By Sruly Meyer – Producer of Benny Friedman’s new CD, “Fill The World With Light. 

I just wanted to go through the album, and let the listener hear my own thoughts, from behind the scenes. I love this album so much, and I wanted to share some of that with you.

I’ve been involved in different levels of production now for almost ten years, mostly starting when Benny started. Before there was even a debut album, it was just me and Benny sitting in a basement, listening to Jewish Music, and figuring out what we wanted to accomplish, what kind of music and ideas we wanted to bring to the table.

Each album that came after that was a process that I felt gave us what to learn from. I always looked back at each CD and said, where did we succeed, where did we fail? Where are the songs that we thought would be huge that weren’t, or vice versa. We continue to adapt and get a better handle on what we are doing.

As much as I love all the previous music we released till now, there’s something about this CD that makes me feel confident to say we hit a sweet spot.

Here is a song by song breakdown, from behind the producer’s chair.

Ivri Anochi

I’m doing these in track order, but it will definitely be out of chronological order in terms of when we finalized and got these songs into production. Starting with this track, which as it happens to be, was the last song confirmed and was still in its finishing stages over Succos.

Ari Goldwag needs no introduction, he composed our biggest hit, Yesh Tikvah, he also composed Shalom Aleichem and L’hisaneg – all massive songs. I loved the chorus right away, but it was sitting with Benny discussing if we should take it when he said, “This song is an anthem, and this is what I want to do” and he starts singing to the melody “I’m a Jew and I’m proud and I’ll sing it outloud, cause forever and ever that’s what I’ll be.”  What could be more universal than Jewish pride!

We all know the famous camp song, I’m a Jew and I’m Proud. So, taking that message and building it into this song was something very retro and I think bringing it back would be lots of fun.

We brought the song to Ian, who arranged Yesh Tikvah, Ari’s first Benny hit, and we told him, we want this song to make you want to dance. We want people to not just hear this song, but when they do hear it, they will want to get up from their seat and feel compelled to just dance!

When it was done, the arrangement was something we never even heard before in our industry. Especially the big drop by the bridge. We knew it was shockingly different, but it was just so catchy and so huge, we had to run (or dance!) with it!

Getting the words right was also key, the Possuk is important, it establishes the concept, but we wanted words that people can connect with in a casual setting. We went to Miriam Israeli also of Yesh Tikvah, she wrote us the hebrew part, and we went to Shmuel Marcus who was a huge contributor to this album, as I’ll discuss in other songs. Between Benny’s I’m a Jew and Proud and Shmuel Marcus who wrote the english versus and the brilliant “Bnei Avraham … Yitzchok V’Yaakov” chant – this song coming together was incredible.

Al Tishlach Yadcha

Elie Schwab composed and wrote the lyrics for this song.  From the opening notes and words, I said, this must be on Bennys cd! The words, the message, the powerfulness of the melody, it was just straight to your heart. I sent it to benny saying, I don’t say this very often, but you will call me right after hearing it and tell me you agree it must be on the album, and that is exactly what happened. I worked very hard on constructing the exact sounds and feel I wanted this song to have. The Akeida is a very emotional and epic moment in Judaism and Avraham’s final journey. It’s the first Mesiras Nefesh! I wanted it to feel cinematic. I wanted to feel authentic from where it happened geographically. It wasn’t easy, it took a lot to get that song right, and in the end it was worth it. If you don’t understand hebrew, ask someone who does, it’s worth it. It’s such a powerful song.

Ashira

Ashira is a song that Benny heard from Yitzy Berry & Eli Klein and right away knew what he liked and what he wanted to do with it. I took his idea, we nailed down the exact feel, that 60’s jazz groove, and to be totally honest, this song came together very, very quickly. Benny’s choice harmonies and the incredible catchy chorus makes this an instant feel good song. During the entire production process of this album if I ever got in a funky mood, I put this song on, in any stage of production and it right away transported me into a happy place, smiling ear to ear.  It’s my go to pick me up!

Reb Yehoshua Omer

We were jamming with Boruch Sholom Blesofsky, and lots of great ideas kept popping up. He had this one melody that had different words mainly as a chorus, but we weren’t sure if it was gonna really work. Not too long after we fell in love with the tune, Benny’s dear uncle, R’ Yehoshua, or as he was well know, Josh Gordon, a Shliach in California passed away from a long illness.

My family and Benny’s family go way back in way too many ways to detail here, but I spent some years as a kid in L.A. and I remember Josh Gordon very well. He was always an electric personality who infused positivity and action in every person he came into contact. He never settled, he always pushed people to be the best version of themselves. When Benny suggested we use this melody with famous words of encouragement that Josh A’H got from the Rebbe, it became a very emotional and personal project. We enlisted the help of one of the greatest lyricists today in Jewish music and a cousin of Benny’s, R’ Shmuel Marcus, a Shliach himself in California, and we took the words, blended it with his message from the Rebbe, and even added the sweet touch of adding R’ Josh’s own words from a video where he retells the story of getting this advice from the Rebbe. This song is possibly one of the most emotional songs I ever worked on, because it’s as real as it gets, and it was personal, for me, but especially for Benny.

The best art comes from a real place, and that’s where this song comes from. It was my idea to go the sort of Spanish/Latin route with the arrangement, it was originally meant to be something that I always connected to growing up in South Florida, but as it so happened to be, this style of music works on the west coast as well, where R’ Yehoshua spent his life making the world a better place.  

One last interesting side note. When we were recording the vocals for this song, we recorded it in Spotswood, NJ, where Ian’s studio is, and a local shliach who lives near the studio who Benny and I know came by to say hi to Ian. When he heard the words of the song he was shocked, he said, I know these words, as a Shliach I took this message of R’ Gordon and always connected with them. He then pulled out his wallet, buried in a side pocket of his wallet was a piece of paper with R’ Gordon’s words he received from the Rebbe, hand written down, which he himself was told to by R’ Gordon, and he has carried these words with him for many, many years. It just felt so fitting!

Fill The World With Light – Beor

This was probably the 2nd or 3rd to the last song we heard toward end of production, and again we took the original song, and the guts of the words, but we brought back Shmuel Marcus to give it that something else it needed. Something that made it feel very relatable, and Benny’s input makes this song feel like Benny is singing it straight to you. The level of originality on this album is on display in this song, from Ian’s incredible music, to the painstaking detail we put into literally every word. As it would happen to be, we were in the studio laying the vocals and still not happy, we texted Shmuel Marcus for some last minute alternate phrases. Benny was behind the glass, and I was reading the freeform ideas coming from Shmuel, and I took two of his ideas, and mixed and matched the words to get “Fill the World With Light”, I pressed the button, suggested it to Benny, he sang it, and it was like an electric explosion. I got goosebumps the first time I heard him belt out that phrase FILL THE WORLD WITH LIGHT! At that moment I wanted that to be the name of the album.

Kulam Sharim

You get songs for an album many different ways. Sometimes you have an idea and go to a composer, sometimes they send you demos. Yitzy Berry sent out a demo of a song, and for whatever reason Benny and I both liked it but we waited too long to confirm and it was already put on hold within hours of it being sent out.

The next day Yitzy sent Kulam Sharim, within minutes I emailed him back saying “hold, hold hold! I love it! Let me just speak to Benny”, he replied, I’m sorry someone JUST put it on hold. I was beside myself, he let me sweat about 3 minutes before replying back, “Don’t worry it was Benny who put it on hold!”, we didn’t want to waste any time losing another great song! What a thrill. Of course, Ian, once again delivered a pumping dance beat and arrangement, and the song’s Simcha’dike message is already being enjoyed by listeners since July, when we released it as a single from the album to begin the buzz.

Meloich -See below

Es Tzemach Dovid

To tell this story right, I need to do it in the right chronological order. I’m going to do Es Tzemach first, because that was the catalyst for Meloich to come about.

Yossi Green. A composer Benny and I grew up so invested in his legendary songs from our heroes like MBD and Fried. But for some reason, despite hours and hours of sessions, we just did not connect. We heard so many songs, but we couldn’t figure it out, we just couldn’t pull the trigger. I was determined, I don’t care how many albums it took, we were NOT going to give up.

We went to his home, year after year, session after session, wine bottle after wine bottle and kept trying! Toward the end of the last album, as we sat there banging our heads why this isn’t working, Yossi decided to “get into our heads” by playing Chabad Nigunim on his piano. We were having a great time, and Yossi saw that, this is what we wanted, this is what we connected to. He started playing an original melody that of course had its roots in the same feels that a Chabad Nigun gives you.

It was moving along, something was percolating. But we needed words. Yossi had just done an interview with Mishpacha Magazine, and I recalled that he wanted to finish the 18 Brochos of Shmonei Esra. I knew that he didn’t have words yet for Es Tzemach Dovid, a song that because of my own son’s name, Dovid, I always felt partial to that Tefilah, combined with it’s message of Redemption.

I suggested it, and Yossi loved the idea. It was a matter of minutes that this song was born and I recall Benny’s face lighting up, because I could tell, we finally, finally, did it! Unfortunately, we are obsessed with tinkering, and it was very late in the game by Kol Haneshama Sheli, so, instead of rushing it, we waited, and came back and worked on it longer and we were overjoyed, all three of us, once we finally said “Ok, Yossi, we want it!”

Laasoik

As this album was coming together, I kept getting this feeling that as we were maturing and evolving our styles, it was giving me the same feelings that Fried’s CD’s in the 90’s gave me. Something that I was becoming very proud and nostalgic about. One day, while driving to a job in Lakewood, I got this email from a composer who no one had heard of. Because he was just a Bochur. The demo was simply him singing into an iphone voice recorder. No fancy demo, no music, no shtick, aside from his tapping on the table while he sang. The song was so simple and perfect. It moved gently, and seamlessly. It felt classic, but at the same time I knew this could be something very fun. For all those composers convinced you need a big name, and to spend 100’s of or even 1000’s of dollars on fancy demos, don’t! Sometimes you just need a good melody. Benny and I turned to each other, started singing the song together and just said “this is a great song! Who composed it??” It was a done deal by the time we even reached Lakewood.

For the arrangement, the song really reminded me of the big band, swing movements of the Fried 90’s era, and I wanted to pay homage to those classic Avrama Fried albums of the 90s, especially Hisyatizvu. We went to Mendy Hershkowitz, who knows music, boy does he know music, and we described exactly what we wanted. We had a 13 piece “big band” brass section, and we really let them go nuts, it felt like true swing. The music is warm and fun, but at the same time so crisp and different. I hope you enjoy it as much as we do!

Es Tzemach Dovid -See Above
Meloich

It’s funny – isn’t it? We tried for years to get a song from Yossi we connected to, and then we got it! It was moments before we were about to give up and leave and we got Es Tzemach Dovid. It felt like, we were done, we set out what we were determined to do. “Get a Yossi Green song” after all these years. We could go home, get back to production and feel like, we did it. We got one.

Well I don’t remember why, maybe we were still short a song, but we decided to go back to Yossi to touch up on some additional songs that we liked, but didn’t love and thought if we revisit them we could get some more songs. It wasn’t really happening, and I was nervous it would be another 4 albums till we got another Yossi composition. Then Yossi says, I have a song I have been playing for some other people, but for some reason, they don’t get it, and I wonder if you will.

He proceeded to play us two songs that we absolutely LOVED. Meloich was one of them, it was a home run! We did have one other incredible song from Yossi that we loved, and maybe we will still end up using, but it just needed some tightening up, but I know once that song is heard and finalized and perfected, people will be blown away. There was a third song that Benny suggested wonderful words for which we really liked, but it just didn’t work out this time. So there is a lot of hope that the next album might find another one, or two, or hey, maybe even three Yossi Green songs!

B’sefer Chaim

This is one of those songs we got as we were closing production on Kol Haneshama Sheli. We had received Rak Beyachad from Yitzy and Eli and made it as a last second song on KHS but only a few weeks later we got B’sefer Chaim. I remember even asking Benny “love it, but not for this cd, right??” So it became our “first” song we loved and wanted on the next CD. The feel that this song has both that classic and modern feel, with a twist of Klezmer, it felt so amazing. For a while we actually considered naming the album “L’Chaim” because that’s in this in song, and the words or concept of blessing/life is found in many of the songs on the CD. We ended up going with the much more visual and hopeful “Fill The World With Light” but this song was a lot of fun to put together and it’s hook is straight up easy to sing.

Al Yishalel

Benny sent me this song that we got from R’ Shlomo Yehuda Rechnitz. There was something unique about the song, and I thought it had a nice drive, but I wasn’t 100% on board. At the time we were trying to branch out to new arrangers and styles, and I was in the middle of producing Mordechai Shapiro’s CD with Avram Zamist, and Avram turned me on to Udi Damari. He felt it was a must. We used him for Mordechai’s CD, two songs, and he arranged a song on our upcoming kids group album “Maaminim” and Udi has an amazing ear for music. He really knows how to hear the deepest part of a tune and bring out the best in it. Benny and I called up Udi and sent him and then discussed the song. He loved it, he loved our ideas and Udi made it happen. Once we heard the direction of the arrangement, and what Udi brought and added to the song, it just came alive.

Mehaira

We have been Zoche to work with Yitzy Waldner since day one. When Benny and Avi Newmark and I first worked with Yitzy on Taamu, Avi sat with Yitzy Waldner for one night, and came back to us with 12 amazing demos, I think  6 of those songs ended up on Benny’s debut CD. Yitzy is a composer that we love, and we love to work with him, in person and just develop a song. From searching for the words to ironing out the melody.

I remember we were banging our heads looking for original words, and Yitzy says, how about a Mehaira? I right away said no way. I’m very into original ideas, and a Jewish music wedding song to the words of Mehaira is about as typical cliche Jewish music as you can get. Benny said, why not, let’s hear it first, but I fought it. I said, what are the chances that after decades of Jewish music and dozens and dozens of slow ballad Mehaira’s that you are gonna start composing a song that’s so fresh and different we would take it.

Yitzy said, and I quote “Challenge accepted” and I said ok, let’s hear the idea. We didn’t work too long on this, the chorus came together right away and the sweeping vocal movements that would undoubtedly be tied to the forthcoming big string lines in a future arrangement just felt new. An old concept, very over used words, an old idea, but something about the flow of the song just felt deep and connected with us. I think I jumped on this song right away. We brought us to an arranger and with the ideas I had for it, the song sold itself. I still hear Yitzy tell me on the phone when we speak, “See and you didn’t think we could write a new Mehaira that worked!” He was right, and that’s why he is Yitzy Waldner.

It wouldn’t be fair to mention this song and not remind people that the arrangement and music was done by the amazing Tzvi Blumenfeld who has become over the last several albums I have worked on, an integral part of my process. No one gets a nigun, like Tzvi.

Kol Yemei Chayai

Kol Yemei, oh Kol Yemei, the stories this song could tell, I could write an entire write up, just on the history of this song. Elimelech Blumstein, quite a long time ago sent me by text this basic hook that went like this “Kol Yemei, Kol Yemei, Every Day, Every Day … “ and he sent a basic demo that while a little simple, the hook was undeniable. Elimelech sends me a lot of stuff, a lot of it is great, but, as we are fond of saying “great, just not for us” but once in awhile we get a song like this from Elimelech, like we did with Bum Bum. It needed some polish and we right away went to Miriam Israeli to give it original words, while still keeping that amazing hook.

We thought it was a just something so much fun to sing, and while the original arrangement might have been too “Yesh Tikvah” wanna be, we thought it would work. It was toward the end of Kol Haneshama when we were listening to the mix and we just felt like too much time had passed since we got this song, arranged and produced it. It wasn’t where we were at anymore, and it just didn’t feel right to put on the album. We still loved it, but we thought we could do better.

So, a mixed, finished, arranged and produced song got left off the last CD. I remember telling Benny, not using a finished song on a CD is like driving a new car off a lot, once we hold it back, it loses its power and it’s value and I was worried if we pulled it, no one would ever hear it.

I was determined to “resurrect” this song when we started up production on BF4 and we took it to another arranger with fresh ears to try a totally different approach that matched our style we were going for on this new album.

Despite the fact that the original arranger did an amazing job for what we wanted and what we asked for, we didn’t want to give it to him to “fix” because we thought he would always use the first one as a frame of reference and we wanted a new arranger, in this case Eli Lishinsky, to hear it from scratch and give his input on where it would go. It still has a slightly “old school” Benny vibe in terms of growth, but Eli updated it and gave it some edge, and attitude to it with his smokey and smart arrangement. We played with the words more and added a lot more polish, and it became what it was, the same great hook, but something a little newer. I am thrilled that this song ended up on this CD. Now if we could only resurrect the other song we left off the last CD. But that’s a story for another time.

Cover Thoughts

As I had mentioned earlier we were highly considering naming the album “L’Chaim!” which felt very right since more than a few of the songs talk about blessing and even have that phrase in there, but once we hit on the words Fill The World With Light it was just something we couldn’t pass up. I know it’s wordy, but the message of it is just so powerful, and even though the song is also amazing and title track material, it also easily gives credit to the entire theme of the album, with so many songs dedicated to uplifting and positive messages. Benny and I both had a very big love for the artwork that Marc Lumer creates and last year Marc drew an amazing poster for a Hachnasas Sefer Torah that Benny sang at in L.A., and we loved the style.

We asked Marc to create something for us, that matched this concept of filling the world with light and the color of course is so key, because we live in a colorful world, and light is a combination of colors. The idea of using the globe in the center came from obviously the word “world” in the title and light emanating from it, but it really was inspired by the classic Chabad logos used in the 60’s, especially by the famous Chabad series ‘Talks and Tales” which had a similar globe concept. I loved that nostalgia mixed with modern pop art, and we wanted to do something very different than we ever did before CD cover wise.

Marc had one week designated to fit this into his very busy schedule and we were nervous how do you get something like this perfect in such a short amount of time! Well, on pretty much the first try Marc drew this sketch, which you can find under the CD, the original outline drawing, and within days it was completed. It’s a stunning piece of original art, and I can’t wait to get it printed out and framed and hung in my home!

To wrap things up, this is definitely unusual for a producer to speak so openly and direct about the process of creating this album but I just had to share this all with you. I love this album and I’m very proud of what Benny and I and all the people involved in this project came together to create. I hope you will enjoy it to, and I hope you will buy it, and support us so we can continue to keep making this music for years to come.

L’Chaim!  Let’s Fill The World With Light together, and bring it home, bring us all home toward the days when the world will truly be filled with the light of Moshiach!

The album is available for purchase at MostlyMusic.com and I hope you will in fact purchase it!

By Leibel B

Twitter: @squilled

Benny Friedman’s latest “Fill the World with Light” album is a wonderful listen. Benny is gifted with a beautiful, pleasant and sweet voice, and he could choose to sing pretty much anything and it would sound good. His albums tend to lean toward a more pop* sound and this one is no different. There is still plenty to enjoy even if pop isn’t your thing.

*I have no technical knowledge or understanding of music, or of the terms and names of music styles. So when I something like pop, jazz or rock, I’m pretty much just making it up, and saying what sounds right to me. But hey, this is a semi- anonymous review online. I get to do what I want.

Oh, and if I can do what I want, I can refuse to use words and phrases used in virtually every press release or review of a Jewish music album. So you won’t read phrases like fresh, the Jewish music scene/world (or more specifically, rock the Jewish music/world), fresh, or blending a modern sound with the old traditional Yiddisheh taam. Did I mention fresh yet?

Anyway, onward to the songs:

Ivri Anochi – This is the one that teenage girls and middle aged men trying too hard will pumping loudly through open car windows. The arrangement offers a Middle Eastern hora feel, but the song is unabashed pop. The catchy and repetitive chorus, peppy beat and proud Jew theme give this song all the hallmarks of a hit. Bonus points for the “I’m a Jew and I’m proud” bridge. I could do without the whooping and “heys,” but if that’s your thing, they’ll be coming back again with a vengeance.

Al Tishlach Yadcha – A simply beautiful song. Yes, Hebrew, is not my forte, but gone are the cheesy Hebrew lyrics from the likes of Yesh Tikvah and Ivri Anochi. This a haunting plea to our Father in heaven sung stunningly, with a simplistic arrangement that let’s Benny do the job without taking him over. Choir work could have been better, but that’s a tiny quibble with an otherwise beautiful song.

Laasok, Al Yishallel and Ashirah are all great “sing along” kumzitz style songs which have become pretty popular nowadays. By far, my favorite of the three is Laasok, on which Mendy Hershkowitz does a fantastic job arranging. The swing, jazzy style along with the musical and vocal shticklach makes for a terrific song. Al Yishallel is a pretty, fun, foot-tapping number, though Ashirah doesn’t do much for me.

Reb Yehoshua Omer – I’m sure this wasn’t easy to do – mixing spoken word audio into an up-tempo song – but it ends up as a fantastic tribute to Rabbi Gordon. Even though I’m not quite sure if or how the “Hu Avinu” lyrics match the chorus and bridge – it’s still a great tune, and masterfully put together. The song is called “Reb Yehoshua Omer” even though the quote is Rabbi Gordon quoting the Rebbe. I’ll leave it for others to say something deep about shlucho shel odom kemoso, or Torah nikreis al shmo :-P  

Fill the world with Light – I’m not a huge fan of the fake music, auto-tuned, overly synthesized sound, and especially not cheesy English lyrics. So a song arranged by Ian Freitor with nary a real instrument in earshot, and lyrics like “There’s a joy you just can’t hide when friends are by your side,” should suck, right? What can I say – I really like the song. It’s fun, upbeat, and it just works. Kudos all round.  

B’sefer Chaim & Kulam Sharim – Fun, catchy pop ditties, the former replete with a klezmer style clarinet arrangement and the latter with lots of whooping and hollering that makes me want to yell at Benny to GET OFF MY LAWN AND TURN OFF THE LOUD NOISE HE CALLS MUSIC. 

Meloich – Another beautiful ballad. When I first heard this, I checked the album notes to see who composed it. I did that for only one other song – Es Tzemach. (Spoiler alert: both Yossi Green.) On many albums it feels like they throw in a few slow songs and hope something sticks. Here, there are a bunch of truly great songs, not a sleepy one in the mix.

Es Tzemach – It took only one listen for me to have “ki lishuoscho” stuck in my head. Yes, coworkers have been subject to my outbursts of the chorus at random times throughout the last few days. I’m not apologizing. I love the arrangement, the choir, the Yiddish bridge, the “chazanos” interlude in the middle, everything. The song is loooooooong, but worth it. Even clocking in at close to 8 minutes, they still couldn’t get enough of it and opted for the old-school fade. One more time, “ki lishuoscho kivinu kol hayom…” Ahh!*

*H/T SSY, OBM 

Mehaira – Speaking of fresh – if there is one thing the Jewish music scene needed to rock its world, it was a slow mehaira with stirring strings, overbearing brass and sweet vocals. Hey – why not throw in a bird tweeting/nature sounds intro? Why no waterfall? Still, it is a nice song. They really went all out on the strings, which does take the song to another level musically.

Kol Y’mei Chayai is just…. meh. 

Overall, Es Tzemach and Al Tishlach Yadcha are terrific standouts, but there is barely a weak song on the album. One word that I actually removed a few times for fear of being repetitive was “fun.” Benny’s debut album was great, but I haven’t enjoyed subsequent releases as much (Bnei Heichala is a different cheshbon). Fill the World with Light Makes Benny Great Again (sorry).

Nice job, Benny and Sruly.

After a number of years we once again are fortunate to hear new music from the one and only Shlomo Simcha. Shlomo is popular by his pairing of traditional chazanus with contemporary styles, and “Ani Kan” one-ups that combination by bringing his energy and talents to the newer musical styles of 2016. I can let you in on a secret. I heard him daven for the amud in Toronto a few weeks ago, and left feeling very inspired. You see I grew up in Toronto and as a child used to daven in that shul – Toras Emes Viewmount . In those days  the Chazzan sang only chazzanus and I didn’t go for that style. Shlomo is the main Baal Tefilla there today, and although he does do some chazzanashe shtikelach, it’s mostly a Haimishe davening with geshmake haimishe nigunim. And by the way, his chazzanus is very easy on your ears!

The producer is Doni Gross – Jewish music’s up and rising producer of DEG Productions. It includes songs composed by the above-mentioned Doni Gross,Yitzy Waldner, Yossi Green, Yitzy Bald, Yossi Muller,Tzvi Silberstein and by Shlomo himself. The music is also arranged by Doni Gross. It also features the famous guitar players Arie Volnitz and Avi Singolda.

1) The album starts off with a bang with Im Ani kan composed by Doni Gross . Its a leibedike song demonstrating Shlomo’s high-energy. The song talks about the Simchas Bais Hasheiva but diehard Shlomo Simcha fans will breath a deep sigh of relief as they can interpret it as “Don’t worry that I didn’t have a new album for a while – because now I am here.

2) Modeh Ani – a slow song composed by Yitzy Waldner with Simcha starting off very soft. The words are from the tefilla people say Friday night before Kiddush. They reflect the gratitude a Yid has to Hashem for all the Chesed does for him and his family. Then it describes the Malochim. In middle of the song Shlomo goes very high “Modeh Ani” in his patented voice.

3) Ani Maamin – a leibedige song composed by Yitzy Waldner with English added “Yes I believe” to translate Ani Maamin, and when the choir sings it, they say “Yes WE believe”. That was cute. It’s a three-parter. The first 2 stanzas are low and the climax “bechol yoim sheyovoi” goes very high.

4) Ashira Lashem – Also composed by Yitzy Waldner. This is sung in Ivrit and it describes one’s immense gratitude to Hashem overflowing from within. It’s climax is a very hartzig “Ashira Lashem ki gomal alai”

5) B’nei Aliyah – Composed by Yitzy Bald. Tzvi Silberstein repays the favor for Shlomo singing on his all star album. The words are from Rosh Choidesh bentching. It gives us a good feeling that we value our special zchus to be Hashem’s children with a lofty neshama and being a chelek eloikai mimaal.

6) Piha Pascha – Composed by Yitzy Waldner.  This a ballad style song similar to his Hashamayim from Shloimie Gertner or Mimkoimcha sung by Yaakov Schwekey with a little faster pace.

7) Ner Dolek – Composed by Yossi Muller. It’s a powerful and inspiring song and assuring us that we can always do tshuva as long as our flame is burning – meaning we are still alive. It’s also a tefilla to Hashem to help us do Tshuva.

8) Al Hatorah – Composed and featuring the one and only Yossi Green! It’s as low song with words from the Brochois of the Haftoira we say on Shabbos. The high part has the words Al hakoil Hashem etc. that sounds like a person overflowing with thanks to Hashem with this tune. When we hear it live in shul, many times the tune does not reflect the meaning of the words, but in this song it is expressed very clearly and potently. I’ve never heard Yossi Green go this high. A pleasure to listen to!

9) Uviney – Composed by Yitzy Waldner A warm geshmake leibedike song that starts with the words uvnei yerushalayim from bentching and has another stanza with Yiddish words stating that Yerushalayim shel maalo and Yerushalayim shel mato will dance together with us all.

10) Sunny Day – Composed by Tzvi Silberstein. It’s a short sweet slow English song about looking at things positive like a “sunny day”.

11) A Gut Voch – Composed by Shlomo Simcha. No Shlomo Simcha would be complete without  geshmake chazzanishe shtickel. The first part of the song is chazzanus with words from Ato Choinantonu which we say Motzei Shabbos. The next part is a leibedike song with the same words with Yiddish words added to give it more flavour. A zaftige touch to a moiredige album!

This album is very special for me. The very first review I ever did was for Benny’s third album Kol Haneshama Sheli and since then we’ve been going strong(ish) for 2 years! Thank you s much for reading and commenting and thank you to the staff and editors of Jewishmusicreport.com for being an amazing team to work with.

This is Benny Friedman’s fourth studio album. His first album, Taamu, was produced by Avi Newmark and was a hit with songs such as Misod, Moshiach, Taamu, and No Lyrics. His next album, Yesh Tikva: Dawn of Moshiach was a smashing success with the title track’s music video getting countless of views on YouTube. Also that album included hits such as Dawn of Moshiach, Maaleh Ani, Shalom Aleichem, Mamleches Kohanim, and B’sheim Hashem. In 2014, he released his third studio album called Kol Haneshama Sheli, which contained great songs such as Toda, Rak Beyachad, Essa Einai, Fulfill Your Tefillah and Bum Bum.

Benny has been doing great things in the past 2 years. He released a Shabbos album, then a Toda music video, was on the HASC stage for the 28th concert and countless other concerts. He has done countless weddings and the Chabad shluchim event as well. He was on Simchas Hachaim 4 and 5, Shir, 2nd Dance 2, Neemos Hachaim, Kol Hakochavim and Shir 2. Not to mention all the chesed and smiles he puts on so many faces. Benny truly is one of a kind!

This album, entitled Fill the World With Light stands out firstly with its incredible front cover artwork. Its so wonderful and colorful; it is truly a masterpiece. It was illustrated by the awesome Marc Lumer (marclumerdesign.com). The album was produced by Sruly Meyer, a true pro, and mastered by the great Ian Freitor.

Ivri Anochi– Also known as I’m a Jew and Proud, it starts like a nice country song and has has some great lyrics from Miriam Israeli (the Hebrew language genius) to start it all off. The whole song was composed by Ari Goldwag. Then Benny takes it into the English low with lyrics provided by Samuel Marcus of 8th Day fame (and Friedman family member). It gets a little funky and electronic and then the saxes have a nice solo. The music on this song comes from Ian Freitor of PlayMasters Studio (meaning its all electronically produced).  The choir on this one is Shira Choir (although they don’t do much). A fantastic beginning to this album.

Al Tishlach Yadcha– This song was written and composed by Elie Schwab and starts with some guitar picking and talking in the background (which is credited to Yitzy Berry). The music was arranged by Eli Klein and Yitzy Berry.  I happen to think the low part is nothing special but the high part is very nice. I’m also starting to think that this album will be very Israeli-sounding and be heavily influenced by the type of music that Shwekey and Fried are singing these days.

Ashira Lashem–  Simple lyrics for a nice, simple song. It has a nice rhythm to it and has great arrangements, especially the brass. This song was composed by Eli Klein and arranged by the team of hm and Yitzy Berry. The end of this song is interesting in that he switches from the high part in the middle to the low part to end it. Very cool way to end the song.

Reb Yehoshua Omer– A Spanish styled song with great Spanish guitar played by Omri Zelig, composed by the incomparable Boruch Sholom Blesofsky. The song was based on the words and spirit of Benny’s uncle Rabbi Yehoshua Gordon. The song begins with some quotes (I believe from his uncle) and then gets into the song whose lyrics were provided by Shmuel Marcus again. The best part of this song could very well be the bridge with the lyrics “Hustle, You’ve got to hustle Yossel, Hustle,Yossel, move a muscle.” A legendary song for the ages. Shkoiach BSB!

Fill The World With Light– Composed by Yitzy Berry and with lyrics helped by Shmuel Marcus again, the title track definitely deserves it. Mixing Hebrew with English is no easy feat and to do it so seamlessly is a special talent that Benny really uses well. Music for this song was provided by PlayMasters and Ian Freitor again, and the strong low lyrics combined with it’s equally nice high part really make this song incredible. I also happen to think Benny’s voice on auto tune is quite good.

Kulam Sharim–  We’ve all been listening to this incredible song since the summer but it still deserves a spot on this album. It was composed by Eli Klein and Yitzy Berry (they are all over this album). It’s a disco and has a really good electronic beat from PlayMasters and Ian Freitor. There’s also a great guitar solo from Avi Singolda.

Meloich– Composed by the legendary Yossi Green, this is the first real slow song on the album since song 2, which if you’re counting at home, was 5 songs ago. This is a classic YG song and with arrangements by Naftali Schnitzler, I can totally imagine this song on a Yiddish Nachas album. The choir on this song is Meshorerim. This is some good work from the whole team, from start to finish this song is amazing. It has the sound of the Benny we heard on Kol Haneshama Sheli.

Laasoik– This is a medium tempo song with a lot of brass by Jim Hynes. Its actually a very nice and fits with the words perfectly. It eve has a Bum Bum Bum in it! It was composed by Moshe Shmeel Deutsch and was arranged by Mendy Hershkowitz (used to be in Freilach Band). The coir for this one is Shira. A nice song with great arrangements.

Es Tzemach Dovid– Another slow song composed by Yossi Green, this one has its arrangements from Tzvi Blumenfeld of Blue Rhythm Label. I especially love the high part of this song but the Yiddish bridge is not so well placed as it goes straight into the low. Overall, though, a really good slow song to keep the count at 3 slow songs through 9 songs.

B’Sefer Chaim– We heard this song when it came out as a single around Elul time. It was composed by Eli Klein and in my opinion, not their best work. However, its still a solid song and on a 13 song album, its definitely good enough. Now is a good time to point out that Benny’s voice is getting better and better with every album. It’s so good right now.

Al Yishallel– This one was composed by the great composer Shlomo Yehuda Rechnitz. It was arranged by Udi Damari and really stands out in this album as one of the better songs. Choir on this one is Shira and its tempo is like a faster fast kumzitz song. A really good song with a classsic ending.

Meheira– This album is not over yet! This one is a beauty from the stupendous Yitzy Waldner. A slow song with beautiful arrangements from Tzvi Blumenfeld, with strings provided by Ayal Shloach and co, and brass by Jim Hynes. This could definitely be a chuppah or dinner song. Really a special song, and Benny does a terrific job on it.

Kol Yemei Chayai– The final song composed by Elimelech Bumstein, its got a sick bass but I feel like the high part is missing something; its a drop too basic. The Hebrew lyrics were provided by Miriam Israeli. The arrangements were done by Eli Lishinsky. I like the chazzanus part and all the little shticklach. A nice way to end the album.

In conclusion, if you are a fan of Benny’s (and how can you not be?), what are you waiting for? Get it already. All Jewish music fans should add this album to their Benny Friedman collection, bc this one is a classic. This one is worth every cent.

Benny Friedman performs at the Nefesh b’Nefesh arrival ceremony at Ben-Gurion Airport, July 17, 2016 (Photo by Shimon Simpson)

It’s been two years since Benny Friedman released Kol Haneshama Sheli, the hit album which featured “Toda”, “Bum Bum”, and several other hits. His new album, Fill the World with Light, might be his best effort to date. Yes, you heard that right. Benny’s new album may actually be better than Yesh Tikvah.  I would have considered that you be a near-blasphemous statement a month ago, but after listening to Light non-stop for the last month, I can confidently make that assessment.

A couple of weeks ago, Benny was in Israel to perform at the annual Yud Tes Kislev festivities in Kfar Chabad, and he was able to find a few extra minutes in his schedule to chat with me about getting into the business, the new album, and the lessons he feels his music can teach us.  Many of the questions I was going to ask were already answered by Sruly Meyer in the behind-the-scenes article he wrote for JMR right after the album release, but there were still a few questions I had for Benny, not the least of which involved a certain mini concert in the Catskills around 15 years ago….

The transcript below has been lightly edited for brevity and clarity. 

Shimon Simpson: First things first…I don’t know if you already made the connection, but I in my review of Kol Haneshama Sheli, I wrote about being the saxophone player at your first ever concert at Camp Romimu [when you were impersonating Avraham Fried at the camp’s color war breakout]. So, I would be remiss if I didn’t ask you what your recollections were of that night. 

Benny Friedman: Oh wow…I remember that night, very clearly. They told me that they were bringing in a professional makeup artist, he put a beard on me, and I looked in the mirror and thought to myself, “There’s no way anyone is going to fall for this.” And then through the whole show, I was thinking that only the head counselors and the directors think anyone is falling for this.

SS: Well, I can tell you that I fell for it…

BF: I know, because on the video you can see Kus [Yekusuel Sebrow, the keyboard player] pointing at you and laughing, and you were standing there with a confused look on your face and shaking your head.

SS: Yeah, I think I was literally the last person in the room to figure out what was going on….But hey, it was camp, it was color war, it was all in good fun. And I’ve been milking the moment ever since because I can tell everyone that I played at Benny Friedman’s first concert. 

…Fast-forwarding to the present, I think “Ivri Anochi” has a chance to surpass “Yesh Tikvah” as the top hit in your catalog. [As a co-producer on the album] you had input into the decision making process. What was it about “Ivri Anochi” that inspired you to put the song first on the album?

BF: …The truth is, there’s very little “figuring stuff out”, and a lot of it is very visceral—very instinctive. I was listening to an early version of “Ivri Anochi” in the studio, and it just spoke to me. So I called Sruly [Meyer] and said “Hey we have to shuffle around the order of the songs, ‘Ivri’ has to be first.”  I love the song, because, first of all, it’s a “Jewish pride” anthem. It’s got a major message, and I try to choose songs that have a message—that encourage you about something. And this song can become something that people turn to if they need some encouragement.

SS: Moving on to the second song, “Al Tishlach Yadcha”, I was wondering if you had made this connection to the Avraham Fried song “Yochid v’Rabim”. In that song, the theme is that because Hashem is the “Yochid” and we are the “Rabim”, Hashem (kaviyachol) “has to” listen to us and return to us before we can do teshuva. It’s almost the same thing in your song, when you take Hashem’s words at Akeidas Yitzchok, “Al Tishlach Yadcha el hanaar”, and use them against Him, as it were, saying that He kind of “has to” bring the geulah based off his own words. Did you make that connection on purpose?

BF: I never made that connection! That is very, very cool. But yeah—some people start getting uncomfortable when you start talking to the Eibishter like that, making demands, and trying to “outsmart” Him. But there is precedent for it, where old chassidishe rebbes like R’ Levi Yitzchok of Bartitchev would find a “chap” to say to the Eibishter “Now, You have no choice!”…. You see in this week’s parsha [Vayishlach], that Yaakov was given the name “Yisrael” [which means “someone who struggles with the G-dly”]. When a Yid sees something in the world that he doesn’t understand, doesn’t agree with, doesn’t seem “right”, you have to—as much as you can—push back against it and protest, and say, “Eibishter, according to the seichel, and according to the middos that You gave me, whatever it is that I’m seeing right now is not right. So, either bring Mashiach so we can see how right Your decisions were, or help us understand now, make life easier! Stop creating difficult situations so we have enough to be in a situation where we don’t understand what You’re doing.”  The thing about this song is that I generally try to keep away from songs that are sad or heartbreaking just for the sake of being sad or heartbreaking.  This song is heartbreaking, for sure, but it’s heartbreaking with a big message.

SS: [Regarding Sruly Meyer’s contributions to the album,] I remember something Sruly said a long time ago on his podcast when Dov Katz asked him about his suddenly showing up as a credited producer on albums, Sruly said something like, “Yeah, that means I picked up the sushi and brought it to the studio”. I always kind of figured that that wasn’t 100% true, but with this album it was obviously not the case—it seems that he was a really big part of the creative process. 

BF: He was. First of all, when he was hearing the original material, it was automatic—you could see how the ideas started pouring forth. Second of all, the more experienced he’s gotten, the more confidence he’s shown in his production skills—same as me.

SS: Who was the clarinet player on “Laasoik”? I don’t think he got mentioned in the liner notes, and I think it’s the best Jewish swing song since either “Adam Doeg” or “Hisyatzvu”, so I was curious who provided the song’s signature solo.

BF: Cliff Lyons. He’s incredible, he’s been on tons of Jewish records…He’s a genius, and if you watch the YouTube videos that all of the bands are putting out nowadays, you’ll see him all over the place.

SS: Last question: Is that you doing the chazzanus in “Kol Yemei Chayai”? I wasn’t sure as I was listening to it, and for a minute I thought it was [Chazzan Y.M.] Helfgot, but I couldn’t tell.

BF: [Laughing] No kidding! No, that was me.

SS: I figured you wouldn’t have had Helfgot on the album and 1) not mention him in the liner notes, and 2) only have him on there for two bars.

BF: If it had been anyone else it would have been more…I’ve heard a lot of different names, people asking, “was that Yanky Lemmer?”

SS: Right, it could have been Lemmer…I liked the chazzanus in “Es Tzemach Dovid” also, but that was a different style.

BF: Right, a totally different voice.

SS: OK, great, thanks! I really appreciate you taking the time to talk with me, and I hope you enjoy the rest of your trip to Eretz Yisrael!

BF: Thank you!

****

It’s actually amazing…in a year in which Jewish music heavyweights Yaakov Shwekey and Avraham Fried made us “believe in miracles” as they “brought the House down”, it’s Benny Friedman that comes through with the late entry for Album Of The Year—and this is only his fourth album!  I’m not even going to have to do a roundup for this year, because the contest is already over—Benny wins, hands down, and it wasn’t that close.

Once again, special thanks to Benny for agreeing to take the time for a conversation during his trip.  A freilichen Chanukah, everyone!

One Week Later: LTV  by Lev Tahor

A lot of new albums are available for your Adar listening, but one album I would like to highlight is the new Lev Tahor album called LTV, or Lev Tahor 5. Lev Tahor is a group consisting of 3 incredibly talented members- Ari Cukier, Gadi Fuchs and Eli Schwebel. Eli Schwebel is the most recognized of the group, most probably due to his recent(ish) solo album titled Hearts Mind. However, Lev Tahor has put out 4 albums prior to this one so you may be familiar with them as well. If you are, then you know their style as nice and easy with a bunch of gorgeous slow songs and rocking, pumping fast songs.

Lev Tahor’s first edition was a self titled Acapella experience that delved into the hits of Abie Rotenberg, Yeedle, and Avraham Fried. It was a massive sefira hit, and so they made a second album. However, this time, it was fully composed by Lev Tahor themselves (I believe mostly, if not all, composed by Gadi Fuchs). That album was released in 2002 and included hits suchs as Lev Tahor, Im Eshkochaich, Acheinu and Asher Bara. They then released their third studio album in 2004, another acapella one, which included hits from MBD, Chaim Dovid, Country Yossi, Abish Brodt, Carlebach and Abie Rotenberg. Finally, their 4th album, released in 2005, was again fully composed by the group themselves. This album included hits such as Im Lavan Garti, Ata Echod, Mi Bon, Chaveirim and Avinu, among others. It’s been 12 long years since and we’ve been waiting anxiously for this volume 5. This one promises to have a different feel as all 3 members say they have matured in their music mastery.

LTV was produced and arranged by Eli Schwebel and Assaf Spector, and it’s apparent that this albums as this album’s arrangements sound similar to Eli’s solo album. The songs were mostly composed by Eli and Gadi , with a little help from a few others that will be mentioned as we go through them. The album is 46 minutes long and contains 12 songs. The jacket is gorgeous and was done by KrinskyDesign.com. They said they would give us both different and the same and they definitely achieved it.  Enough with the introduction; Let’s get to the music!

HALLELU- A pumping song that reminds me a bit of the Lion King’s Can’t Wait to Be King. It’s got a nice chorus and the kid’s choir that comes in at the midpoint is a nice touch. The vocals and choir really mix together nicely and obviously, the harmonies are spectacular, as expected from Lev Tahor. Composed by Eli Schwebel and Lindsey Buckingham, the lyrics sing right into the song and I really enjoyed this great song to start the album.

LECHA DODI- This is one of my favorites so far. A gorgeous slow song with a really powerful low, and sweet flowing chorus. The music on this song is really nice and really fits the song perfectly. I don’t think I have to mention the amazing vocals and harmonies on every song, but they’re that good. This song was composed by Gadi Fuchs and really reminds me of the old Lev Tahor and is a great addition to their repertoire.

GAM ZU LETOVA- This song was debuted at HASC 29 last year and was received very well there. It reminds me of Eli’s songs and I see he composed it , along with Elie Schwab, and Jay Stolar. The chorus is very catchy, I’ve found myself humming it around. I like this song a lot, and it’s lyrics and purpose is quite special and inspirational.

SHOOVI- This is an interesting one. The music was written by Eli Schwebel, but the song comes from Tisha B’Av, and is used as one of the niggunim for the pizmon that R’ Schwab ZT”L made for the Kedoshim of the Holocaust. The english lyrics were written by Eli, Rachel Kahn, and Jay Stolar. This is a great song whether you use this niggun on Tisha B’Av. The music is really fantastic,vocals are superb and I love the mid/chorus.

AVDECHA- This song has a robotic feel, with the techno and autotune. It’s a little haunting, to be honest, but I assume that’s the feel they were looking for. It reminds me of Eli’s stuff, and it was composed by both Gadi Fuchs and Eli Schwebel. I love how they use so many lyrics from Tehillim, it makes the album very special.

SIMCHAS BEIS HASHOEVA (feat. LIPA)- This song is epic! Composed by Elie Schwab, it starts with a crazy convo between Lipa and some guy about a concert at the Beis Hamikdash with Lipa and Lev Tahor. The song fits both Lipa and Lev Tahor so well, and the go so well together, you can’t tell who the guest is. Such a cool and awesome song, and the music is so good. It ends sort of abruptly, but that must be the way they wanted to go out on such a crazy song.  I definitely will buy a ticket to that concert, Lipa!

BIRCHAS HACHODESH- Another gorgeous slow song composed by Gadi Fuchs (i’m not sure how he does it).  It may be a little difficult to use on Shabbos in shul, however, it sounds great here. The harmonies and vocals are incredible and the music is simple and really nice. A real gem here and this album is just over half over!

YAGGAPELLA- I loved this song on Eli’s album and I love it right now as well. With the rest of Lev Tahor adding in incredible harmonies, the song really does sound great. I thinkl they can even teach some “real acapella” artists a thing or two about keeping it simple and real, yet very fresh sounding.

DROR YIKRA- I’m not certain I can call this sefardi sounding, but it definitely has some of that feel. This song was composed by Yehuda Gilden and is incredible. It features Rivie Schwebel, who definitely adds a ton to the song with his incredible harmonies and vocals. There’s a nice thump in the song and some guitar that really make the song pop. This could be the best version of Dror YIkra that I’ve heard and definitely one of my favorites on the album.

MR. TANNER- This song is a whole story in itself. It talks about a cleaner that sang from his heart and enjoyed music but didn’t use it as livelihood, until he finally put up a debut, which he flopped at which point he went back to his cleaners and sang by himself again. Recently, the members of Lev Tahor themselves said that music for them is their life, but not their livelihood. I think this song is their motto and this sentiment is how they feel about their own singing careers. Honestly, this song is really cool with a great message that as long as you enjoy doing something, do it and don’t care about anyone else. A really good song composed by Harry Chapin.

DON’T STOP GIVING- This song is a remix by Dilemmachine of Eli’s song Don’t stop giving and i believe the rest of the members also sing on this song. I like the song, it’s just a little too techno fro me, but I guess that’s how remixes go. It’s interesting that they decided to put this on, not sure why they did, but it’s good if you like remixes.

MEHEIRA- I heard good things about this song and they were right. It is an excellent and can definitely be used at a chuppah. Love the arrangements on the song, very much like the other Meheiras out there. This one has that Lev Tahor high part with the long and high ending. Big fan of the song and great way to end the album.

In conclusion, if you like, love or even slightly enjoy Lev Tahor’s music, this is a fresh, new and different album that has something for everyone. From thumping, awesome and pumped fast songs, to gorgeous and beautifully harmonized slow songs, to great english lyrics and awesome guest singers, this album is a must buy for any Jewish family. We waited but they definitely delivered an epic album. Hopefully the next one isn’t 10+ years away. You can buy it on mostlymusic.com or iTunes. I highly advise you add it to your collection.

Introducing a new and exciting duo from Johannesburg, South Africa named “Derech Achim.” The group is comprised of two brother in laws, Reuven Garber, and Jared Lazarus. The vision of Derech Achim is to compose music that first moves your soul before it moves your body, using a diverse palette of musical genres not traditionally explored in the Jewish music world.

The duo has just released their first single of their upcoming debut album to be titled “Mayim Rabim.” The song, Im Eshkachech, is usually sung in a more somber tune to remind us of the destruction of our holy Beis Hamikdash. The vision of this song is to rather create a hopeful feeling of joy, yearning and anticipation for the rebuilding of our holy temple – speedily in our days. Im Eshkacheich was released with a music video featuring some of beautiful scenery and everyday life in the holy land. For more on and updates of the upcoming album, follow their Facebook page or YouTube Chanel.

Heard across the pond: MBD ‘Tzaakah’

In 2012, MBD released an album called ‘Kissufim’. It was to be his final album, saying that he planned to move to Yerushalayim and basically retire, at least from the studio.

Apparently, when you’re the king of Jewish music, stepping down is easier said than done. He certainly never stopped rocking concert stages around the world. I had the pleasure of enjoying performances both here in London and in NY. On both occasions, he had the audience on their feet!

And somewhere along the line, something, or someone (fan pressure?), convinced him to go back into the studio. And here are the results.

Personally, I found his last album a bit disappointing. But this time around, Mordche pulled out all the stops, bringing it up to the level of Kulom Ahuvim from 2009 with top composers and arrangers (Lots of stuff from Yitzi Berry and Eli Klein). And at 60 something, his voice is clear and strong. this time around, Mordche pulled out all the stops, bringing it up to the level of Kulom Ahuvim from 2009 with top composers and arrangers (Lots of stuff from Yitzi Berry and Eli Klein). And at 60 something, his voice is clear and strong.

Without further ado, here we go:

1)      Kol Haneshamah

Composed by MBD and arranged by Yitzi Berry and Eli Klein. classic straight rock song, of thanks and praise to Hashem, to kick things off. Some nice acoustic guitar thrown in and interesting change of beat for the low part the second-time round. Not my favourite song, but a nice one all the same.

By the way, a shout out to the Shirah Choir who, as always, did a fantastic job doing backup throughout the album.

2)      P’sach

Composed by Yitzi Berry

Arranged by Eli Klein and Yitzi Berry

Mordche took this nice kumzitz style ballad to the next level by inviting Motti Steinmetz to join him. The two have sung together on the Rechnitz albums, and they really compliment each other, Mordche with his baritone-bass voice, and Motti with his sweet child-like soprano voice. From the youtube videos of their live performances together, you can see that MBD has a soft spot for this uniquely gifted young man. I, for one, am really looking forward to Motti’s debut album. This song also demonstrates Yitzi’s knowledge of Yiddish- not bad for a Litvak!

3)      Tze’akah

Composed by Eli Klein

Arranged by Eli Klein & Yitzi Berry

It took a few listens for me, but now this one has grown on me. It’s based on the words of Rebbe Nachman, who teaches in the name of the Zohar that a cry of teshuvah is affective even if no one hears it apart from Hashem Himself. It’s a techno song in a minor key, which gives it an intense feel, with Mordche (or someone else) screaming quietly during the bridge.

All in all, a creative and very powerful song.

4)      Father/Mizmor Ledovid Ovi

Composed by Yitzchak Fuchs

Yiddish Lyrics by Lipa

Arranged by Mona Rosenblum

As MBD wrote in the booklet, this song is a synopsis of the life of his father Chazzan Dovid Werdyger A”H. It sums up his positive attitude to life that he adopted during the holocaust. he made sure to spread that positive energy to his fellow inmates as well. And we’ve all been inspired by his music and the music of his children and grandchildren. Mordche, Mendy, Yisroel and Yeedle all use the musical gifts he passed on to them to give him the nachas he deserves. The arrangement, lyrics, tune and vocals all blended perfectly to create a masterpiece of a tribute that I’m sure Reb Dovid himself is really enjoying.

5)      Bo’ee

Composed by MBD

Arranged by Eli Klein and Yitzi Berry

Music produced by Nir Graff and Baba Beurger

Written for the chasunah of Yeedle’s daughter. A nice, light, catchy dance song. Yeedle sings a sweet little Yiddish shtickel in the middle. Not outstanding, but enjoyable nonetheless.

6)      Hinei Yomim Bo’im

Composed by Yitzchak Fuchs

Arranged by Yoeli Dickman

There’s something about Dickman’s arrangements that just grabs the listener by the ear!

His rich sound definitely fits this song beautifully. I wasn’t surpised either to discover that this was a Yitzchak Fuchs composition. Again, this song took a few rounds of listening, but it really has grown on me.

7)      Kivsoh achas

Composed by Eli Klein

Arranged by- you guessed it- Eli Klein and Yitzi Berry!

New words, timeless message, simple and catchy tune. A great way of reminding ourselves that we can rely on Hashem’s protection always. Nice job guys!

8)      Hineni Rofeh Loch

Composed by Yossi Green

Arranged by Ami Cohen, Eli Klein, Eli Lishinsky

Choir by Baalei Menagnim

I saw a Youtube clip of Yossi Green singing this song live at an event. What spoilt it for me at the time was the fact that I watched another clip earlier that day of someone doing a cover of a Yossi Green song that sounded a bit similar.

However, after a few listens, I think I can overlook that small detail. It really is a very touching ballad. In fact, it’s one of my favourites on this album!

9)      Keser Meluchah

Composed by Eli Klein

Arranged by Eli Klein and Yitzi Berry

How many arrangers are comfortable good with live music and techno? Eli Klein and Yitzi Berry are extremely versatile. The proof of that is their work on this album, as well as the variety of singers they have worked with so far, from Benny Friedman to Itzik Dadia to the Malchus choir. This track is a typical Yeshivish nigun set to a live disco beat. May well become a Chasunah hit.

10)   Ve’anpoh Nehirin

Composed by Yossi Green

Arranged by Yoeli Dickman

Featuring Nussy Fuchs

A nice relaxing slow song. Nussy Fuchs is an 18 year old bochur and an up and coming star on the kumzitz scene (Google him). I believe he sang on the original ‘Hasturah’ single a couple of years ago.

He sings with a lot of neshomah and really adds a lot to the song.

11)   Ashrei Ho’ish

Composed and arranged by Boruch Sholom Blesofsky and Yeedle

Produced by Eli Lishinsky

Mordche included a nice note for this song in the booklet, pointing out that Dovid Hamelech was showing a great example of how to educate children in a positive fashion, by praising those who kept away from doing the wrong things. a good dance track.

12)   Yaaleh

Composed by Eli Klein

Arranged by Eli Klein and Yitzi Berry

Here the strength of the song lies in the unique words, from Yom Kippur davening.

Makes me feel as if I’m in shul Kol Nidrei Night davening for my life. Beautiful stuff!

13)   Havel havalim

Composed by MBD

Arranged by Eli Laufer

This song was recorded some 12 years ago, intended for Mordche’s Efshar Letaken CD and was shelved until now. It starts as a reggae song, but changes to a rock beat later on. Love that brass and organ in the song. Another favourite of mine.

So, there you have it: good ol’ MBD is back with the quality, inspirational music he was always known for. Buy ‘Tza’akah’ and enjoy it!

The Great Chol Hamoed Event!
MIAMI 40 – ONLY THE HITS!
@ The Brooklyn School of Music
Chol Hamoed Succos

Sunday eve. Oct 8, 645pm.
Monday aft. Oct 9, 130pm
2 performances; Also Starring Mordechai Shapiro
Guest Star: Michoel Pruzansky
Family and separate seating.

Monday eve. Oct 9, 7:15pm
Also Starring Shulem Lemmer
Guest Star: Yoely Greenfeld
Separate entrances and separate levels for men and women.

Coming off the North American portion of their 40th Anniversary Tour, to Toronto Chicago and Montreal, Miami’s next stop is Succos in Brookyn. 3 amazing shows of the greatest Yerachmiel Begun & The Miami Boys Choir Hits ever; performed by unreal vocalists and showstopping dances.

In honor of Miami’s 40 anniversary, Shirainu is making the tickets extra affordable for all families to attend. Such prices have not been seen in 20 years. What an unbelievable opportunity not to be missed. Go to Jewishtickets.com.

Mordechai Shapiro (a miami alumni!) has quickly become a household name in jewish music. His exciting original style combined with creative great vocals have made him a big in demand vocalist. Now, before Succos, he is releasing his second smash album, long awaited. Starring on the Sun. eve and Mon. aft show, he will be featuring songs from both albums and other surprises.

Guest Starring on these 2 shows is Michoel Pruzansky, fresh off his new exciting album, just released this past week. Michoel brings high energy and great performance to the shows.

The Mon. eve show will be a first in Jewish music annals. With the Brooklyn School of Music featuring a great orchestra section and a close in balcony, the men’s seating will be downstairs and the women’s seating upstairs; with separate entrances into the building.

This Mon. Eve show will be Starring the phenomenal Shulem Lemmer. Fresh off his hit debut album, produced by Yochi Briskman, which was released in August to immediate rave reviews. He has what is considered one of the most versatile voices ever in Jewish music. A range unparalleled; yet with deep emotion. The song LEFANAV has taken off as a major dance song at weddings (composed by Yerachmiel!).

Guest Starring will be the one and only Yoeli Greenfeld, considered by many as having one of the greatest voices in the Jewish Field.

Both shows with music by the famed Shirainu Orchestra.

Join the 5000 people who will iyh be attending THEE Chol Hamoed event!

The Brooklyn School of Music is located at
883 Classon ave in Crown heights.
15 minutes from Boro Park and flatbush.
Plenty of street parking PLUS a new 300 car
Ggmc parking lot across the street from the air conditioned theater.

Go to: Jewishtickets.com
Email: Shirainuevents@gmail.com
For groups and seat selection for VIP call: 7184196080

The one and only Yossi Green has once again given us a wonderful gift – a new album titled “Layl Shishi”.  This is the 5th in a series of albums called “Shades of Green”. He is joined by the “Lechtige” Shloime Simcha as the main singer and it is produced and arranged by the wonderful Doni Gross. The background vocals are by Yossi Green who does them in a way that is unmatched in the industry. He is simply the best. Any time I hear a song composed by Yossi Green, if he doesn’t do the vocals there is definitely something missing.

You can consider this a Yossi Green album or Shlomo Simcha album, or both! One thing I can say about Shlomo Simcha. He is a top level singer and any of these songs sound like he could have been the original singer for them. He doesn’t imitate Avraham Fried or Yaakov Shwekey or anyone else.

The previous “Shades of Green” was titled “Varemkeit” where he performed with Shragee Gestetner. That one was themed as a Haimishe album with all the songs sung in a Chassidishe accent. This one is themed as a “Layl Shishi” – staying up all  Thursday night to learn Torah. The 5 sets of songs are called “Sedorim” as if the night is divided into 5 shifts and topics of learning.

Following is a list of the songs that appear in the album along with the album that it was sung originally. Some of the songs I titled “Unknown” because I don’t know where they originally appeared. If anyone knows the correct original album, I would appreciate it if you let me know or write it in the comments section below.

1st Seder – “Ahavas Hashem”. A collection of songs depicting love and yearning to Hashem. 1-Ka’ayol Taaroig (Avrohom Fried-Time is Now) , 2- Yedid Nefesh( Avraham Fried-We Are Ready) , 3- Mayim Rabim (Yiddish Nachas #2), 4- Oidcho Hashem Eloikai (Ohad Vol. 2).

2nd Seder – “Shvach Vihoido’oh” Praise and gratitude for Hashem. 1- Nishmas ( Shloimie Gertner – Say Asay), 2- Yishtabach ( Eli Marcus), 3- Nodeh (Rabbi Shloime Taussig – Modim Anachnu), 4- Adoin Oilom (Unknown)

3rd Seder – “Chupah Vikidushin”  Chupah songs. 1 – Mi Adir (Unknown) , 2 – Mi Bon Siach (Unknown) , 3- Im Eshkochaich ( Yoely Greenfeld – Tizakeini) ,  4- Mehairo ( Yaakov Shwekey – Shomati )

4th Seder – ” Bakoshois” – Various Tefillos.  1 – Tein Li Brocho (New Song – also in a  bonus track) , 2 – Venoh ( Yaakov Shwekey – Volume 2)  3 – Vezakeini ( Avraham Fried – Keep Climbing )  4 – Ba’al Habayis (Unknown)

5th Seder – “Migoileh Li’geula”  Ending the golus and bringing the geula. 1- Loy Ovoy ( Avrohom Fried – Bein Kach U”Bein Kach) , 2 – Al Eileh 1 (Tzudyk) ,  3 – Al Eileh 2  ( Amudei Shaish Volume 2 ) , 4 – Ani Ma’amin / Moshiach (Mendy Wald – Koach)

Incidentally, “Al Eileh 1” was released about 40 years after “Al Eileh 2”.  When  Amudei Shaish volume 2 came out , the song was a tremendous hit and Yossi Green was not such a well known composer yet. Here Shloime Simcha sings it even better than it was sung by the star soloists in those days.

There is also a bonus track featuring the song “Tein Li Brocho” that also appears in the 4th seder. It is a gorgeous song and the words are from a tefilla for parnasa.

There are many reasons to love  this album:

Either because it is a collection of beautiful songs.

Or because it is a collection of beautiful Yossi Green compositions.

or because Shlomo Simcha has a stunning voice

But most of all, the selection of songs are carefully and thoughtfully connected into beautiful medleys. If you pay attention to each song musically flowing into the next and think about the meaning of the words it is tremendously inspiring. Every time I listen to it, I get a deeper appreciation of it.

In conclusion, if you are a fan of Yossi Green or Shlomo Simcha (and how can you not be?), what are you waiting for? Get it already.  It is worth every penny.

HaNeshama Bekirbi is the much anticipated album of new superstar Motty Steinmetz, who first captured the world’s attention on the R’ Shlomo Yehuda Rechnitz’s Shir album. Motty Steinmetz’s voice is one of a kind, with an usual combination of sweetness, power, and intense emotion. His music feels largely like a throwback and has a traditional feel to it. There is no pop or techno or shtick (besides the shtick he can do with his voice, and what can’t he do?). Motty Steinmetz does a particularity good job of conveying the message in each song through the tone in his voice because he sings with so much emotion. With a combination of Motty’s unique talent, some of the best composers in the business, and high level production, this is a quality album of authentic, old-school Jewish music that is sure to delight both purists and those looking for something “new”.

1. L’dor V’dor
composed by Moshe Laufer
A very powerful first song, Motty really shows off his voice right away. It almost sounds like a battle song, with intense percussion throughout. Motty sounds most in his element  with the “lie-lie-lies” at the end of the song, which sound almost impromptu, and end with a cool falsetto note.

2. Ko Umar featuring Pinki Weber
Composed by Pinki Weber
A beautiful, gentle song in Hebrew and Yiddish, the chorus has an unusual memorable melody. The solo and harmony from Pinki Weber is a nice surprise. His deep, raspy voice provides a nice contrast to Motty’s. This may be my favorite slow song on the album out of many very good ones.

3. Haneshama Bekirbi
Composed by Ruli Ezrachi
This single was released a few months ago and so when the album came out, I’d already listened to it many times. Of all the songs, this one probably has teh most old-school Eastern European feel to it, and I love that about it. It’s medium tempo, relaxed, and upbeat. It was a great single to chose because in a way it sort of encapsulates Motty’s style, and I wish that more songs on the album were done more in this vein. The music is somewhere between blues and big band, and it all works very well together.

4. Zechor Habris
Composed by Eli Klein
When Motty Steinmetz sings slow songs, it doesn’t sound like he is trying to entertain us. It literally sounds like he is trying to have a conversation the Creator- pleading, or praising, or whatever the particular words call for. And that comes across as much as ever in this song, which the booklet describes by saying “Hashem’s goodness is hereditary: we get it from our forefathers…This is the best promise we have that G-d will choose to keep his generosity within the family.”

5. Brivele

Composed by Motti Ilowitz
While I can appreciate this song for being beautiful, I cannot understand it at all as it is a story in Yiddish. I do listen to it, and I enjoy it, and I even tried to get a friend to translate it. But no luck. It is gorgeous, and full of heart, but the meaning is unfortunately lost on me.

6. Va’ani
Composed by Pinki Weber
Song number 6 and its only the second up-tempo song, one that is perfect for weddings. Of all the songs on the album, I probably listen to this one the most. I love the beat and I love the combination of Yiddish and English- both saying essentially the same thing: Hashem, I want to be close to you! (This much Yiddish I can easily handle!) It has a bit of a disco feel, and just overall had a positive fun feel that conveys the message of the words very well.

7.Vehi Noam
Composed by Yanky Daskal
A beautiful, stirring song, well suited to Motty’s voice, and with beautiful words from Tehillim.

8. Lecha Dodi
Composed by Yossi Green, guest solo Yossi Green
A fun easy to sing rendition of Lecha Dodi, aside from the music you would think you were hearing this in shul with an adult and boys choir singing along. I can definitely see this being sung in local shuls. It’s a relatively easy tune to learn and has such a light happy feel to it. Of course anything composed by Yossi Green is a gem. This song is 8:21 which is a bit long, but it couldn’t have feasibly been much shorter without changing the tune.

9. Al Tashlicheini
Composed by HaRav B. Hershkowitz z”l
Another gorgeous slow song, very calming, that is until your ears perk up at the crazy notes he hits in the end. I also love the harmonies in this song. This has a similar message to Va’ani, but with an extremely different feel.

10. Ana Bekoach
Composed by Pinki Weber
Of all the songs on the album, this one probably feels the most full of genuine emotion, and that’s saying a lot on this album. Ana Bekoach is another slow song where Motty Steinmetz begs Hashem to answer our teffilos.

11. Ki Simachtani
Composed by Shimshi Neiman
The third very up-tempo song, and I just love it! The beat, of course combined with Steinmetz’s voice and his reliance on primarily traditional instruments, gives the song a real old-school feel, similar to Haneshama Bekirbi. I think this style is where he shines the most. One of my favorites on the album, and it ends on a neat note as well.

12. T’nu Beni
Composed by Shimshi Neiman
Speaking of endings, we end the album with another slow song. As usual, it’s beautiful. The song makes very good use of the choir, and maybe it would have been neat to have a child soloist here as well. I hope to hear more from Shimshi Neiman in the future- everything I have heard from him has been very solid.

Overall great album with nothing else out like it. Motty Steinmetz is in a category of his own.
I predict a lot more to come from him!

In this in depth interview with chassidic superstar Shmueli Ungar, we talk about the release of his latest hit album “Mach A Bracha.” We dive into the meaning and reason behind each and every one of the thirteen songs. Find out what Shmueli has been up to, what he recent trip to Israel was like and what he is working on next.Find out all that and more, in this intriguing interview with Yossi Zweig.

Join Radio host, MC and music maven Yossi Zweig as he drives around with British superstar Shloime Gertner discussing his career and singing some of his hit songs including selections of his all NEW album “SERENITY.”

Sponsored by: Diamond Auto Leasing – 718-Diamond (342.6663) https://www.DiamondAutoLeasing.com
Video by: Menachem Weinstein – Munch Media
Transportation by: Diamond Auto Leasing
Special Thanks to Bitz Bree & Akiva Solkowitz

Beri Weber has given the oilom a gift – an album with Shabbos songs. But not just an album of tunes that relate to Shabbos, but rather from the first moment on he gives us a glimpse of how he “lives” Shabbos – how he actually experiences it. It doesn’t sound “gemacht”; just the opposite. It is authentically warm and inspiring.

The album was produced and arranged by the very talented Naftali Schnitzler and is accompanied by a choir called “The Lev Voices”. It also features a boys choir by Yossi Glick.

It starts off with a Medley called “Knisas Hashabbos” and it is actually acted out as if he is walking in to the shul singing “Vishomru” from Avrohom Fried composed by Yossi Green. Then he transitions in a Carlebach style “Git Shabbos”.  After a brief pause, he sings “Kidshu brich hee” by Meilech Kohn. I had never heard it before, but it’s a very nice hartzige nigin that has 3 stanzas – actually 1,2,3,2. Then he sings a “Shulim Aleichem” composed by himself that starts off like the Shulem Aleichem that they sing in Pupa. After that comes “Azamer Bishvuchin” to the tune of “Bar Yoichai”. This gives the medley a Heimish-Israeli-Yerushalmi gefeel. But then comes a song “Yismechu Bemalchuscha” composed by Shlomo Katz that has similarities to Carlebach and finishes “Shreit shoin Yiddelech Git Shabbos” in the Vzhnitzer nisach. Once again “Git Shabbos” from Carlebach. The finale is Just One Shabbos from MBD first in Yiddish, then English.

The 2nd medley is called “Leil Shabbos.” It starts off with a story called “Git Shabbos” from Michuel Schnitzler. Next comes “Hashabos Noam Haneshumes” by Shloimie Daskal. The words are from Koh Echsoif by Rav Ahron Hagodoil from Karlin. So it is fitting that it transitions to  Koh Echsoif! Then by the part that starts “Viyiyi Rachameichu Misgoililim” he says it it in plain Mameh lushen ” Riboinoi Shel Oilom hob of inz rachmunes” . That sounds more from the heart than the regular words. Then comes a part from the Pittsburger Koh Riboin and then quickly to the introduction part of “Rachem Bechasdeichu” from Moshe Goldman A”H from Camp Shalva. It goes together beautifully and he sings it with very nice chazunnes. Then he jumps to Yibune Hamikdosh from Duvid Werdyger and then to Shlomo Carlebach’s famous Yiboneh. Interesting – he doesn’t sing it with chassidishe havureh even he sang other Carlebach’s with it. He sticks in a kneitch from MBD nigun Shabbos then goes back to Yiboneh to end the medley.

Next comes V’taher Libeini composed by Shimshy Neuman – not a medley. it is a wonderful slow song that tugs at the heart strings. Then there is this awesome Yiddish part “tatte reinig ois mein hartz az ich zil dich kenen dinen” – “Tatte purify my heart so I can serve you” – basically the translation of the words of the song – Vitaher Libeinu.

The 3rd medley is called “Shabbos Tish”.  It starts with “Lomir machen kiddush of di gantze velt” sung by Avrum Mordche Schwartz and composed by Sruly Lipschitz. This works like a “Lesheim Yichud” before Beri unleashes his own nusach of kiddush that’s a Heimish/Carlebach hybrid. Next comes Nigun Shabbos – Viznitz which I always thought was a Skulener nigun, but maybe they sing it in both places. Then towards the end we hear background clapping before he finishes off “Shabbos, Shabbos Koidesh” Next is the famous  Koh Riboin by MBD from his album “I’d rather Pray and Sing” then it transitions in to Shvuchin Asadeir from the famous Bobover Koh Riboin, then Ravrevin from MBD Moshiach then to Eloku from the Pittsburgher Koh Riboin (the second shtickel on the album that he sings from that nigun) – then to Lemikdusheich sung by Beri and composed by Chaim Blumenfeld. So he basically sings Koh Riboin which each shtickel from a different nigun! Very creative and definitely up my alley. Then comes a Viznitzer Shabbos Waltz –  then Keser sung by Isaac Honig and composed by Lazer Kalish which has become a huge hit. Then comes the famous Burich Keil Elyoin composed  R’ Moshe Goldman A”H from Camp Shalva and finally Keil Mistater from Rupshitz/Dzikhev. So he mixes his nigunim from Friday night to include Shabbos day and Shulesh Seedes also.

The 4th medley is called Gaguim L’shabbos. It starts off with the famous Git Shabbos from  Viznitz. This is also actually the second time he sings the part “Shreit shoin Yiddelech Git Shabbos” on the album. Next comes Shabbos Is Shein by Rav Moishe Wolfson sung with true dveikus. Next comes Shabbos Is Teier – a velts nigun – then it flows into Fire by Carlebach . Then comes V’anpuhu Nhirin  sung by Lipa and composed by Motty Ilowitz. Next is V’hanchleinu by Carlebach before it goes into Lchu Doidi from Sruly Werdyger’s first album composed by Baruch Levine and the final song is the inspiring Lukeil asher shovas sung by MBD and composed by Yossi Green – one of my favorites.

The final medley is called Lekuved Shabbos and it features “Zusha” – a band featuring Shlomo Gaisin  and Zachariah Goldschmiedt.
They start off with Yismechu B’malchischu from the  nusach hatefilah and flow into Shabbos Koidesh from Breslov although I think it is actually an Alexander nigin. Then comes a song plainly called “Nigun – Breslov” which is sung in many Litivishe places for Lecho Doidi. Next comes Nigun Azameir B’shvuchin from Chabad Then it’s Bnei Heichulu from Chabad. The finale is Mizmoir L’dovid by Carlebach and it ends off very quietly – a sweet shtick.

So if you’re in the mood of treating yourself or someone else to a geshmake, hartzige, creative Shabbos medley album, Shabbos Farbreng from Beri Weber (also available in an a cappella version) will delight you and enjoy listening to over and over again.

“AYEH MEKOM KEVODO!’’ – ‘’where are you Hashem!’’ Inspired by the holy words the angels sing to the one above “AYEH MEKOM KEVODO!’’ – “where is the place of His glory!”. The holy books teach that one is never ‘’too-far’’ to reach out to the One above. His love for each and every one of us is unconditional and eternal. Even in the deepest darkest of places and times, Hashem (God) is always there, yearning for each one of us to reach out to Him.⁣
 ⁣
Credits:⁣
Artist and Lyrics: Reuven Garber⁣
Music Composed, Arranged and Produced by: Jared Lazarus (info@derechachim.com)⁣
Co-produced, Mixed and Mastered by: Crighton Goodwill (crightongoodwill@goodnoise.co.za)⁣
Video: The Reel Thing.⁣
 ⁣
Special thanks to featuring cast:⁣
Michi Carno.⁣
Gavi Berlowitz.⁣
Yoni Raichlin.⁣
 ⁣
Special thanks to Julio Wosnica for Spanish additions.⁣
 ⁣
Lyrics:⁣
Siento tanto dolor a la mañana al levanter,⁣
Que se puede hacer los problemas no se quieren desaparecer para aliviar,⁣
En el fondo se realmente que yo debo hacer,⁣
La palabra gracias y vamos a bailar,⁣
“ואני בחסדך בטחתי יגל לבי בישועתיך” (תהלים יג),⁣
Ayudame a cantarte con sinceridad de mi corazón, Ayeh, Ayeh, Mekom Kevodo,⁣
“איה מקום כבודו” (קדושת מוסף),⁣
Guíame en mi oración especial agradeciéndote profundamente con mi corazón.⁣
 ⁣
Translation:⁣
I feel so much pain in the morning when I get up,⁣
What’s there to do, the problems just don’t want to disappear,⁣
Deep down though I know what I’m really supposed to do,⁣
Say the word thank you and let’s get up and dance,⁣
(Tehillim 13) ‘’As for me, I trust in your kindness; my heart will rejoice in your salvation”,⁣
Help me sing to you with the sincerity of my heart “where is the place of G-d’s glory”,⁣
(Kedusha of Mussaf) “Where is the place of G-d’s glory”,⁣
Guide me in my special prayer to deeply thank you with all my heart. ⁣
 ⁣
Contact:⁣
www.reuvengarber.com⁣
info@reuvengarber.com

Flowmotion Studios, the Crown Heights studio that brought you Shmuze.Live, is proud to bring you the next episode in original kosher programming. SHMUZIK, a portmanteau of “SHMUZE” and “MUSIC” is the brainchild of Yankee Teitelbaum and Bracha Torenheim, the seasoned creative professionals behind the young studio and Yossi Zweig, Jewish Music broadcaster.⁣
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This exciting, intimate show is hosted by radio personality and music superfan, Yossi Zweig. Each subscriber gets unlimited access to unmitigated, in-depth interviews with a beautiful mix of household names and newcomers, artists, producers, industry insiders, and other luminaries of the Jewish Music industry.⁣
⁣
With all the buzz from the pilot episode of Shmuzik, literally the first show of its kind, the dynamic duo is headed back to the studio to shoot more episodes. Yossi Zweig, host of Shmuzik said “Everybody had a great time on the set of the pilot, and they kept asking, ‘when’s the next one?.’ So we knew we had to make more”. So we started to brainstorm. Since we are in the month of Elul, I said, “lets take a more meaningful look, so that’s what we did.”⁣
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Episode 2 aired last night, and features music with a deeper meaning by two talented musicians and composers, Eitan Katz and Joey Newcomb.⁣
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Each episode will feature guests from different backgrounds/genres as they “shmuze” about their experiences, new projects, life, inspirations, and anything else that crosses these original minds, because the whole thing is live! Keeping it interesting, there is also music trivia and games.⁣
The pilot, which aired in August to thousands of viewers and is available at Shmuze.live featured Sephardic singer Uri Davidi, the renowned Lubavitch singer Benny Friedman, and the Chassidic powerhouse vocalist Levy Falkowitz.⁣
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Subscribe today at shmuze.live and witness the future of Jewish programming! And get ready for Episode 2 going LIVE at 7:30PM TONIGHT. ⁣
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Watch it at shmuze.live