project which had been years in the making: the debut album of the New York Boys Choir, which was composed, arranged, recorded, and produced completely by Yitzy Bald himself, under his exclusive artistic direction.

In the off chance you never heard the first NYBC album (what are you waiting for?), NYBC has a very unique sound.  More upbeat than Miami, not as yeshivish as Shira Chadasha, but less poppy than YBC, Yitzy managed to find an individual flavor for his group.  For example, regarding the amount of computerized effects on the album (on a scale of Tzlil V’zemer to Kinderlach) NYBC ranks above Shira Chadasha, but still a step or three below Yeshiva Boys Choir.  In addition, a great group of talented soloists (including Jewish Star winner Dovid Moskovits, whose own solo album, Shalom, came out last fall and featured a cover of “Al Hasulam” from the first NYBC album) made the album a great listening experience.

New York Boys Choir: The Sequel comes to us after what has apparently been a very busy three years for Yitzy and his young charges.  Concerts, videos, and even an invitation from America’s Got Talent (which, unfortunately, was declined), didn’t get in the way of another well-done album.  The Sequel takes the same ingredients which made the first album special and remixes them into something completely new.  Most of the songs on this album are in English, and following the approach from the first album, most of those have only one verse and the chorus—easier for the kids to remember when performing, I suppose.  A great assortment of musicians (including, among many others, Shai Barak, Nochi Krohn, Gal Gershovsky, Aryeh Kunstler, and Dani Flam), adult backup vocals (mainly Yitzy Spinner, who knows a thing or two about kids’ choirs), and absolutely superb mixing and mastering (you can hear every note of every instrument—not to be taken for granted in this industry) bring the package all together.

All compositions and lyrics by Yitzy Bald.  Any links point to authorized music videos.

Track 1, “Gan Eden”: If choir songs were ever sung at chasunas (for some reason they never are), this song could be added to the second dance playlist.  “Gan Eden” starts the album off with a wedding-themed bang, a rocked up disco with a lively beat and plenty of synthy effects to get you in the mood for the rest of the album.

Track 2, “Shananana” (feat. Michoel Pruzansky): The lyrics for this rock song are loosely based on Hoshanos and Shabbos Mincha, mixed with a verse in English by Yitzy Bald, which describes the love and devotion people have for their fellow Jews.  Michoel Pruzansky provides extra flavor here, and the engineering department cooks up a nice key change enhanced by some DJ effects.

Track 3, “Neshoma”: If you liked “Chesed” from NYBC’s first album, you will like “Neshoma”.  Bonus points go to the intro, performed on the alto sax by Itai Weissman.

Track 4, “Jew Joy”: Yes, you read that song title correctly.  “Jew Joy” is another guitar-heavy rock song which beseeches Hashem to see the joy we have when doing mitzvos, despite all that we’ve been through throughout the years.  (Also, bonus points to any ‘90s-vintage Mendy Wald fans who can find the song which shares an intro with this track).

Track 5, “Show Your Face”: Yitzy wrote this song in memory of the eight bachurim who were murdered by a terrorist at Yeshivat Mercaz Harav on March 6, 2008.  The chorus of this song is probably one of the best combinations of music (a Bon Jovi-esque power-chord-filled rock anthem) and lyrics (“O G-d in Heaven won’t you end this story/Feel the pain when I call out to thee…”) I’ve heard all year.  Two comments on those lines: 1) “End this story” is probably the most interesting possible way to poetically say “bring the geulah”; and 2) For crying out loud, HE USED THE WORD “THEE” IN A JEWISH SONG!  Is the world coming to an end?

Track 6, “Tov Lehodos”: Slide this one into the slow set right next to “Chesed” and “Neshoma”.  It will fit perfectly.  More sax from Itai Weissman is just a bonus.

Track 7, “Boruch Hashem”: Another rock song which works perfectly with the rest of the NYBC repertoire.  Power chords, just enough Autotune to keep everyone honest, a tight arrangement, and a great key change just under 3 minutes in.

Track 8, “Just Dream On”: How can we change things in this world for the better?  Well, Yitzy tells us, it never hurts to dream, to aim high, because “dreamin’ always pays”.  That is the theme of this techno-pop ballad which exhorts us to never give up on our dreams, no matter how bleak the situation looks.

Track 9, “Salaam”: Not since MBD in the early 1990s has a frum artist gotten so overtly political in his songwriting.  The first NYBC album featured the rock anthem “Yehudi Lo Megaresh Yehudi”, Yitzy Bald’s musical protest to the Gaza disengagement, and The Sequel features this track, which is an explicit message to the Arab world to put down their weapons and attempt to “live side by side” with their brothers in Israel.

Track 10, “M-I-R-A-C-L-E”: Breaking News: Not just the Maccabeats can do Chanukah songs!  This rock song was released as a single and a music video last year, and it recounts the story of the Chanukah miracle with an emphasis on the Jewish people fighting for its eternal survival by standing up for the Torah way of life in every generation.

Track 11, “Pump It Up”: See Track 10, and change the word “Chanukah” to “Purim”, and the word “rock” to “techno”.

Track 12, “Kids of Courage”: This track, originally released in 2012, was the culmination of a year-long partnership between the NYBC and Kids of Courage, the non-profit which helps provide fun experiences for critically ill children and their families.  The video (follow the above link) features the members of the choir having fun with the kids while performing this track.  Star soloist Dovid Moskovits does his thing in the lead role, and it’s obvious that he won the Jewish Star competition for a reason.

In short, unsuccessful projects don’t get sequels.  The very existence of New York Boys Choir: The Sequel shows the talent, appeal, and staying power of Yitzy Bald’s compositions, arrangements, and vocal coaching of his talented young talmidim.  I’m just hoping it’s not another three years before NYBC 3.

Fun fact of the day: Did you know that the name “Künstler” is German for “artist”?  It’s appropriate, then, that the Kunstler family is one of the most recognized musical families in Jewish Music today.  From Avi Kunstler’s vocal heroics in the last generation, to Dani Kunstler performing as a member of the Miami Boys Choir in the early ‘90s, to Aryeh rocking the house on the guitar at hundreds of weddings a year, we are accustomed to seeing members of the Kunstler family occupying prominent places in the Jewish music industry.

V’Havienu 4 is the fourth joint musical project courtesy of Dani and Aryeh Kunstler and Yitzchok “Scratchy” Yenowitz, following up on the first three V’Havienu albums and two solo efforts from Aryeh.  Dani composed and arranged most of the songs, plays piano and keyboard, and is the lead vocalist; Aryeh plays guitar (of course) and bass, and also sings; Scratchy is the third vocalist in the group; and Avi Kunstler shows up for a guest spot composing and singing.

V’Havienu’s style is similar to what you would find from other small Jewish modern bands like the Nochi Krohn Band or ABD: a kind-of folk-rock/world style of music with enough Jewish flavor so as to still be easily recognized as such.  Dani’s arrangements are classic, and unmistakably Jewish, but still unique—you will not confuse the songs on this album with those of Shwekey or Benny Friedman.

The songs on the album are distinctive, impeccably arranged, and Aryeh’s recording and mixing skills really enhance the sound of the album—everything from guitar fretting and splash cymbals to bass and distorted electric guitar are present in the mix.  While I find it unlikely that too many of these songs make it into the standard wedding playlist, the album is still very pleasant to listen to—and, really, isn’t that the point?

All songs composed by Dani Kunstler unless otherwise noted.

Track 1, “Tzomah” (Composed by Shloime Buksbaum):   V’Havienu 4 begins with a medium-speed ballad, which shows off both the vocal and instrumental talents of everyone involved in the production of the album.  Especially nice is the Yanni-esque violin solo by Daniel Ahaviel around 3 minutes in.

Track 2, “Min Hashamayim”: This song is a beautiful slow rock song, and Aryeh’s guitar and bass playing form a floor which is strong enough to walk on.  Scratchy Yenowitz takes the lead for most of the high parts of this song, and Baruch Kunstler makes a solo appearance as well.

Track 3, “Hashem”: This song begins as a folksy waltz before it morphs into a 3/4 rock ballad.  Nitzan Ein Heber enhances the song with a solo on the soprano saxophone, Yaakov Kunstler takes the kid solo role, and Aryeh takes it home on the guitar at the end.

Track 4, “Zeh Hashem”: Our first legit disco/rock song in the playlist, this song is my favorite fast song on the album.

Track 5, “Yerushalayim”: Is it just me, or does the flute solo in the intro of this song (also by Nitzan Ein Heber) remind anyone of “Keracheim Av” of V’Havienu 2 and Miami Boys Choir fame?  Regardless, the track is a nice, soft, kumzitz style song with a great vocal arrangement which starts at right around the 3-minute mark, plus it features the one and only Yitzy Spinner on the piano.

Track 6, “Sois”: More Nitzan playing sax in the intro to this wedding disco, which is definitely a good thing.  Yes, I like sax.  Sue me.

Track 7, “Al Naharos Bavel” (Composed by Avi Kunstler): Quite possibly the best overall song on the album, this song definitely has the most unique arrangement.  It begins with a long, violin-centric intro, and transitions into a slow, haunting melody featuring the patriarch himself, Avi Kunstler.  The last two and a half minutes of the track showcase Aryeh’s arrangement abilities, starting with just piano, and then gradually adding in bass, strings, guitar, and brass before finishing with Aryeh absolutely shredding it on the electric.

Track 8, “Sameach”: Written in memory of Sameach Music founder Izzy Taubenfeld, this is the folksiest song on the album, with a lot of clean guitar and a gradually increasing tempo.

Track 9, “Rachel”: Moshe and Baruch Kunstler join the rest of the family for this sweet 3/4 ballad, which features another great vocal arrangement on the second verse.  Nitzan gives us another flute solo as well.

Track 10, “Kamu”: Here’s our contractually required Eishes Chayil rendition of the week!  I love Jewish music.  Anyway, this song treats us to more Daniel Ahaviel on the violin, as well as another arrangement from Aryeh which continues to escalate in intensity as the song continues.

It has actually been quite some time when the songs of a new album spontaneously get stuck in my head, but that’s exactly what happened with V’Havienu 4.  I was pleasantly surprised by the overall quality and production value of the album, but, frankly, I shouldn’t have been.  The V’Havienu albums have always been of consistently high quality, and the fourth entry into the series is no exception.

We have to remember, aside from being a musician/singer, Ari Goldwag is also a Kiruv Rabbi (www.arigoldwag.com) who provides the listener/viewer with a purpose and message behind every song/drasha. With that prior knowledge, it makes sense that he finally released a album full of English tracks. Each track is like a mashal (parable) which provides the listener with not just a song, but a lesson.

We’ve had sprinkles of Ari’s English songs before; most recently on Am Echad which featured “Don’t Be Shy to Say the words”, “Hashem is always there” and “Yosef”. They were all terrific songs, which is what excited me about the release of an album dedicated entirely to his English compositions.

Without further ado, let’s analyze this album.

As always, I encourage you to reach out to me in the comments or on twitter @sgstudiosdg

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Something Different:

This opener has a great sound to it. It has a soft pop sound and gets the blood pumping; great song for a jog. The lyrics are fantastic and well written. If I’m interpreting the message correctly, the song is about seeing beyond the mundane and finding Hashem in everything which will help you “escape from your sadness” and see the purpose in everything.

Angels Out:

Angels Out has a very calming and soothing sound which serenades the listener. The angels the song is referring to are the Shabbos angels that come every shabbos to visit. At one point in the song “Shalom Aleicheim” which is recited every Friday night before Kiddush is recited. Ari’s son Moshe Dov makes an appearance in this song with background vocals which adds a befitting father & son touch to this song.

Chanukah Lights:

Again, the sound of this song is similar to the opening track which has a pop feel to it. It’s a very short song at 2:40 long which makes it almost seem like a filler track. However, I enjoy it because of its length, as it feels like an appetizer before the meal. Since this album was released a month before Chanukah, it feels timely to add this track, getting the listener excited for Chanukah. BONUS: See the music video here – (http://youtu.be/5oAbhwC8LZI)

Your Smile:

I’m missing something, because I do not have the booklet, so I don’t know who he is singing about in this song. However, this song is beyond gorgeous – a very well done ballad.

Up to You Now:

At first I didn’t like the sound behind this song, but it has grown on me. It’s definitely not my favorite on the album; I don’t think there’s a lot of depth behind it, but it’s a nice soothing listen.

Take Me Home:

Again, I don’t have the booklet so I don’t know if this is an original composition, but it sounds like something out of a Disney movie. It’s a beautiful song and I keep coming back to it, again and again.

Forever Dance:

This may be the best song on the album. There’s something electrifying about this composition and Moshe Dov’s (Ari’s son) vocals. He doesn’t blow you away by any means but his voice has an addictive sound to it.

Teiman, Choices & Live in the Sky:

I’m not a huge fan of these tracks and the album fizzles out for me here. I’m sure other people will like them but the sound behind them is not to my particular taste.

—

Track 1-7 are worth the album themselves. No point on paying $7 for them when you can pay $10 and take a chance on the last 3 songs that you may like.

The date: Monday, August 13, 2001.

The place: Camp Romimu, Sackett Lake, Monticello, New York.

It was my second summer at Romimu, and I was the counselor of Bunk Yud Beis, the second youngest bunk in camp’s day camp division.  That meant I had a lot of free time on my hands, which was a good thing for several reasons.  First of all, I am insufferably lazy.  Second of all, I used much of my free time practicing the saxophone and clarinet.  We musicians had a small practice room off to the side of the stage where we stored our instruments (a large walk-in closet, really), and I spent countless hours in there playing.  That summer the camp’s grand concert featured Shlomo Simcha (ARE YOU PUMPED???????), and I was beginning to prep for Color War, which everyone knew was going to start sometime that week.

During the second week of August, I was approached by the camp keyboard player, who was in charge of the music and video at the camp.  He asked if I would be available to play sax at a small, intimate concert for a couple of special-needs campers who were regulars at the camp.  The headliner?  Some guy named Avraham Fried.

My reaction: Something along the lines of, “You had me at hello”.  Possibly with the added sound of me hyperventilating.

A few days later, I was approached again.  Change of plans, I was told.  The Avraham Fried concert would now be for the entire camp.  Three songs (Shalom Aleichem, Didoh Bei, and Chazak), to be immediately followed by Color War Breakout.

The hyperventilating increased its intensity.  The practice sessions in the side room went from frequent to constant.

Signs went up.  A second big concert in camp?  Amazing!  And the hottest artist in all of Jewish music?  What could be better?  Even the too-cool-for-school kids (who knew that Color War had to be coming up soon) were having second thoughts about their skepticism when they saw me frantically practicing the same three songs over and over again.

Finally, it was time for the big night.  I don’t think I had ever been so over-prepared for a gig in my life.  The only red flag was that there had been no sound check, no dress rehearsal, and I hadn’t seen Avremel yet, despite the fact that I was assured he was going to be on time.

Boys and girls, this is what they call “foreshadowing”.

We were ready.  The house lights dimmed.  The keyboard played an opening arpeggio, and we all heard it from backstage:

“Shaaaaaaaloim Aleichem…malachei hashareis…”

It was him.  Oh my gosh, it was really him.  Avraham Fried himself.  He was really here.  In a green Camp Romimu t-shirt.  Long black-ish beard and everything.

After we finished playing our three-song set, I kind of just stood there.  I had no idea what was supposed to happen next.

Another arpeggio.  “Yiddelach shrait, ad mosai….”

Oh. OK.  Sheyiboneh.  I knew that song.

“Yiddelach shrait, ad mosai….”

One more…

“Yiddelach shrait, ad mosai, ad mosai, ad mosai, until when will you believe that I am Avraham Fried?”

Wait…what?

“COLOR WAR TWO THOUSAND AND ONE!!!!”

That’s when the beard miraculously started to come off, and the Romimu head staff joined our ersatz Avremel on stage and began to announce our Color War lineup.

The impostor, as you may have guessed by now, was the then-16-year-old Benny Friedman, Avraham Fried’s nephew, who was beginning to get into the music business by doing extremely accurate impressions of his famous uncle.  Apparently, the Romimu show was his first ever concert.  Looking back on it now, I almost can’t believe I was fooled by the fake beard, but that voice….  Apparently, I was the last person in the room to realize that we were being punked.  Oh well.

In the camp administration’s defense, everyone involved in the hoax apologized for not letting me in on the gag—they insisted that the campers needed to see me practicing like a madman in order to complete the illusion that Avraham Fried was really coming.

Here’s the picture Shmais.com ran the next day.  I’m the one you can’t see, totally blocked by Benny.  Story of my life :-)

(Photo: Shmais.com archive. Left to right: Adiel Hoch, Yekusiel Sebrow, Benny Friedman, my mic stand. Click the picture to enlarge.)

Anyway, that’s my Benny Friedman story.  A lot has changed in 13½ years.  Benny Friedman has gone from “nephew-of-a-famous-singer” to the torchbearer of the new generation of Jewish vocalists.  Unless you were hiding under a rock, you heard Benny’s last original album, Yesh Tikvah, as it took over the world two years ago.  Yesh Tikvah was followed by B’nei Heichala, a collection of Shabbos songs released earlier this year.  As I said in the review of that album, B’nei Haichala was not intended to be a sequel to Yesh Tikvah—it was more of a creative detour along the way to the inevitable follow-up album.  Well, ladies and gentlemen, the inevitable follow-up has arrived.  Kol Haneshama Sheli is the sequel you’ve been waiting for.

Before we get into the nitty-gritty, let’s be very clear as to what KHS is not.  Yesh Tikvah—both the album as a whole and the song in particular—was one-of-a-kind.  Even Benny himself knows that the insane popularity and appeal of that album does not come along often, and he said as much to our very own SplashNews at the album premiere.  However, KHS has its own unique appeal which makes it special.  The 12 tracks were composed by 12 different people, including (among others) Yitzy Waldner, Ari Goldwag, and Shmuel Marcus, so there is something different about each song.  Ian Freitor handles most of the music production, and Sruly Meyer is credited as the producer of the album along with Benny himself.

Track 1, “Toda” (composed by Sruly Green, lyrics by Miriam Israeli and Eli Friedman): Benny starts off his new album with a salsa-disco with original words by the multi-lingual queen of Jewish lyrics, Miriam Israeli, the lyricist behind “Yesh Tikvah” and “Am Echad”.  The lyrics, which switch between Hebrew and English, describe Benny’s feelings of gratitude towards Hashem for everything in his life.

Track 2, “Im Ein Ani Li” (written and composed by Robert Fitoussi and Yitzchok Bitton):  This old-school rock song is an almost note-for-note cover a song which first appeared in 1982, on Isaac Bitton/Raya Mehemna’s album Songs for a Brother.  Bentzy Marcus adapted this version of the song for the album, and worked in a violin solo by Chris Woods which is regretfully too short.

Track 3, “Ribono Shel Olam” (composed by Yitzy Waldner): It’s 2014, so you knew that Yitzy Waldner would show up somewhere on this album.  This slow ballad includes orchestral arrangements by Leib Yaakov Rigler and backup vocals by the Shira Choir.  Its lyrics are from the tefilah before Torah reading on yomim tovim, and the melody really shows off the capabilities of Benny’s voice.

Track 4, “Fulfill Your Tefilah” (written and composed by Shmuel Bitton, additional lyrics by Eli Friedman): This techno/disco track shares some musical styling with “Yesh Tikvah” (for example, they begin with the same synth voice), but this one is in English.  This hopping dance song uses some interesting rhyme combinations which don’t work with every accent (fulfill your/every tefilah, answer your/bakasha, we all know/dor vador, am Yisroel/hear our kol), but Benny manages to pull it off and make it sound natural.

Track 5, “Al Tira” (composed by Yisroel Zev Rechnitz):  Another slow ballad, this song is arranged by the one and only Yisroel Lamm (of course it was, there’s a French horn in the brass section), and the full orchestral arrangement shines.  The Shira Choir provides backup vocals again, and Eli Gerstner recorded and mixed the track in his studio.

Track 6, “Kol Haneshama”, feat. 8^th Day (composed by Shmuel Marcus): The title track of this album is a family production, featuring Benny’s cousins Bentzy and Shmuel Marcus, known to the rest of us as 8^th Day.  This Latin-style hora also features an English stanza where the Marcus Bros.’ influence is obvious.  All instruments in the recording are played by arranger Eli Lishinsky.

Track 7, “L’hisaneg” (composed by Ari Goldwag): What is it about Shabbos zemiros in particular, and “Ma Yedidus” in particular, which seems to send themselves so easily to waltzes?  Taking the question a step further, what is it about 3/4-ballad Shabbos zemiros being composed by Ari Goldwag?  Combinig this song with “Kah Ribon” and “Menucha”, Ari is well on his way to his own Greatest Hits album of Shabbos waltzes.

Track 8, “Bum Bum” (composed by Elimelech Blumstein and Ari Goldwag): If there is going to be a successor to “Yesh Tikvah” that comes from this album, “Bum Bum” is it.  This track is easily my favorite song on the album—I can easily see it existing side by side with MBD’s “Ma’aminim” as the “rock the house” song at the end of chasunahs, or as a finale to Benny’s concerts.  It’s a kind of surfer-rock/pop-rock blend (feel free to disagree with me on the definition of those terms) with a strong guitar part by Avi Singolda, while Yitzy Spinner handles the backup vocals.

Track 9, “Hamalach” (composed by Baruch Levine): Baruch Levine joins the composer parade!  This song, which sounds inspired by the old London School of Jewish Song version of “Hamalach”—slow waltz, slightly jazzy, mostly the same lyrics—adds in a stanza with the passuk, “Hiney lo yanum v’lo yishan Shomer Yisroel” (“The Guardian of Israel never slumbers or sleeps”), which seems very appropriate.  First of all, both verses are recited in the bedtime Shema.  Second of all, I am thinking that the addition of this line into the song may have been inspired by the events in Israel over the last year amid the obvious hashgacha pratis which guarded the Jewish population during Operation Protective Edge.  I don’t know, just my theory.

Track 10, “Yesod V’Shoresh” (composed by Pinky Weber): Let’s learn some chassidus together, shall we?  The words to this upbeat, bass-heavy rock song are from the Tanya, and describe the basic foundation (the “yesod v’shoresh”) of Judaism: to elevate the spiritual over the physical.

Track 11, “Essa Einai”, feat. Shlomo Simcha (composed by Rivky Brachfield): This song, my favorite slow song on the album, was composed by a twelve-year old girl, Rivky Brachfield of Toronto, who composed this song in memory of her grandfather.  Benny is joined on the track by Rivky’s fellow Torontonian Shlomo Simcha (my favorite pure singer in all of Jewish Music, if I may say so myself), as well as Tzvi Blumenfeld of the Yedidim Choir singing backup.   Benny’s and Shlomo Simcha’s voices blend together perfectly in a way very few artists could.  I really hope this song becomes popular—we need more variety in our chuppah songs and dinner music sets, and it would be a shame to see a great song like this fall through the cracks.

Track 12, “Rak Beyachad” (composed by Eli Klein): I hope you weren’t thinking that we would make it through twelve tracks without an “achdus”-themed song.  The man who launched the trend more than two years ago brings it full circle with this driving rock song as the perfect coda to his third full original album.

To conclude: Kol Haneshama Sheli is not Yesh Tikvah—not by a long shot.  I almost feel bad for Benny—Yesh Tikvah was such an impossible act to follow, that the inevitable sequel is bound to disappoint some people.  I’m here to say: don’t be disappointed.  Kol Haneshama Sheli stands just fine on its own merits, and that should be more than good enough for anyone.

There is a segulah brought down in the JMR “OutofTowner” sefer that every time someone plans on writing a number of reviews (or even 1) in a short period of time, that person gets extremely busy and none of them get written. I am not sure what the source for this segulah is, but it is tried, tested and true. Saying that, I am going to attempt to start and complete a review!

Ok, so it’s now 4 weeks later and the segulah seemed to have worked! Now I don’t even remember which album I was going to review when I started but being that there are a number of quality albums that came out in the past few months I have my pick of what to start with…with hopefully more to follow shortly. I decided that the review I’ll start with is going to be on Barcheini by Yehuda Green. I am hooked on this album because of its simplistic sophistication (does that make any sense?) and the beauty of the songs. Going back on what I wrote on the last album Yehuda released, I was not a huge Carlebach fan growing up, although the songs of his that I did know, I loved. Yehuda isn’t going to blow anyone away with his voice but that’s not the allure and appeal of him. His haartz and total embodiment of the Carlebach derech has made him a sought after performer. Without any further ado (and before anything else can sidetrack me) here is a song by song assessment:

Barcheini – This is not only the title track of the album, but this is also one of the many songs composed by R’ Shlomo Carlebach that are on the album. This song is one that I am not sure I have ever heard before but is a beautiful and melodious song. I would say it’s a typical Carlebach song (which I mean as the biggest compliment of course) and Yehuda’s vocals further enhance it. The musical arrangements are simple and set the perfect mood for the song and the whole album.

Reb Shlomo’s Niggun – I am sure you can all guess who composed this song! What else can I say about a niggun that is sure to be a hit at kumzitzes all over. At the end of the song there is a nice guitar intro/interlude that is really nice.

Haneshama – This song, composed by Yehuda Green, and modified by Pinchas Wolf, shows how much Yehuda walks and thinks lock step with R’ Shlomo. If I didn’t know any better, I would have guessed that R’ Shlomo composed the song. It’s that beautiful.

Dididi Hakol Tov – This song is composed by the legendary Antshie (seriously I really have no idea who he is but his name just screams legendary to me). By now it’s a bit redundant for me to say that the song is a Carlebach style song because that’s what the whole album is! This song is a melodious song that could be played and sung at many different tempos and still be enjoyable. Just one question on the song: what is a dudaleh?

Ma Ashiv – This song is composed by Pinchas Wolf and modified by Yehuda himself. The images that flash through my mind at the word modified are not ones I would associate with songs but I get the point that the composition was tweaked and perfected. The main point is that this song is beautiful and whatever was done to it to perfect it….it was modified perfectly!

Kulam B’lev Echad – This is another song composed by Yehuda himself and is a real upbeat and lebedick song. I really enjoyed the intro featuring an electric guitar solo. On an album mostly featuring slower relaxing songs, this song really hits the spot. One other thing I noticed on this song, which is really featured on the whole album, is the choirs and harmonies.

Ad Matai – This Yehuda Green composition is a haunting and heartfelt song that really puts today’s galus into perspective. It is truly a gem on an album filled with gems.

Nachamu – Some words really don’t fit in a fast song and conversely some don’t fit in a slow song. When it comes to the words of Nachamu nachamu ami, they can really fit into any song. The upbeat vibe of this song really fits with the optimism that we have every year when Shabbos Nachamu rolls around and we hope that the past tisha b’av was the last time we will be sitting on the floor and crying over the destruction of the bais hamikdash. This is a nice song.

Ana Bekoach – This is a beautiful song composed by R’ Shlomo Carlebach. As I have mentioned before, I am far from being an expert in Carlebach songs, but I can’t believe such a song has been hidden from us commoners for so long. The song is greatly enhanced by Yehuda’s vocals and the instrumentation, including a short guitar solo.

Rebbe Rebbe – This Moshe Pomp composition was released a while ago as a single and was actually the song that really had me looking forward to this album.

Tshuasam – Ok so this song is composed by “a holy man.” Real story: he actually is a holy man and wanted to hide his name for personal reasons. The really cool part of this song is that the song starts with the actual audio from the kumzitz in Chicago where Yehuda first heard the song and fell in love with it. Listen to it and you will too!

Meloch – The album ends with a hartzige and chazonishe song composed by the Rebbe (or as Zale Newman once introduced him at a HASC Concert as the Rebbele) R’ Shlomo. This is a perfect ending to an awesome album!

In conclusion, this is another quality album by Yehuda Green. If you have enjoyed his previous albums or even if you have never heard of him but have enjoyed Carlebach style albums, this one is for you! It is available at http://mostlymusic.com/products/yehuda-green-barcheini or wherever quality Jewish Music is sold!

EDITORS NOTE: JMR welcomes a brand new writer, Aryeh Berger with his “One Week Later” review series. We love the concept and we look forward to many great reviews of Jewish Music!

All new Jewish music is overhyped and promoted heavily when it is first released, and the first time it usually sounds nothing short of amazing, but then slowly after a few more listens, you end up putting it in the back end of your hits playlist. This is why I do my reviews one week later, we can tell if the album is nogeah after just a few more listens.

At the weddings I go to, usually sometime after the 1st dance, filled to the brim with different varieties of od yishoma, Siman tov, Mazel Tov, Asher Bara, and other classic jewish wedding songs, people start to feel bored. Sure there’s a nice piece of meat in front of you, but you’re not with your friends on the cool table. After the dinner, when you start to hear those familiar notes of the latest great jewish music hits, you start to get excited and pumped up again. It’s time for the best part of the night (in my opinion), otherwise known as the 2nd dance.

That’s essentially what this album is trying to recreate. Yitzy Schwartz presents to you that great feeling that you felt when you danced to the 2nd dance, with all the people who didn’t leave the wedding yet, in one cd of 23 songs. It’s a fantastic collection of great singers and greater songs, interspersed with the occasional English music intros. On to the songs themselves.

OID OID OID- Avraham Fried starts it all off with Oid Oid Oid, originally sung by Yisroel Williger. I had never heard this song before, but this version of it is really nice. Avremel does a great job on it, the trumpet solo is very good, and the choir is also really nice on this song. I especially like the high part of Oid Oid Oid, this is what a real 2nd dance is right here. The intro to the album is exactly how a 2nd dance should begin as well.

HOOLEH & CELEBRATION- 8th Day comes in to sing their hit song Hooleh off the album with the same name. This version of it is more concert/wedding like, you can feel the loose atmosphere in the song, what with the interesting intro and a “Everyone get up” from the lead singer, Shmuly. This version is also sped up a little, and I feel it’s better like this. Definitely a 2nd dance song. They then continue with a song called Celebration, but it was originally called Yom Huledet (Happy Birthday) by Eden and it was entered into the Eurovision Song Contest in Israel in 1999. It’s an interesting selection, but it’s a cute short song and 8th Day does a great job on it.

ET RIKOD & MI MI- Yumi Lowy enters and here is where the latest songs in jewish music really comes in. He starts off with a great version of Et Rikod, the hit originally from Yaakov Shwekey sung on the album Kolot. It’s a little more yeshivish/litvish than Shwekey’s original and it really makes the song into wedding music instead of Shwekey’s more rocked-up version. Yumi moves straight into his second song, Mi Mi, a great version of the hit from Simcha Leiner off the album Pischi Li. This version is wonderful and here is where I want to tip my hat to the wonderful music of the band on this album The A Team. They are fantastic on this album and i expect to see them at weddings to come.

YOM TOV in DE VUCHEN- Levy Falkowitz, an up and comer in the world of jewish music, sings this song, originally sung by Michoel Schnitzler on the album Yes You Can! Levy does a great job and even though I never heard the song before, I thought it was an excellent selection. It’s a fun, geshmake song.

LO NAFALTI- Lipa Schmeltzer- After a few english music intros, Lipa sings Lo Nafalti originally a song by Yishai Lapidot on the album Vaani Hamanginah. It’s a nice song, although it’s very short and most of it is taken up by the intros and a nigun taken from the song “Na Na Na Goodbye” sung by the choir.

MODEH ANI- A nice nigun by the choir starts things up. Then Beri Weber comes on and sings Modeh Ani. The original is from Oif Simchas off the album Aleichem Vealienu and it is perfect for this album. With this song, the first set ends.

MELECH MALCHEI HAMLACHIM- Benny Friedman sings this wonderful ballad, originally from Eyal Golan from the album Nagat Li Balev (the Mi Shemamin guy). It’s the only slow song on the album, and Benny does a great job on it, making sure very note is perfect, and it really is beautiful. It’s a classic dinner slow song and is played at many weddings.

SHKALIM & RAK ELOKIM & HAKOL SAGUR & ELOKIM SHELI- Avi Peretz- Ladies and Gentlemen, get ready for the sefardi part of this 2nd dance! All kidding aside, these are 4 solid sefardi sounding wedding songs.

Shkalim is from Eyal Golan (again) sang originally on th album Chayil Shel Ahava, and it might just be my favorite song of the Avi Peretz set.

Rak Elokim is by Chaim Yisrael from the album Milim Shel Tefillah and is a nice song.

Hakol Sagur is a song that I remember as Od Yishoma during the Avner’s Special song on Nafsheinu Orchestra’s album called Wedding Of The Century, but a little research shows the original is an Israeli dance song called Hakol Sagur sung by Sarit Hadad.

Elokim Sheli is another nice song from Chaim Yisrael originally sung on the album Sameach Sephardi Dance Mix, and it ends off this set with a great finish from The A Team.

BYACHAD NENATZEICH- Ilai Avidani, the next Israeli child prodigy, sings the song written for the 3 boys who were murdered in Israel this past summer. It’s a gorgeous song about how we need to stand up byachad. He has a beautiful voice, and the song written by Udi Damari has great lyrics. I advise you to go out and listen to the original as well (it was a single released earlier this year).

KEIL CHUS GOALI- Yoeli Greenfield- After a nice bass-filled intro, Yoeli sings this great song that after extensive research, I found is originally from Amit Listvand off his album Shehecheyanu (how Yitzy found these songs is beyond me). I love the Meshorim Choir behind Yoeli, it sounds really good. And it leads straight to….

MR. DJ- Lipa’s back and now he’s singing an Israeli song about DJs playing what simcha really is. It was really another Israeli Dance song called Mr. DJ Superman sang by Sarit Hadad on the CD called Child of Love.

HACHI TOV- Beri Weber sings the new hit song from Shimmy Engel off his debut album Klal. Shimmy has 2 versions on his album, one in English called Ability, and then this version called Hachi Tov. The Hachi Tov version is a little more disco, perfect for weddings.

YEHU HACHODESH- Levy Falkowitz comes back to sing the old Dedi classic. It comes from Dedi’s album, Omnom, and it’s one of Dedi’s best (in my opinion). Dedi is really a classic, I’m very excited that he’s gonna be performing at the Hasc concert next month.

AM YISROEL- After our “Let It Go” intro from the A Team, Meshoerim Choir sings this major hit from Yaakov Shwekey’s latest album Kolot. I’m not sure who the soloist from Meshoerim Choir is, but he’s very good.

IM EIN ANI LI- Yoni Z sings this song from Itzik Eshel off the album Rock Ata Vol. 1. It’s a fast-paced hebrew song that sort of slows down by the high part. Yoni has a great voice and is a very underrated singer.

MERAKDIM- Shragee Gestener sings the oldie from Mendy Jerufi off the album of the same name. This song has made it back into the wedding music circuit ever since it was featured on Beats and is a terrifically underrated song.

BEEZRAT HASHEM- Shragee goes straight into this speeded up version of the original from Efraim Mendelson off his album Hisragshus. The A Team finishes off the set with the hit Queen song “We Are the Champions” played instrumentally and it really closes out the 2nd dance well.

VAFILI BHASTORAH- We are beyond lucky to have this seemingly extra track from Yehuda Green. It’s the amazing hit single from Yoeli Klein translated and sung beautifully. I actually expected it to be on his new album, but it’s on this album instead. Yehuda really shows us the beautiful translation of the amazing words and it made me see the song in a whole new light.

And so ends an amazing wedding….. Oh wait, it was just a cd of a wedding! It really feels like a wedding is happening inside your house, car or headphones. I don’t know who came up with the song selection, as they really came from everywhere (and I had a really hard time tracking each one down), but it was a great cd from top to bottom. This album definitely deserves a spot on your wedding playlist alongside the likes of Beats, 2nd Dance 1, Wedding of the Century, The Wedding Album, etc. It is an amazing selection of songs and I personally thank Yitzy Schwartz for finding all the new and old songs and putting it all together in one place where we can all enjoy it tremendously.

New jewish music is usually overhyped and very exciting when it is first released, and the first time you listen to a new song, it sounds nothing short of amazing, but then slowly after a few days, you end up putting it in the back end of your hits playlist. This is why I do my reviews one week later, usually we can tell if the album is a keeper after just a few more listens.

Ata Imadi is Dovid Lowy’s debut album and the problem with debut albums is that they’re hard to review because the singer usually has a nice voice and good compositions, but there’s nothing to compare it back to, whereas a singer with a long discography, a reviewer can compare the new album to the last album he put out. That being said there is a good thing about debut albums. An early adopter can tell if the singer will be a star and can say to his friends, “you’re telling me he’s good now? I listened to him from the very beginning.”

Nevertheless, let’s get to this album. Dovid Lowy has a rich, young voice and his debut album should be a welcomed addition to your collection. Here’s the song by song breakdown:

ATA IMADI- a fast song with a catchy high part and easy words. You’ll find yourself humming this song to yourself after listening to it. Composed by Eli Klein, it lets Dovid show off his nice voice and is a very solid song to start off with.

ELOKAI- the first time I heard this song, it tugged at my heart. The child soloist is Dovid Pearlman and he has a beautiful voice and harmonizes very nicely with Dovid. The song itself was composed by Dovid Lowy himself, and is a really beautiful ballad. I can already hear this being played during the meal at weddings.

NIGGUN HISORERUS- It threw me off in the beginning, because I was expecting a nigun like I heard on the first couple seconds where Dovid belts out a slow nigun, but then the drums start and the bass starts to rock and the song starts to get faster and the song becomes one of those get up and dance at the kumzitz type of nigunim. Again composed by Dovid, he shows he really has a feel for both fast and slow songs and can put up songs to match the big guns in the kumzitz game, such as Eitan Katz, Yosef Karduner and Yehuda Green. I really enjoyed this song, and it could be my favorite on the album.

MEHEIRA- Composed by Abie Rotenberg, this song is a beautiful ballad. Abie also lends his vocals to the song and if this song gets big enough, it can be sung at chuppahs. It has a very nice high part and at the end, Abie and Dovid combine for a nice duet.

HOREINI- My second option for favorite song, this one has a really nice violin intro, followed by a nice kumzitz-type guitar-strumming song. It was composed by Dovid again, and he again shows his talent for composing songs. The choir was also arranged by Dovid, and they sound excellent on this song.

MA RABU- A heart tugging song composed by (you guessed it) Dovid. This song is a beautifully crafted song, focusing on the beauty of Hashem’s world. Ari Goldwag helps out with the backup vocals for this song. Arranged by Jeff Horvich, who helped out with most of the songs on this album, it’s a beautiful ballad and there is a great music video to go with the song that I advise you watch.

CHAMISHA KOLOS- A hora composed by Eli Klein. Featuring the Shira B’Simcha Choir, this song may not be my favorite of the album, but its definitely in my top 5. It’s a fun song that just asks to be played over and over and on that note, I think I’ll go and replay it……..

V’HAREINU- This song reminded me of V’Haviosim El Har Kodshi a little, but its nonetheless a beautiful ballad composed by Dovid. It features the Moshe Roth Choir and was again arranged by Jeff Horvitch. Dovid gives this song all his heart and it shows. I especially like the part where the flutes come in and the song speeds up. I wish he would have continued that part a little more.

HINENI- The most eyebrow raising song from this album. I can honestly that I’ve never heard a song quite like this one, but I like it. Composed by Dovid, the words come from the Shlah Hakodesh and the backup vocals from Ari Goldwag make this song the amazing song it is.

HASHIVEINU- Dovid composed this song as well (which brings his total number of songs composed at 7 out of 10). It features Yosef Karduner and is a nice kumzitz song that is heavy on the guitar.

In conclusion, this album is definitely one to add to your collection, whether you enjoy kumzitz or if you just want a new singer to listen to. If your an early buyer of jewish music this is also for you. Expect to see Dovid Lowy at a local kumzitz near you pretty soon.

All new jewish music is overhyped and promoted heavily in its beginning, and the first time it usually sounds nothing short of amazing, but then slowly after a bunch more listens, you end up putting it in the back end of your hits playlist. This is why I do my reviews one week later, we can tell if the album is nogeah after just a few more listens.

Now on to the album itself. Benny Friedman has done a superb job on yet another album, and it may just be his best job yet. From the album cover (Benny’s serious mug is great!) to the last song, the KHS experience is rockingly awesome. Benny really outdid himself on this one. Let’s review it song by song.

TODA- Toda is That Song. What do I mean by that? When I put in an album, I’m looking for the song Benny’s gonna sing at many concerts and weddings to come. Yesh Tikva was that song. No Lyrics was that song. Toda is that song. The rap in the middle is great and the song just has a great sound to it. I love how low benny and the choir get on modeh ani melech, then high for chai vkayam. The Hebrew words are great, the English words are great, this song is just great. So where is this song headed? To be the next That Song.

IM AIN ANI LI- This song is a cover of a song by Issac Bitton on the album A Song For A Brother Raya Mehema. That original song is more of a rock song than this version is, but Benny pretty much nailed it and after listening to both the original and the new version, I came to appreciate the song much more.

RIBONO SHEL OLAM- A beautiful slow song. Not my favorite slow song of the album, but it’s up there. Composed by Yitzy Waldner, it’s a nice and sweet tune, and could be sung by concerts if Benny so chooses. Very enjoyable song.

FULFILL YOUR TEFILLAH- Wow! This song blew the album wide open for me. I loved every second of this song. The lyrics, the piano and Yesh Tikva-like sound in the beginning, the choir at the end, from start to finish this is one of the freshest songs I’ve heard in a while!

AL TIRAH- An extremely nice slow song. This could be the best one on the album. Benny’s voice in this song sounds amazing and I believe it was after this song that I told my friends to buy the album.

KOL HANESHAMA SHELI- This may have been the longest wait for a title track, but it was well worth it! This is a great song, especially if you love playing the steering wheel drums. I can attest it’s pretty much the perfect song for that.

L’HISANEG- A nice melody for Shabbos zemiros. Benny said he was picking up right where the Shabbos album left off, and we got this beautiful song, so he was takka right!

BUM BUM- One of my favorites on the album. I can totally see Benny singing it at the HASC concert next month. Gonna be another hit. The guitar solo in the middle right after Benny yells is wonderful, possibly the best part of the album. It shows that Benny not only makes great music, but enjoys it, too!

HAMALACH- Composed by Baruch Levine, this is a gorgeous song. Straight to the heart lyrics combined with a rich sound makes this a wonderful relaxation song. Doesn’t get better than this slow song.

YESOID VSHOREISH- A few of my friends have told me this song is not special, but after listening to it often enough, I love it. It has that great mid and sick high, the trumpets are great and it was composed by Pinky Weber. I mean, CMON!

ESSA EINAI- I loved this song. After listening to this song, I thought the two voices of Benny and Shlomo Simcha sounded very alike. They bounced perfectly off each other and complemented each other very nicely. Composed by a 12 year old girl, Rivky Brachfeld, this is top notch, 30 years in the business- type work.

RAK BEYACHAD- Such a good fast song. As every Benny album has, here’s that together we can accomplish song (though one could say that song was Fulfill). A great choir backs up Benny as he belts out RAK BEYACHAD! Only together could this album have been so good. With 12 different composers, this album really was RAK BEYACHAD!

[One Week Later’s Aryeh Berger reporting for JewishMusicReport.com]

HASC PHOTOS BY OFFICIAL LONGTIME HASC PHOTOGRAPHER STAN WEISS

(More photos after the recap)

On Sunday night, January 11, I was one of the lucky people who went to this year’s HASC concert. HASC concerts are the king of all concerts, with usually only the best singers performing . This year was no different. With a lineup consisting of Yaakov Shwekey, Benny Friedman, Dedi, Simcha Leiner and Abie Rotenberg, I and everyone else there knew we were in for something special.

As I walked into the concert at Avery Fisher Hall, I couldn’t help but notice how nice the hall is. It’s really beautiful and has these nice grooves on the ceiling, which I assume help with the acoustics. The stage was bedecked with posters of 28s and pictures of Camp HASC in the 28s. The stage is beautiful and was full with the band.

When I walked in and sat down at around 7:27, I thought the concert probably wouldn’t start for about 15-20 minutes. Boy was I wrong when about 30 seconds later, Nachum Segal came on the mic and informed us that the concert would start in 60 seconds and that there was no intermission. With that warning, he then introduced the overture played by the Negina Orchestra, arranged by Yanky Briskman, and conducted by Yochi Briskman. We got to hear the HASC Theme song, Yesh Tikva, Simcha (from Simcha Leiner), Lo Yaavod, Zoche, and a few more I don’t remember, followed by the HASC theme again, all in instrumental form.

Nachum then got on stage to introduce the show and our first performer of the night, the HASC concert debut of Simcha Leiner. Simcha came out to sing his first song of the night, Mi Mi off his debut album Pischi Li. He did a beautiful job and really has a terrific voice both on the CDs and live, as well. He then went on to talk about what a zchus it was to be on the HASC stage, helping out a great organization. After he finished talking, he moved on to the title track of his debut album Pisch Li, which he sang spectacularly (he went really high on the last high part), followed by a good night and a run off the stage.

At this point, I want to speak about the band and overall sound of the concert. The band was 24 peices, and they really sounded good. I know that people rip HASC because thy don’t have big 60 piece orchestras but I thought it was just fine ( though I don’t really know that much about music). The bass was thumping in your seat, but not overbearingly so. The music was loud, but it didn’t burn my ears off like a few concerts I went to previously did (which is maybe why I didn’t think it was so loud). I enjoyed the sound and felt that the band couldn’t have been better.

Anyways, after Simcha Leiner, Nachum walks onto the stage to introduce the man who just put out a brand new album, “some people refer to him as the Yesh Tikva man” (yes he said this), Ladies and Gentlemen, Benny Friedman. Benny ran out and belted out a great version of Toda. I love the way Benny performs. He’s so charismatic and energetic, he makes you want to get up on stage and dance with him. Toda was no different. Benny was all over the place, jumping up and down and I really loved this song, and will rank it in my top 5 of this concert. I would buy the cd just to hear this song again.

Then Benny started to introduce his next song. He started talking about the tzaaros and how we always need Hashem and how the song was dedicated to Reb Sholom Rubashkin, at which point someone in the front screamed out Yesh Tikva. The crowd laughed and Benny said nope, the song I’m singing is…….. He then started the beginning of Vafilu Bhastora and the place went nuts. Benny did a spectacular job on this song as well and when he finished, he yelled good night and ran off.

No HASC concert is complete without a few videos highlighting the greatness of Camp HASC. This year’s first video was a very cute music video of all the smiles and happy faces at Camp HASC set to the background music of Benny Friedman’s ‘Bum Bum.’

After the video, Nachum came out to introduce a true friend to HASC, known for both his jokes and his songs, Dedi. Dedi came out to a medley beginning with the song Lecho Etain off his album Omnom. He then moved to Lo Nazuz off his album Adon Hasholam. Finally, he finished the medley off with Chevron off the album V’Ohavta. Dedi then went on to thank a ton of people (like more than 30, and they just kept coming) and said a couple of jokes (too many songs about Israel, KD closed down but he wasn’t affected, etc.) and introduced the next song. He said with all the hardships that Eretz Yisroel is going through, we need to sing a song of strength. At this point, he called up his son, Aviel, to join him in the song. I was totally fooled that he was singing a slow song, but then he said “Aviel, let’s bring the roof down and HASC, let’s show support for Israel by singing this next song.” Hmmmmmm. Bring the roof down? Aviel began the all-too familiar Hashem Melech…….. And they rocked Hashem Melech from Gad Elbaz off his album Milim Shel Ruach (this is the second straight time someone sang this song at a HASC concert). Aviel has a beautiful voice and sang the song, with his father’s help, very nicely, and with that, Dedi wished the crowd a good night and went off the stage.

Nachum Segal introduced Senator Chuck Schumur to deliver a few words and he said some very nice things about HASC. While he spoke, three guys rolled out a piano for the greatest composer of our (my) generation, Abie Rotenberg. After Nachum introduced Abie, he sat down at the piano and introduced his song and said there is a time for everything. He went on to sing Lakol Zman from Dveykus 2. At the end of that song, Benny walked onstage and Abie told him that one of his favorite songs nowadays is Bsheim Hashem, which they then sang. Then Simcha Leiner walked on and Abie told him that this next song really hit his heart when he first heard it and they all sang Kol Berama together. Then Dedi walked onstage and Abie thanked Dedi for being such a good supporter of HASC, to which Dedi returned the favor and thanked Abie for composing such beautiful compositions. They then all sang Acheinu (I forget which version), followed by Naar Hayisi.

Then we sat through a speech from the concert chairman, Miles Berger (a distant cousin of mine), followed by an awards ceremony where they honored a few contributors to Camp HASC. We then watched a video about how Camp HASC is “gan eden on earth” for the HASC kids.

Finally it’s time for Yaakov Shwekey. After a weird mess up with the video (it went on before the band started playing, the crowd was confused) we heard the familiar tune of Am Yisrael off his most recent album Kolot. Shwekey came in and immediately pulled a HASC kid up on stage and danced with him throughout the whole song. The song itself was great and Shwekey always kills it onstage. Shwekey then told us how the kid coming up was unscripted and continued on to call these kids the tzadikim of our dor.

Shwekey then went on to say that he was excited to be back on the HASC stage and thanked the various people he needed to and then began his next song, which was a medley of slow songs, the first being Mehaira(from Shomati), followed by Eishes Chayil (from Leshem Shomayim) and then Bo’ee Bshalom off the album Libi Bmizrach. He ended with an encore of Bo’ee Bshalom and the crowd helped him out.

“Let’s get dancing,” Shwekey said and with that he started up Lo Yaavod from the album Cry No More. He really rocked it out and showed that even without Metalish, that song is a hit and he is a star.

After Lo Yaavod, the crew rolled out the piano again and Abie sat down and called Yaakov over to the piano. They sang together A Small Peice of Heaven, Who Am I, and Mama Rochelle, with Abie doing the lows and Shwekey doing the highs. After Mama Rochel, Shwekey complemented Abie on composing such nice songs. Abie said back I’m so glad I chose you to sing Mama Rochel.

Abie then went on to say that he had the hardest time composing this next song, and Shwekey went on to say the first time he heard it, he stopped his car and started to cry, and couldn’t continue driving for a while, the song hit him that hard. They began to sing The Man From Vilna, and a friend of mine commented how he’s never heard The Man From Vilna like that- the combination of Abie’s deep emotional voice on the lows and Shwekey’s sweet meaningful highs were the perfect blend to get the most out of the song. At the end of the song they danced a little rekidah (danced round and round in circles- get it?) with the Zemiros Choir (who were fantastic all night long), and both went off the stage.

After that song, we were treated to another video about what Camp HASC does.

After the video, we were introduced to Yaaaaakov Shwekey again, who came out (minus his jacket and with his sleeves rolled up) to the bongos for the song Rau Banim. This was quite possibly the best Rau Banim I’ve ever heard from him. At the end, Shwekey got the crowd to sing Moshe Uvnei Yisrael…… It was awesome.

After that came Kolot, and even though Shlomi Shabbat wasn’t there (I had bets on him to guest star), he sang the song spectacularly. After that, we got a rock medley consisting of Kdai, Shomati (!), Ma Ma Ma(!!), and BenBag Bag (!!!). I guess you could call it an oldies medleys and it was fun for us to be able to remember these old Shwekey songs that he rarely ever sings. I still enjoy them and wish he’d pull them out more often.

Shwekey then sang a song dedicated to all the tzaaros that we as a nation have endured. He went on to sing Vehi Sheomda which I have already found on YouTube and advise you watch.

“Time to dance!” And with that we heard the oooooos from Zemiros Choir and the familiar tunes of Et Rikod. The crowd jumped up all of a sudden, so much so that Nachum Segal had to remind us at the end of the song that there was still a finale. Et Rikod though was amazingly epic.

Before I talk about the finale, I just want to say that at that point in the concert I realized that Benny Friedman wouldn’t come on to sing a full song again and here is where I’ll nitpick. I love Vafilu Bhastarah, however I thought that benny should have sang Bum Bum live or Rak Beyachad or maybe one of his slow songs. I just thought that Shwekey would star and Benny would get a bunch of songs off his new album and the fact that he only got one off his new album was upsetting and disappointing. Just one more nitpick, I thought that Dedi singing Hashem Melech was also a waste of Dedi. He has such a large discography and could have sang any one of his other songs and to sing a song that was sung last year at the same event, I thought, was a waste.

Now on to the finale. The choir began to sing a speeded up Mi Sheberach from Shwekey’s Nokia album. Then Simcha Leiner came in to sing Shebechol. Benny then joined him onstage and sang……..(you guessed it) Yesh Tikva! Dedi then came on and sang Zoche with Benny and Simcha doing the ahas. Then Abie walked on (with no mic, Benny had to give him his) and sang Uvnei Osa. The choir continued their fast Mi Sheberach (the oooooooo part) and Shwekey walked on to sing Shema Yisroel, and Cry No More. Finally, the HASC theme came on and Nachum Segal said thanks to everyone for their support and wished everyone a good night. This concert was definitely the best one I’ve ever gone to, and I can’t wait for the cd to come out so I can relive it again.

New jewish music is usually overhyped and very exciting when it is first released, and the first time you listen to a new song, it sounds nothing short of amazing, but then slowly after a few days, you end up putting it in the back end of your hits playlist. This is why I do my reviews one week later, usually we can tell if the album is a keeper after just a few more listens.

Yehuda Green’s new album Barcheini is his first new album in 3 years, and with songs so crisp and an album that sounds so good, it was well worth the wait. I have to tell you, me and my friends were saying how we were losing faith in this album actually happening and then it was announced and the Rebbe Rebbe song came out, and I got really excited for the album, which, I have to say, didn’t disappoint. Let’s get to the song by song review.

BARCHEINU- Yehuda’s first song of this album is a slow ballad, which screams classic Carlebach, so I was pretty impressed with myself when I saw I guessed correctly and R’ Shlomo himself was indeed the composer of this song. On first listen, it was easy to figure out that this song is very similar to Yehuda’s song Yearning from years back. It’s interesting how Yehuda doesn’t start with a fast song like most jewish music albums do, but this song is excellent, no matter where it’s placed.

REB SHLOMOS NIGGUN- I think it’s quite obvious that Reb Shlomo composed this song, and as I am always a fan of Reb Shlomo’s niggunim, I’m into this one as well. This song will be that fast get up and dance kumzitz song.

HANESHAMA- A beautiful song composed by Yehuda Green with the help of Pinchas Wolf. The high part of this song is a little intense for me, but it has a beautiful mid that really makes the song flow beautifully. Great job by Yehuda.

DIDI HAKOL TOV- The eyebrow raising song of the year (not the album, the year). I can’t figure out this song for the life of me. The composer is Antshie (the name just adds to my eyebrow raising), and the song is a good song, it’s just a weird one as well, but that doesn’t mean I don’t have it on repeat (which I do).

MA ASHIV- A gem of a song that speeds up towards the high part and never really slows down again. From the words of Tehillim, but most common for being said during Hallel, this song can totally be sung in shul and if Yehuda is doing Hallel, it probably will. This song was composed by Pinchas Wolf with the help of Yehuda and its one of the best on this album.

KULAM BLEV ECHAD- a faster song than you’re accustomed to with Yehuda, but nonetheless a legendary song in its own right. He breaks out the electric guitars and the song really wants to make me dance. It’s another one of those yachad, Am Yisrael together-type of songs, but it’s definitely a keeper. I especially like the part when they cut out of the music and just have the drums pounding. Composed by Yehuda, this songs a hit and is also my favorite song on the album.

AD MATAI- A nice slow song that’s really focused on Ad Masai, until when will we have to suffer in golus? Please Hashem, Yehuda and all of us cry out, return us to Your shechina in your city. Composed by Yehuda again, he clearly put his entire heart and soul into this song.

NACHAMU- Shabbos Nachamu is the shabbos after Tisha B’Av and it’s appropriate that the song after one that made me feel like Tisha B’Av is a song regarding nechama. A beautiful niggun, it’s one that we all hope to sing together in Yerushalayim.

ANA BEKOACH- When I heard the first few seconds of this song, I thought to myself, I know this song. And I was right, this song is Higher and Higher from Reb Shlomo (a song that Moshav covered quite nicely) that Yehuda gave Hebrew words to.

REBBE REBBE- I heard this song before, it was released as a single beforehand and my feelings for it haven’t changed. It’s a great song thats lyrics are very inspirational. Composed by Moshe Pomp, this song had me waiting for this album.

TSHUATAM- An interesting song that starts with the original recording from the kumzitz that Yehuda heard this song at. This song should make it big and be sung at Purim seudahs and mesibahs worldwide this coming Purim.

MELOCH- a nice niggun from Yehuda composed by Reb Shlomo. It’s a beauty of a nigun and ends off the album with a solid bang. I love when the song stops for Yehuda to kvetch out some words (this songs words are from davening on Yom Kippur) followed by the continuation of the niggun. I don’t know why, but those types of niggunim are special to me.

And thus ends an album that is sure to be another hit for Yehuda Green. If you’re a big fan of Yehuda or you like Carlebach-style songs, why don’t you have this album already? And for people who aren’t fans or don’t like anything Carlebach, try this cd. It may change your mind. An A+ album from Yehuda Green.

V’Havienu 4 was a cd I was looking forward to reviewing for a while. The first V’Havienu was a great listen and I expected this one as well to be. Granted, I hadn’t kept track of this group for their past 2 CDs, but in the first album the group consisted of Dani, Yitzchok and Fully Eisenberger, but it seems he left after the first album and for the past 2 albums it’s been Dani and his brother Aryeh Kunstler along with Yitzchok Yenowitz. I heard great things about the 2 albums previous to this one but never got around to listening to them.

The band V’Havienu has a rock type of sound on the fast songs, but still manages to hit all the perfect notes on the slow songs. Most of their songs were composed by Dani Kunstler with some other songs mixed in. Dani also plays the piano for the album while Aryeh plays guitar and bass. They got the amazing Gal Gershovsky to play the drums and all three sing the vocals, along with two special stars (to be mentioned later).

Let’s get to the song by song:

TZOMAH- Interestingly, every other V’Havienu album began with a song to the lyrics of V’Havienu Litzion, but this album breaks the trend with this awesome song composed by Shloime Buksbaum. The violins in this song were done by Daniel Ahaviel, and they truly make it great. The song is a great nigun with the words Tzomah L’cha Nafshi interspersed in and is truly a rocking song to begin with.

MIN HASHAMAYIM- This song is the first slow song, and it’s a beautiful song taken from the words of Tehillim. The child soloist is Baruch Kunstler (another one?!), and he has a very nice voice.

HASHEM- Composed by Dani, from the words of Tachanun that we say during davening every morning, this song is a slow paced fast song, a waltz if you may. The saxophone is a big part of this song, played by Nitzan Ein Haber, and the child soloist/ harmonist is Yaakov Kunstler (this is getting ridiculous). The harmony on this song is great, exactly what you’d expect from the talents of this group.

ZEH HASHEM- No doubts on this one, it’s a rock song. Taken from the last words of Maseches Taanis (a mesechta I have very recently finished), it talks about how we place our trust in Hashem and He will save us. The harmony in this song is also fantastic, and the backup choir made of Yoel Schmell, Yehuda Joffre, Nachum Joel, Shael Sokolowski, and Meir Popowski do a great job on this song.

YERUSHALAYIM- A beautiful flute solo begins this song, a slow one from the words of Shemonah Esrei. I love this great version of the classic words. This song is really a great campfire- kumzitz song, perfect for the Three Weeks/ Nine Days. The flute continues throughout and adds a great feel to the song, played by Nitzan Ein Haber.

SOIS- A wedding rock song with tons of bass. The bassist is Aryeh Kunstler, one of the best in the business. This song can be sang at weddings, although it goes from pretty low key to very high key. It’s just an all around rocking song and I had fun jamming with it. Once again, the sax is played by Nitzan Ein Haber and adds that classic wedding feel to the song.

AL NAHAROS BAVEL- Otherwise known as the Geulah Instrumental ( I guess because of the instrumental at the end of the song), this song was composed by Avi Kunstler, Dani and Aryeh’s father. He also adds his vocals to this song. It’s a really nice song, and when the song ends the instrumental portion starts with minimal instruments in the beginning (piano, bass) and gradually adding more and more, until you have the full sound of the song in instrumental form. Really beautiful job by everyone involved.

SAMEACH- Another song from Sheva Brochos. This one was written in memory of Izzy Taubenfeld, and starts off slowly with strumming guitars in the background, before picking up speed and becoming a folk type song, complete with flute and violin.

RACHEL- Written in memory of Racheli Sofer, this song starts with a nice acapella version of the high part, followed by a flute intro and one of two child soloists on this song, Moshe Kunstler. The other child soloist/ harmonist is Baruch Kunstler. This song includes some nice electric guitar peices from Aryeh and is a very nice slow song.

KAMU- From the words of Aishes Chayil, this song ends the album with a beautiful slow song to take with you. We get some more violin from Daniel Ahaviel, and with that the album closes.

This album is a must for people who kept up with the band and heard the last three CDs. This album is also a good buy for new listeners to V’Havienu. If you can get your hands on a copy, I advise you take a listen. You may just fall in love with the Kunstler style of music. Oh, and Scratchy Yenowitz (I told myself I wouldn’t, but I had to).

One of the most intriguing albums that came out recently is the Shir “Shmitah benefit” album released by Shlomo Yehuda Rechnitz. A lot has been written about the generous philanthropy of the Rechnitz family and specifically Shlomo Yehuda, so I am not even going to try to tackle that aspect of the album. The Rechnitz family is well known in the Jewish Music world as talented composers and sponsors of many musical productions in the LA area. Music runs in their family and in fact their mother is an accomplished pianist (this is what my Rosh Hayeshiva said publically and I had no reason not to believe him and I also see it mentioned in the PDF cover of the album as well). Music is like the blood in their veins and for Shlomo Yehuda to be able to put out a production like this is really something I am personally jealous of and hope to be able to do myself one day. Reviewing an album like this is very challenging because of all of the singers and arrangers involved, but I am up for the challenge. I must say that producers Yossi Rubin and David Fadida did an amazing job matching up songs and singers.

Here we go:

Yemaleh Pi – I am not sure how to categorize Levy Falkowitz’s voice but one thing I can tell you about him is that he is an extremely versatile singer. I have heard him singing various styles on different albums and he sounds very comfortable with whatever style he’s singing. This song, arranged by the talented Yoeli Dickman, starts off with a “chazzanishe” intro but is really a disco styled song that is a very pleasant and melodious song. What a great way to start off the album!

Vesai’ureiv – This is one of the songs that debuted at wedding of Shlomo Yehuda’s daughter. The song is performed by Mordechai Ben David and up and coming star Motty Steinmetz, who sang the song at the wedding and is arranged by Moshe Laufer, who also conducted the band for this song by the wedding. It’s a beautiful and hartzige song that was well known even before this album was released.

Menagen – Shloime Daskal is one of the most sought after singers today in the Jewish music wedding scene and listening to this song shows just way. There’s a power and sweetness to his voice that isn’t common. This lebedik song is beautifully arranged by Moshe Laufer and the choir arranged by Zevi Fried really enhanced the song.

Hanaar Hazeh – This song was performed and released in honor of the bar mitzvah of Shlomo Yehuda’s nephew. The Shira Choir along with Moishe Mendlowitz, Levy Falkowitz and Motty Steinmetz do a real justice to this hauntingly beautiful song.

U’re’aih Bonim – Moishe Mendlowitz has been out of the Jewish music scene for a while. I really only have two words to tell him. Welcome back. What a voice and what a talent. This upbeat freilich permeates happiness and Moishe’s vocals really make this song very enjoyable.

Ki Besimcha – Itzik Dadya and Uzia Tzadok are two Israeli singers who are on the younger side and both relatively unknowns (at least by me) but listen to this soul wrenching duet (Shlomo Yehuda’s words) and you’ll agree with me that they will one day be household names in the industry.

Eitz Chaim Hi – This song was introduced to the world a few years ago at an LA Simchas Bais Hashoeva (https://www.youtube.com/watch?v=NVN6ek7QiwA) and has been performed many times since then. On this album, Mordechai Ben David and Motty Steinmetz team up once again and really do this amazing song justice.

Rachem B’chasdecha – Ah….Avraham Fried! Who else can put so much warmth and feeling into a hartzige song dedicated to all the yidden of Eretz Yisroel. This is another beautiful slow song on the album and I especially appreciate the harmonies that Avremel sings with himself.

Lo Yisa Goy – In case anyone wasn’t sure if Shlomo Yehuda composed songs in various styles, this song confirms that he can. This song can only be classified as “Lipa style” song…and what a surprise….Lipa Schmeltzer sings it! Lipa, with the help of the amazing arrangements of Yoeli Dickman really work magic on this song.

Shomer Yisroel – This song was originally released when all Klal Yisroel was davening for the 3 kidnapped boys in Eretz Yisroel. I really like how Shlomo Yehuda incorporated some of the Israeli talent that is lesser known here in the US. Uzia Tzadok’s voice is so pure and sweet and really takes this song to a different level.

Elokei – This swing styled song is performed superbly by Yoely Greenfeld. I have reviewed both of Yoely’s albums and also the Beats album that he is featured on and so it is very well documented how much I like his voice and his music. This song fits right in with his style and I must say is a real diamond of a song on an album filled with diamonds.

Yehi Ratzon – With words from Neilah, this haunting song is enhanced by Shlomo Yehuda and MBD singing. The song originally composed in memory of a piller of the LA community, and the emotions this song conjures are very much felt throughout the song.

Hinei Hinei – This song, also originally introduced to the world at a LA Simchas Bais Hashoeva a couple of years ago (https://www.youtube.com/watch?v=06Ks-eC5VQc) has quickly become a hit by weddings all over. Benny Friedman has the zchus to sing this song and he does an amazing job. I am a huge fan of Benny’s and his range is really on display on this song. It really makes an awesome song even awesomer (yeah I know it’s not a real word). I also think Yoeli Dickman does an amazing job with the arrangements on this song as well.

V’ airastich – This song, also a big hit at weddings, was originally performed by Shlomo Yehuda’s long time friend, Moishe Mendlowitz at Shlomo Yehuda’s daughter’s wedding and he also sings it on the album. Moshe Laufer, who arranged and conducted the song by the wedding and I believe the same arrangements are used on the album as well (if not exact then pretty close). As I mentioned earlier, I love Moishe’s voice and he nails this song down perfectly.

Ko Sevarchu – I am not that familiar with the work of The Kinderlach however from my recollection, this is not the typical style they sing. This is a beautiful “oompah”/disco style song that I believe brings out the sweet voices of the Kinderlach. The song is arranged by Israeli duo Eli Klein and Yitzi Berry (Suki’s son….the apple doesn’t fall far from the tree).

Beshem Hashem – Once again, Motty Steinmetz lends his unique and amazing voice to another gem of Shlomo Yehuda. This hartzige song is also dripping with emotion and reading that it was composed after a kumzitz with parents of children who were nebech sick.

Uvechanuni – This lebedik horah really fits the style of Ohad, who sings it on the album. I really like the arrangements of this song all the way around (another shout out to the Israeli duo of Eli and Yitzy) and Ohad is…well, Ohad!

Mi Adir – While this song is not composed by Shlomo Yehuda, it is included on this album because Shlomo Yehuda’s younger brother sings this at his friends’ weddings and it’s a beautiful song. Itzik Dadya sings it on his own album and rerecorded it for this album as well. It’s a beautiful ending for a beautiful album!

In conclusion, not only is this an amazingly beautiful album filled with awesome songs and a ton of Jewish Music talent, but it’s also benefitting a very worthwhile cause and organization. If you don’t already own this album do yourself and the shmittah keeping farmers a favor and buy it either at mostlymusic.com or wherever quality Jewish Music is sold!

Here we go! The debut album of Eli Marcus, Dovid Hamelech. I’m sure you all already know this, but Eli is part of a famous family. He is the brother to 8th Day, cousin to Benny Friedman, and nephew of Avraham Fried(man). You can see how this family is pretty much royalty in Jewish Music. This was one of the most anticipated albums of the year and it didn’t disappoint!

At 45 minutes long, the album sets a standard for Eli right off the bat. Each song was composed by Yossi Green with the exception of two. Each song is around 3 and 3/4 minutes average time and is short and to the point. For me, the most exciting part was that I can add a new artist to my playlist full of classic artists, and, more amazingly, have it sound like it actually belongs there. Eli in my mind is in the same ranks as all his more famous relatives. This album blew my mind, let’s go through the song by song and see if it will blow yours too. As always, please sound off in the comments below telling us your opinion of the album.

SHEYIBONEH- The trumpets blare to begin this hora, the bongos sound and we are off! The song has a nice rhythm and, like most songs on this album, is short and to the point. Ive been humming this song all day and I don’t think I’ll stop, I like it that much. A fantastic way to start off a debut album.

ROFEH NEMON- A beautiful slow song, set to the words of Refainu that we say every day in Shemonah Esrei. Eli really shows off his range in this song. He can really hit all those notes. This song could be a song that I can see Benny Friedman singing, it’s that good.

DOVID HAMELECH- The title track of this album, this song is definitely a disco. Heavy on the synth, it has a great low part and a great high part, though at times during the high part I feel like Eli was trying to catch up to the beat. It has a great beat, adds a nice mid, and is easily his concert opener. This song will be a hit.

KOL TORAH- A little like Tanya or Nisht Gadeiget by Avremel, but probably more Shloime Gertner’s Song of Moshiach, in that it starts slow, picks up speed, then slows down again, finally to end with the fast part. I like those types of songs as the fast part is a bit of a surprise, and it’s safe to say that I like this one as well.

MAZAL TOV- Composed by Yitzy Waldner, this song is a hora as well, belonging in that 2nd Dance area of wedding songs. This song has great guitar solo in the middle, and is definitely in my top 5 of this album.

CHAVIVI- A favorite of mine, this song also begins with those Sefardi sounding trumpets. This song has a fantastic low part, and the good thing about this song is that even though its sefardic sounding, there’s no fake accent here from Eli, like some other singers tend to do.

AV HARACHAMIM- A very nice slow song, not my favorite song , but definitely one worth listening to. It’s a nice kumzitz- type song, and and Eli shows off his voice in this song.

OSIYOS- A nice fast song about how the torah, HaShem and yidden are one. The song overall has a western feel to it, especially the high part. This is another great song from Eli and Yossi Green.

LOOK INSIDE- A Yiddish song composed by Elie Schwab. The song is slow paced, but not a slow song. It’s got a good flow to it and is very nice with the whistling being a nice added touch.

KEILI MACHZIK- The first time I heard this song, I thought it was the first song that I wasn’t really into that much. However, I have since then come full circle on this song, so much so that its a top song now in my head to the point that I sung it in my house and someone asked me, I thought you said you didn’t like that song? I really enjoy this fast song with a great high part. Sholom sholom!

YISHTABACH- This song is a nice slow song to end off this fantastic album. It starts with what I assume is a recording of Eli singing the song. It then starts and we hear the song, which is a back and forth song, meaning the choir sings it once, then Eli does. After that Yossi Green sings it followed by Eli, verse by verse.

This album is a must buy for any jewish music fan, straight up. This album is fresh, new, nice sounding jewish music. Go out and buy it now at mostlymusic.com or wherever you buy your jewish music, then please sound off in the comments section below. We want to hear your opinions.

Simchas Hachaim 4 Review
One Week Later: Simchas Hachaim 4- An All Star Album

I must admit that I never heard a Simchas Hachaim album before. Not the first album nor the second or third. I don’t what I was thinking, because after hearing the fourth version of Simchas Hachaim, I have to say it, I’m hooked!

Simchas Hachaim is a classic all star album, produced and keyboard by Avrumi Berko, and vocals by Mendel Werdyger, Yisroel Werdyger, Benny Friedman, Sheya Berko, Yumi Lowy, and Yedidim Junior.

The Yedidim Choir and Junior Choir join the already stacked group of talent to make this album filled to the brim with potential. Let me tell you, it doesn’t disappoint!

There are 5 sets to this album: Torah Medley, Freilach Medley, Chabad Medley, Lebedig Medley, and finally, the Hora Medley. Here’s the song by song:

EITZ CHAIM- Yisrael Werdyger starts off this album with a slow Eitz Chaim intro, followed by the actual song. This song comes from Shir, and that means it’s a Shlomo Yehuda Rechnitz composition. It works very nicely with the adult choir and children’s choir singing harmony and backups. Great song to start off the album.

BATORAH- Sung by Benny Friedman, this song originally comes from the Eli Hertzlich debut album Chosson Domeh Lamelech. It was composed by Dudi Kalispell and is a good song to continue the Torah Medley.

YESH BATORAH- This song first came out on the Dirshu album, sung there by Shlomie Daskal. Composed by Moshe Mona Rosenblum, it’s sung on this album by Sheya Berko who does an excellent job on it.

VENISMACH- Sung by Mendel Werdyger, this song was composed by Abie Rosenberg, and is quite good. With this song, the Torah Medley ends.

HAREINI MIZAMEN- Composed by Isaac Honig, this song begins the Freilach Medley. It’s sung by Benny Friedman and is a pretty good song.

FREILACH YIDDEN- Sung by Mendel Werdyger, this is a great nigun composed by Yom Tov Ehrlich. A fantastic song on the album.

AHALLELO- This song is making it around. Sung by Yuma Lowy, originally from Skver, it’s a favorite of mine. I like Yuma Lowy alot. He’s got a terrific voice and it really shows in this song.

YUMTIRI- This could’ve really been called Nigun, but it’s still a good song. It’s sung by Yisroel Werdyger, and originally comes from Yehuda Green.

TISHIOSOM- Another song from Yehuda Green, this one from his latest album, Barcheini, this purim song is sung by Sheya Berko and ends the Freilach Medley.

NIGUN AVOD- To start off the Chabad Medley, (one) ofthe most famous Lubavitchers, Benny Friedman, in a nigun that I love. I really like the energy that Benny brings to the high part.

ASHREINU- Sung by Sheya Berko, this is an Ashreinu that I’ve never heard before, but it’s very good.

NIGUN KILEMENOVITCH- Sung by Yisroel Werdyger, I’m not sure where this nigun comes from but my guess is Chabad being as its the Chabad Medley. It’s a nice nigun.

DARKECHO- Sung by Mendel Werdyger, this is another nice Chabad type nigun, and with this song, the Chabad Medley ends.

AL ACHAS- Time for the Hora Medley. Which Hora doesn’t include the now classic song from Yeedle, Al Achas? Well, here it is to start us off. Sung by Sheya Berko, originally composed by Dudi Kalish, this is a great version of the song.

MAI DEHAVE- I never heard this song, but I’m in love with it! Sung by Yumi Lowy, it was originally composed by Dudi Kalish (again).

HABET NA- Sung by Benny Friedman, this song is good, and Benny singing it makes it that much better. Composed by R’ Shmuel Brazil, this song continues the Hora.

CHASIDIM VEANSHEI MAASEH- Not a big fan of this song, sung by Yisroel Werdyger, it’s a little dry to me. Composed by Meir Adler.

VEYASMIENU- A nice little filler, sung by Mendel Werdyger, originally from Belz.

ZEH HO’OIS- This song is a favorite of mine, so much so that I started playing it on Fridays. Sung by Benny Friedman, composed by Yossi Green, this is an excellent song and I’m a big fan. This song ends the Hora Medley (on a high note).

LEFICHOCH- This song starts Lebedig Medley. Sung by Yisroel Werdyger, this song, composed by Chaim Barnet, is great and is a good way to start getting Lebedig.

RIKUD OD YISHOMA- Sung by Mendel Werdyger, composed by Meacham Irnstein, this song doesn’t get any attention from me.

SHEYEHEI HAKOL- Composed by Moshe Mona Rosenblum, you don’t get a much better song than this. Sung by Yisroel Werdyger, this song is amazing and I replay it over and over.

ANI MAAMIN- A nice song to finish off the album. Sung by Yumi Lowy, and composed by Skulen, it’s another good choice for a song and was sung very well.

In conclusion, if you are a fan of all star albums, then this is one you should pick up from wherever you buy your music from. Even if you are not though, this album has a lot of fun songs to dance to and should be worth it to check out.

One Week Later: Yiddish Nachas- Yossi Green

In today’s review, I will be implementing a hash tag ranking system at the end of each song review. It’s a scale of 1-5 with Hit being the top (5), followed by Very Nice (4), Solid (3), Pretty Good (2), and Not Great (1). These are just my opinions and of course, you may have your own and I welcome your criticism and objections in the comment section below.

Today’s album is Yiddish Nachas- Matonah Toivah, by Yossi Green. Yossi composed all the songs and they were sung by the Yiddish Nachas choir, a group of chasidish children with gorgeous voices.

Hiskabtzi- A favorite on the album, the song is gorgeous and was recently used as the gimmel theme song in Israel for the elections. The child soloist is Sruly Lauder, who has a gorgeous voice. #Hit

ATOH KODOISH- A nice, rocking slow song, with the words taken from Shemonah Esrei. The child soloist is Yoeli Hirsch. #VeryNice

EIN KELOKEINU- Yossi Green sings the song in the first part and then the choir sings the end to him. A nice funky nigun. Sruly Laufer is the soloist. #Solid

RIBONO SHUL OILAM- The soloist on this song is Avrum Chaim Green. He hits all the right notes in this beautiful song. #VeryNice

MATONOH TOIVAH- The title track of this album is funky and cool with a techno type theme. The song has very interesting lyrics, from Massachusetts Shabbos and including some Yossi’ own lyrics. The soloist is Avrum Chaim Green again and this is one of the greats on this album. #Hit

MOGOIN AVOS- This song starts with a chazanus of Mogein Avos and then Sruly Laufer, the soloist on this song, starts a slow song with a piano background. Then the chorus, which reminds me of Kah Echsof, is sung by the choir. #VeryNice

HATOIV- A nice fast song, taken from the words of Modim. The soloist is Sruly Laufer again. It’s the classic type of fast song and I’m very into it. #Solid

ZECHOR AHAVAS- Have to say I was expecting a fast Hora here, but nonetheless it’s still a good song. The soloist on this song is Moshe Yida Eckstien and he has a gorgeous voice. #VeryNice

KI LECHO TOIV- A Hora song with a bongo type of beat. Soloist is Sruly Laufer, and there’s an interesting mid involved as well. #PrettyGood

ADERABA- I loved this song but I think it may have grown a little long in the tooth. Still, this is a good version of the original Yossi Green composition. #Solid

All in all, a very good album with a few hits and very solid songs interspersed in between. It’s a very good album and if you like children’s choirs, then this is a great album that you should definitely have in your collection.

@SPLASHNEWSUSA: “Wow! Pretty good for a new guy”! This statement sums up most of the comments I’ve heard since this great album found its home in many homes across the country. “Dovid Hamelech” by Eli Marcus is indeed an album produced with a mark of quality. An album produced with a determination to give us solid songs which we will enjoy wherever we may be and for people of all ages. Kudos to the producers Shai Bachar and Nir Graf. How can an album have so many good songs? Well, take a look at the composer. Yup, it’s the man from Sea Gate, Yossi Green. Yossi continues to be a force in the JM world and his sea salted soul does not cease to delight on this album. Did I recently develop an ear for poetry? I’ll continue to monitor this development. This well balanced album has all kinds of surprises and you are sure to find a favorite. Which songs are my favorites? Read on to find out!

1. Sheyiboneh- The album starts off with a great Chabad style horah. The theme in this song is asking for the Bais Hamikdosh to be rebuilt quickly in our days. The melody coupled with this lyric makes it a happy song of hope. Yossi Green doesn’t take long making his presence known on the album. We hear his bridge at 1:53. Nice arrangement throughout and I especially like the blend of horns. Great album opener! 4 out of 5 stars
2. Rofei Nemon- This stunning slow song starts off with only the soft vocal of Eli before being joined by piano and then acoustic guitar for the high. The music interlude is interesting and features what I believe is a harmonica or something of the sort. The drums come in the second time around along with strong vocals and nice harmony in the high. Eli’s vocals really impress toward the end of the song basically starting from 3:35. He ends off sounding like his relative Benny Friedman. 4 out of 5 stars
3. Dovid Hamelech- You know sometimes you get to a title track, and it’s a major let-down? Not this time! This song is one of my favorites on the album. Really catchy chorus. I like the electric arrangement that’s got cool stuff through the whole track without getting out of hand. At 2:50 we get a bridge that freshens up the song before the last high. It’s also in this bridge where Yossi Green opens the door while Eli is recording and wants to join the fun for a second. Or so it seems. Want a driving song? You got it with Dovid Hamelech. 5 out of 5 stars
4. Kol Torah- This song comes from a midrash saying that by Har Sinai the world heard the first ever Kol Torah from Hashem Himself- “Anochi Hashem Elokecha”. The track starts of really slow and then at 1:45 the Yossi Green beat kicks in. Listen and you’ll know what I’m talking about. You might need to listen to this more than once to appreciate it. It’s got a laid back sort of feel. He ends of the song with a vocal that could easily be Lipa Schmeltzer. It’s not. All in all, this song is vintage Green. 3 ½ out of 5 stars
5. Mazal Tov- Yeah! This is the song you buy the album for. The music arrangement in the low and high parts contrast really well which keeps it exciting every time you listen. You will like the song as soon as you turn it on. 5 out of 5 stars
6. Chavivi- I believe this song is in the salsa genre. Pass the chips. This is a song when you want to chill and need some music in the background. Not my favorite song but it definitely adds flavor to the album. Mild or Hot? You decide. 2 ½ out of 5 stars
7. Av Harachamim- Really nice intro made up of a piano, guitar, and percussion blend. This is a three part song and is like a classic Jewish slow song with a subtle more artsy arrangement. I would have liked to hear a little more music and a beat in the high part like a more classic song but that just my opinion. 2 out of 5 stars
8. Osios- Really funky song that I can’t stop humming to myself! The intro is so random and has nothing to do with the song that follows. That makes the song even more awesome because I love the unexpected. The lyric comes from the sefer Megaleh Amukos- who I happen to be a descendant of. Leave it to Yossi Green to find words for songs where no one else would ever dream of looking. You may be familiar with the lyrics in the high part as they are more famous and come from the Zohar Hakadosh. This song includes many Yiddish lyrics as well; explaining that we are “tied” to Hashem and the Torah. Love this track! 4 out of 5 stars
9. Look Inside- This song is composed by Eli Schwab who is starting to make his mark in many albums as a fantastic composer. To be honest I did not like this song to begin with but really started to like it more with every listen. In fact when I was too quick to make my voice heard that I wasn’t a fan, I really started to get bombarded by music aficionados; most notably Yossi Zweig. Yossi, you may not be completely crazy after all. The song is really fresh and different. Don’t get thrown off by the Yiddish! 3 ½ out of 5 stars
10. Keili Machzik- A solid, more typical fast song. It’s a classic Jewish rock with heavy electric guitar riffs throughout. There is also plenty of flute which is interesting for such a song and I like it. The beat picks up for a bit at 3:10 before Yossi’s background vocals join in for the ending. 3 out of 5 stars
11. Yishtabach- This really nice slow chazzanus style song starts off sounding like an old record with old-time chazzanus. This shtick was also on Lipa’s “Likro Es Hahallel” if you recall. The low starts with Eli backed up by a full choir and is followed by Yossi Green. Now this is interesting because Eli and Yossi take turns singing but Eli sings with a Litvishe Havaarah and Yossi with a Chassidishe Havureh. It is a brilliant idea and turns the song almost into a combination of cultures. A nice way to end the album. 3 ½ out of 5 stars

-Two 5 star songs and three 4 star songs- That’s what I call a solid album.

Shout out to those that are still reading this and shame on those who switched back to their cell phones after just 2 lines. Ha! As always feel free to leave any comments below or email comments to splashnews.jmr@gmail.com Of course we welcome you to join us on twitter for all music news, updates, and quick reviews- @SPLASHNEWSUSA     Thanx for reading and stay classy.