Yossi Green does it again. Known for his famous compositions and unique style, Yossi teams up with Naftali Schnitzler and Moshy Kraus to create a truly magical experience. The boys who sing in this album have young yet rich voices. This combines with the masterful musical arrangements for incredible listening pleasure.

Hiskabtzi: The words of this song are from hakafos on Simchas Torah. Sruly Laufer, the child soloist on this track, has a solid crisp tone and gives this hora track a truly powerful portrayal of malachim coming together “lamarom”! The boys choir is fantastic, and they sing together Yossi Green on this track.

Atoh Kodoish: The child soloist on this song is Yoely Hirsch. He has a beautiful sweet sound. This songs starts with a rock ballad feel, with some emotional saxophone. The choir then takes over with such precision in this beautiful song.

Ein Keloikeinu: Child Soloist Sruly Laufer. This is a very cool track. The song begins with vocals from Yossi Green being answered by the boys’ choir. The arrangements of this track give the hora feel a very fun feel. This is a great energetic song that the listener can really enjoy.

Riboinoi Shel Oilom – Kemoi: The words from this song are taken from seder Karbanos. The child soloist on this song is Avrum Chaim Green. He has a very soft gentle angelic voice. The song is a ballad with a heartfelt plea to the one above to look down and give his people rachamim. This is simply beautiful composition. On this track, the choir sounds very mature giving the meaning of this song real depth.

Matonoh Toivah: Child Soloist on this track is again Avrum Chaim Green. The words of this song, and title track of this album, are from the famous gemara in Meseches Shabbos along with yiddishe lyrics emphasizing the beauty of Shabbos. This track begins with a gorgeous piano introduction and opens into a unique hora sound.

Mogain Ovois: Child Soloist Sruly Laufer. This track opens with a chazzanishe style from an adult voice.  Followed by Sruly doing a beautiful job in his cantorial style solo that follows shortly afterwards. The initial choir in this track is an adult choir backing up the child soloist. The chorus “hameiniach” has a “Kah Echsof” feel to it. This is a gorgeous song for the Shabbos table!

HaToiv: Once again the child soloist on this track is Sruly Laufer. He does a great job with the quality of his sustained high notes. This track is a freilach. In addition to the children’s choir, there is an abundance of Yossi Green vocals on this track. I can see this one hitting the wedding circuit.

Zechoir Ahavas Kedumim: Lately, when I hear the words Zechoir Ahavas Kedumim, I think of the popular hora. This song takes a completely different approach. The child soloist on this track is Moshe Yida Eckstein. The track opens with a beautiful piano solo followed by the children’s choir. Then Moshe Yida has his first solo. Toward the middle of the song, you will hear Yossi Green vocals as well. The arrangements on this track are simple and pretty. The choir owns this song and does a beautiful job.

Ki Lecho Toiv: Child Soloist, you guessed it Sruly Laufer. This is an incredibly fun hora track with a lot of energy! This track features both the children’s choir and adult choir. Sruly does a fascinating job taking charge of this song. Great song!

Aderaba: Yes, you read that right, Aderaba. The child soloist on this track is Yoely Hirsch.  Yossi Green has taken a classic and reinvented it with this boys choir. They do an absolutely outstanding job and I think Aderaba will make its way back as a new “old” tune to be played during dinner sets at weddings.

Yossi, Moshy, Naftali and everyone at OhYeah Productions, very well done.

If you have ever watched any of the Mitzvah  Boulevard videos, there is no doubt that you, like me, are already hearing the theme song in your head.   Come on…everybody sing along, “Mitzvah, mitzvah, Mitzvah Boulevard, Mitzvah Boulevard. Mitzvah, mitzvah, Mitzvah Boulevard.”

I can’t tell you that Mitzvah Boulevard is aimed at adults who might get corralled into watching with the little ones, but I can tell you that my test group, consisting of a six year old, a four year old and a three year old, spent a full 35 minutes with their eyes riveted to the screen as the humans and puppets who inhabit Mitzvah Boulevard delved into an all new subject: Shabbos.

Some of the segments were cute:  interviews with kids (humans, not the puppets) talking about soup croutons, their favorite challah  and what ingredients you put in a cholent, a question that brought the standard answers (potatoes, meat, beans) and the unconventional (peanuts, pretzels.)  There was the continuous plot line of Bubby (a puppet) who invited her grandchildren (human – possibly a mixed marriage somewhere along the way?) for Shabbos, involving a talking, mustached-challah, an emergency trip by two youngsters in a battery operated kiddie car to The Market Place to buy groceries for Shabbos and a beautiful Shabbos meal with Bubby and all her little ones.

Sprinkled throughout are stories about Shabbos, songs and a cooking show involving Chef Leibish Lokshen, Chazan Chaim Feivish and a pile of lokshen that mysteriously keeps crawling away.  My favorite part of the video?  A wonderful Lamed Tes Melachos song that will no doubt have my kids soon knowing all 39 melachos way better than I ever will.

So, let’s see.  We have educational content, some decent music and 35 solid minutes of entertainment that translates into just over a half hour of peace and quiet while the younger set is entertained.  To me that sounds like a DVD worth owning, particularly with both Chanukah and winter vacations looming.

Mitzvah Boulevard Shabbos is distributed by Aderet and is available at MostlyMusic.com and wherever Jewish music is sold.

Enjoy this Chanukah song, “Survive” by Avromi Spitz, produced by Areyeh Kunstler.

Lyrics:
Through the painful Galus
Darker than darkness
Blinds my eyes

Six million of the Holocaust
Holy brethren are lost
Forever

And as I light my Menorah
My soul still a flicker
Through the cold blowing winds

And as I light my Menorah
My flame still a flicker
Holding on to its wick

My flame my soul swaying from left to right
It somehow got through the coldest of nights

Esa Enai El Heharim
M’ayin Yavo Ezri
Ezri Meim Hashem
Oseh Shmayim Varetz

I will survive
My eternal flame
My eternal soul
Am Yisrael Chai
Od Avinu Chai

Gods face so hidden
Our hearts so broken
Like an orphan

Our brothers being killed in Israel
Saying Shema Yisroel
Hear our voice

And as I light my Menorah
My soul still a flicker
Through the cold blowing winds

And as I light my Menorah
My flame still a flicker
Holding on to its wick

My flame my soul swaying from left to right
It somehow got through the coldest of nights

Esa Enai E’l Heharim
M’ayin Yavo Ezri
Ezri Meim Hashem
Oseh Shmayim Varetz

I will survive
My eternal flame- through the night
My eternal soul- through the night
Am Yisrael Chai

Yes, we will survive
Our eternal flame- through the night
Our eternal soul through the night
Am Yisroel Chai

Benny’s back! And how! Let’s talk a quick jog through an album of striking fun and poignancy.

Toda: **** Benny walks us into his new album with a solid opener. A light guitar over an electro-beat brings us into his golden voice. The lyrics (the subject being quite obvious by the title) are mostly in Ivrit, with an English section towards the end that borrows a bit from a slightly ghetto melodic lilt. I’d say it needs higher arrangement on the mix, as the horns are pushed aside by the bass and beat. The focus on “You” in the English chorus calls to mind R’ Levi Yitzchak Berditchever’s “Du”.

Im Ain: ***** Oh yeah! A criminally under-appreciated song gets new life and is sure to thrill a younger generation that has never heard of the incredible drummer and vocalist Isaac Bitton and his Raya Mehemna. This rocking rock hit is played faster than Bitton’s version (faster even than the first recording of it, “Superman”, from his pre-BT band Les Variations). But Benny and guitarist Bentzy Marcus deliver an arrangement that deeply respects, and even borrows from, those brilliant originals, while adding slight creative twists. Great selection for this album; an excellent, respectful cover.

Ribono Shel Olam: *** The lazy trumpet that begins this number is in stark contrast to strength of the previous tunes. It doesn’t do justice to the pretty melody that follows; nor to the gorgeous words of Tefillah that it contains. (Benny seems to pull out some of my favorite Tefillos – thanks!) It’s here that I’ll continue my slight critique of the backup choir – again, like earlier albums, the sound is dry rather than full, and the harmonies are so focused on being creative that they miss or blur natural harmonies. Benny, on the other hand, belts out a powerful cross harmony at 2:51 that’s a masterpiece of its own. The song’s finale isn’t up to par, though.

Fulfill Your Tefillah: **** A techno bouncer that begins in the image of Yesh Tikvah. This one’s in English, though, with Yeshivish-like dashes and quotes throughout. A fun song, with funky harmonies led by Benny’s old partner, Yitzy Spinner. Echo effects give even more color.

Al Tira: *** Broad swoops of the conductor’s wand define this number, with the majestic French horn joining strings and a harp for a beautiful arrangement. Yisroel Lamm excels with his treatment of this beautiful melody. Benny himself reaches deeper as well; his vocals here seem to have a chestier, fuller sound that borders the cantoral. I kvetch with the stiff backup guys at 4:00; they get in the way of Friedman’s clear, controlled and clarion performance. They make up for it at the finale, though.

Kol Heneshama: **** In another successful recurring theme, 8th Day rejoins Benny for a salsa/jazz/hip hop hodgepodge that’s lots of fun. As can be expected from their previous collaboration, the song has all sorts of creative juices and flavors. Vocals strike contrasting perspectives; the highly percussive arrangements ebb and flow masterfully. The English bridge that crosses over to the airy South American reed flute has a light hip hop feel, and the trio has fun in the background as the song ends.

Lehisaneg: **** A zemer eminently worth of a Shabbos table, this Ari Goldwag composition moved me from the first time I heard it. The tune fits the rhythmic wording perfectly, allowing one to see its poetic beauty. And given the easy, pleasant, Shabbosdik tune, I only wish the choir was given a more Shabbos-table feel in its harmonic voice. No need at all for shtick, kumzits-type harmony would be perfectly fine. The children’s choir, on the other hand, is pitch-perfect. Next time this Zemer comes up on my table, I know which tune I’m using.

Bum Bum: ***** Bada-boom! Here’s a hit, designed in Pharrell style, but with content to the happiness. An immediate hit. The ultra-positive tune (a collaboration between Elimelech Blumstein and Ari Goldwag) is boosted by stellar arrangements, mostly guitar based. Warbling Hammond and fun percussives; cool harmonies over the solid beat; Avi Singolda’s bold solo; the addictively enjoyable Bum-Bum-Bum – you name it, they filled this song to the top with goodies. Add all that to the fact that it is almost pleading for more creativity; whether harmonic or instrumental. This, my friends, is a fun song.

Hamalach: **** Have these words been used for too many lullabies? At least eminent composer Baruch Levine slipped the words Hinei Lo Yonum to the chorus so it’s got something to differentiate itself from the classics. In any case, slide guitars amid the full orchestral sound certainly gives it something different, with an intriguing arrangement by Tzvi Blumenfeld. And Benny puts on a show to match, expressing both range and emotion.

Yesoid Veshoiresh: *** Out of the many seforim that have been quoted by singers across the range of Jewish music, I think this is the first from that true Chassidic magnum opus, the Tanya. I guarantee there are more such quotes coming from that heavenly work. In any case, the tune here is a ‘90’s power piece; a tune (by Pinky Weber) that shows its roots in classic Jewish music. What the backup vocals were doing at 3:20, I dunno, but Benny plays off it well. Still, that section could have been reworked, IMHO. Personally, I like the first half of the song far more than the latter half, at which point creativity runs too quickly into overdone. Oh well.

Essa Einai: **** Gorgeous duet with Shlomo Simcha in a gorgeous tune, composed by Rivky Brachfeld. Why didn’t I think of that match myself?! And the two voices blend seamlessly together, aided nicely by the Yedidim Choir. Kudos to Naftali Schnitzler on the keys – another job well done by the backing orchestra.

Rak Beyachad: ***** Another Ivrit power pop hit, this one by Eli Klein. Again, catchy as can be; a definite crowd pleaser. And this time, I have no qualms whatsoever with the outstanding work by the backing choir, Shira B’Simcha.

Now that it’s over, you’ll have to excuse me – I forgot to hit repeat.

Benny, you and your crew of composers, arrangers and musicians have outdone yourselves – yet another wonderful, wonderful album. Yashar Koach, or rather, Toda!

After many likes and requests for more from their first single Shema Hashem, Raphael Benizri and Dovid Listhaus join together once again to release their new single Yehi Ratzon! This music video symbolizes the trip through hardships and darkness in our lives but also the eventual emerging from it with the praying to Hashem.

Blues and rock master Lazer Lloyd is well on his way to a new album. But you are invited to join the process! The record company has suggested that we let Lazer’s fans pick the single for the new upcoming album. All of your feedback is much appreciated.

Send all comments to https://www.facebook.com/lazerlloydmusic!

What are you singing around your menorah? Avi Piamenta and Gad Shoshani join together for this epic Maoz Tzur, wishing the whole world an incredible Chanukah! Check out this video for some superb vocals, let alone that Avi flute that we know and love!

Brand new music video from Lipa Schmeltzer and the Kinderlach, of the hit song “Kaf Al Kaf”, filmed in Israel.

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.

A.K.A. Pella has done it again! Another awesome holiday song! But this one’s got a more serious and meaningful feel to it. The Jew Who Can’t be Moved, based on The Man Who Can’t be Moved, by The Script, is a Chanukah song about the perseverance of the Jew, despite the external and internal challenges he may face. Though the culture around us may at times tempt us away from our path, and at times threaten our very existence, we stand strong with the knowledge that our way is true, and our Creator is always looking out for us.

The track was created from scratch (though it sounds very much like the original, except with major upgrades) by the talented Adam Shapiro (email AdamShapiro24@gmail.com for more info on his incredible skills and availability). The lyrics were written by A.K.A. Pella’s own Yonah Laster and Shuie Alter.

The vocals were recorded by Sara Strobel, at Wavefront Studio (as seen in studio footage) ratzonmd.com 410-764-SING
Additional background vocals recorded by Jason Goldglancz, 718-578-5089

This inspiring and fun video (filmed and edited on Chanukah!) depicts a Jew (A.K.A. Pella’s Shmuel Braun) who continues to try and spread light, despite being turned down repeatedly. Eventually he succeeds in convincing a Yid to partake in the mitzvah of menorah, at which point 3 more A.K.A. Pella members (Yonah, Shuie and CD) join in the celebration, bringing others along for some dancing and good cheer.
Watch this great video, listen to this poweful song, and you’ll be sure to keep your inner flame burning well past Chanukah!

To buy this song: http://www.nigunmusic.com/index.php?r…

To preorder our upcoming MUSICAL album:
http://www.nigunmusic.com/index.php?r…
http://mostlymusic.com/products/aka-p…

Low
Gonna light the menorah like you taught me to
Light the candles and keep ‘em there, they’ll light up the room
Got the words you told me, got this picture in my head
As I fill the cup with oil, it reminds me who I am

Low 2
Some men cave in to money, they don’t understand
They’re just broke – broken inside by whims of man
I know it’s hard to grasp, I know it’s hard to do
But take a look deep down at the flame inside of you

Chorus
‘Cause if one day I wake up and find the world seems so free
And my heart starts to wonder if there’s more out there for me
I’ll think of all that you’ve taught me ’bout who they forced us to be
And you’ll see me learning Torah, won’t take orders from the Greeks

So I’m not moving, I’m not moving

Low 3
The Greeks they said “No you can’t learn here”
I would never give in to them if it’s a day, a month, a year
Gotta stand be proud, through all the highs and the lows
If I lower my standards, there’s no telling where I’ll go

Chorus 2
‘Cause if one day I wake up and find the odds against me
And my heart starts to wonder if I could win possibly
I’ll think of all that you’ve taught me ’bout Judah the Maccabee
And one teeny jug of oil burning longer than a week

So I’m not moving, I’m not moving

Bridge
People talk about the guy that lives in his own world
Yeah he follows all the rules every mitzvah’s like a pearl
And maybe I’ll get famous as the Jew who can’t be moved
Maybe I won’t mean to but I’ll educate the youth
And they’ll come running to the Torah
‘Cause they know that it’s the truth
I’m the Jew who can’t be moved
And no Jew should ever move

Chorus 3
‘Cause if one day I wake up and find great adversity
And my heart starts to wonder if it’s the last dawn I’ll see
I’ll think of all that you taught me about my G-d’s love for me
And I’ll see Him bring the strong into the scarred hands of the weak

Chorus 4
‘Cause if one day I wake up and find my serenity
And my heart will not worry there will be no enemies
I’ll think of all that you taught me ’bout our final destiny
And you’ll see me waiting for you ‘midst the milk and the honey
So I’m not moving, I’m not moving

Gonna light the menorah like you taught me to
Light the candles and I’ll be here, I’m not gonna move

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!

Rogers Park – Beggar Woman Ft. Ruby Harris

Come enjoy the fresh new sound of Rogers Park in concert! We are excited to announce that Yisroel Arye of Brooklyn Jazz Warriors will be playing a set as well!
Sunday, December 28. 7:30pm – Chevra Ahavas Yisroel – 306 Albany Ave. Brooklyn NY – $15 at the door

For more fun visit us at: www.facebook.com/rogersparkband

Song Recorded at: Basement Record Studio
Song Mixed, Mastered, and Engineered by: Dov Gurewicz
Vocals: Rogers Park (Yosef & Mordy)
Violin: Ruby Harris
Bass Guitar: Yedidya Wiener
Song cover of Moshe Yess, Beggar Woman

Those two geniuses behind A Groyse Metsie and Peshita are at it again, with an album of Niggunim that even this Chabad niggunim junky has never heard before!

Check this out, Niggunei Chabad from the Town of Kublitz:

Produced, composed, and performed by the campers and staff of Camp Mogen Avraham with DOVID GABAY – Summer 2014

Download this song at http://mogenav.com

CREDITS:
Written and Directed by Yoel Chanales / Michael Katz / Eliezer Kaye / Dovid Klaver / Meir Peikes / Sruly Peikes
Filmed and Edited by Sruly Peikes
Composed by Dovid Klaver / Avraham Friedler
Lyrics by Dovid Gabay / Michael Katz / Dovid Klaver / Avrumy Zohn
Music Arranged and Performed by Dovid Klaver / Tzvi Lorkis
Recorded at Mogen Av Studios
Mixed by Arnie Brown

I’ll be honest – I’m not quite sure I ever expected to hear a decent choir again. My apologies to all those out there involved with boys productions, but I just find the modern choirs to be intense, sharp and somewhat obnoxious. Them’s fightin’ words, I know; but pray tell me – where can one find the simple beauty of the old Tzlil V’zemer and London School types?

I don’t know if Yossi Green set out to rectify that, but he did. I was taken by the very first song on the album, by the sincerity of the vocalists, and by the magnificent production. A well-struck balance of modern and classic tones is placed, giving rise to what I believe will be a classic in the choir genre, taking its place among classics like TzV’Z’s Vol. 2 (Aibershter) and London’s Return.

Hiskabtzi: ***** You don’t often find songs layered this well. The song begins simply enough, but by the time the choir enters the scene – crisp and clean, strong but not over-powering – the beat changes ever so slightly, almost forcing your head along with syncopation. The soloists are strong and mature throughout, and the production wisely and intriguingly stuck to the one soloist. The harmonies are unique, fun, and fairly complex, while singable. The song fades out in a gorgeous move at 3:00, slowly adding in more pieces until an explosion of orchestration and syncopation at 3:40. Well, well, played, my friends.

Ata Kudosh: ***** Just so you know, lightning didn’t strike once here. That all around solidity follows into the next piece, a reflective melody that begins with a heavier sax/guitar than might be expected. Nevertheless, keeping you on your toes, the music falls behind with a hypnotic piano that leads to the plaintive solo. They set the soloist up for a high note, but he reaches it without struggling, and neither does the choir on the high crossover. The abrupt end there is another great insertion – why should anything be standard, if you can work it out? The bridge gives spiritual oomph to the song; reaching to a very authentic Poilisher Chassidic feel, and tossing those early keys inside for depth of color. And Green’s vocals mesh beautifully with the boys throughout – alongside some stellar syncopative choral work at about 5:00.

Ein Keloikeini: **** A funky beginning with keys, electronica and some pizzicato is completely unexpected. But the song is very familiar yet, with a very classic Jewish song amidst the very creative specter created by Naftali Schnitzler. Man, is that guy on a roll. Glad they had the soloist lower in the mix, as he’s reaching for heights, just nudging his level of strain.

Ribonoi Shel Olam: **** Another beautiful song, utilizing the gorgeous words we say every morning in Korbanos. This soloist has a younger voice, but a mature usage is indicative of an excellent choir leadership – he remains sweet all the way through, avoiding the pitfalls of nasal or other somewhat atonal strain. Yossi runs through his paces with a light, whispery voice, and the choir meets him there towards the end of the song.

Matana Tova: *** A pretty piano crashes headlong into a trance keyboard, but the foundation of the song is classic Yossi Green. The arrangements here rely mostly on the heavy drum and rhythm guitar, with a bit of keyboards, and the choir doesn’t have any real chidushim, so it doesn’t quite match up to the earlier pieces. But it’s a decent song in any case.

Mogain Avos: ** A Friday night chazonus begins this waltz, the least favorite of mine on the album. Firstly, in the opening notes, the soloist strains way up high numerous times through some very difficult notes. And considering that is almost half the tune right there, well, it’s just too bad. And nothing in the rest of the fairly standard number makes up for it. And then to head him back up high for the end of the song? Why?

Hatov: *** A very typical tune, reminiscent of Jewish music back in the late ‘80’s, early ‘90’s. But it’s got an exciting arrangement to it. As with the previous song, a mite high for our soloist.

Zechoir Ahavas: *** A pretty melody, full but not spectacular arrangement. And again a high ending pushes the envelope a bit.

Ki Lecho: ***** Brilliance. Cool effects from the way beginning color this snappy tune. The heavy dance beat makes this upbeat niggun-like tune that much more exciting. And in a welcome return to the beginning of the album, the choir’s harmonies are just truly entertaining. 2:23 ushers in a salsa trumpet, which is traded for some Tish-type clapping and singing at 2:44. Awesome backing harmonies end the piece, as the choir goes up the octaves in the background one by one. Great job!

Aderaba: **** This classic Green composition and Fried classic gets a gorgeous update. The soloist sails the piece like a pro, smooth and emphatic, with every k’neitch placed perfectly. And the choir matches him note for note with top notch backing, amid a perfect arrangement.

More than solid – as stated earlier, I think this album will remain a classic choir album for a very long time. It sets high standards for compositions, arrangements, choral direction, harmonies and soloists. A fantastic album.

Never heard of Dovid Lowy? Me neither. However, Dovid Lowy’s album is a solid album with beautiful songs that are primarily sung in a kumzitz style such as Eitan Katz, or Yosef Karduner. This album features songs composed by Dovid and special guests such as Abie Rotenberg, Yosef Karduner and Ari Goldwag. These songs will be sung over and over.

Ata imadi: Song composed by Eli Klein. Arranged by Eli Klein and Yitzy Berry. This song also features the Shira B’Simcha choir. This song has a classic freilach sound with a heavy dose of horn lines. This song is a catchy tune with a costant refrain on the words “Ata Imadi”.

Elokai: Song composed by Dovid himself. Arranged by Jeff Horvitch. This song features child soloist Dovid Pearlman. There is a nice full choral arrangement at the end of this track. This is a song where the words are a perfect fit for the music. This is a beautiful ballad that really gives heart to the words that are sung in this track.

Niggun Hisorerus: Song composed by Dovid himself. Music & Choir arranged by Eli Woznica. This song features a heavy use of strings including a fiddle. This is an upbeat niggun that should fit well within dance sets. This song has an Ethan Katz style arrangement and feel to it. This is a lot of fun.

Meheira: Song composed by and featuring Abie Rotenberg. Music and choir are arranged by Eli Woznicka. Whatever Abie Rotenberg touches is gold. This is a beautiful song that I am sure will be used by many at chasunas. Though  it is a simple yet powerful arrangement, this song exudes emotion.

Horeini: Song composed by Dovid and arranged by Jeff Horvich. The choir on this track was also arranged by Dovid. The song begins with a celtic violin sound, and then opens into a classic kumzitz style arrangement. The song’s simplicity is its beauty. The words of this song are quoted at the end of Mesillas Yesharim, and the impact and importance of these words is the message that this song represents.

Ma Rabu: Song composed by Dovid and arranged by Jeff Horvich. English Lyrics provided by Eli Woznica and backup vocals by Ari Goldwag. This song is a beautiful ballad. The words Ma Rabu have always been a favorite of mine, and this song was chosen very well with this track. It is a beautiful song and a must listen!

Chamisha Kolos: Song composed by Eli Klein and arranged by Eli and Yitzy Berry and features the Shira B’Simcha Choir. This song is a hora that would fit well in a wedding dance set.

V’Hareinu: Song composed by Dovid and arranged by Jeff Horvich featuring the Moshe Roth choir. This song is a ballad with a simple guitar, drum piano arrangement. The vocals are filled with emotion and this track is simply gorgeous.

Hineni: Song composed by Dovid and arranged by Jeff Horvitch. This tracks features backup vocals by Ari Goldwag. The words of this song are from the Shlah HaKadosh and are printed in the front of most gemaras. This is an energetic rock freilach.

Hashiveinu: This song is composed by Dovid, arranged by Jeff Horvich and features a choir put together by Dovid. This track also features the legendary Yosef Karduner. This is a slow song with arrangements focused on strings including guitar and violin. There is a lot emotion in the instrumentation itself.

Video Produced by T and M Productions
https://www.youtube.com/user/tmcreati…
http://www.tandmproductions.com/

Edited by Moshe Finkelstein

Script Written by Michoel Pruzansky & Yonah Laster

Filmed by Moshe Bree & Moshe Finkelstein

Directed By DiVine Productions-Cd Eichler, Dovi Ziffer, Yonah Laster

Song composed by Yitzy Waldner

Lyrics by Yanky Glazerson, Chilu Posen, Miriam Israeli

Arranged by-Shai Barak

BackGround Vocals-Yochanan Shapiro & Avrumi Briskman

Special Thanks To Avi Vizel & Stuart Acoca of Eyes and Optics

It’s that time of year again, when every site on the Internet comes up with its summary of the year gone by, and various forms of media begin their respective awards seasons.  Here’s the problem though: the Grammys, for no apparent reason, inexplicably continue to ignore the Jewish music scene completely.

Insane, I know.

However, I have a solution: The National Academy of Recording Arts and Sciences of the United States can keep their fancy gold record player statues.  Let’s just do it ourselves.  And by “ourselves”, I really mean “myself”.  I (together with several friends and relatives who I consulted with and mostly ignored) have put together the following list of awards I would grant to the Jewish music industry if it were in my power to do so.

Before we get to the awards, here are the rules.  Only albums which were released in calendar year 2014 are eligible to be nominated or win.  Decisions are final and cannot be appealed.  This list does not reflect on the opinions of JewishMusicReport.com, its owners, editors, and other writers.  Nominees are listed in no particular order.

Here we go.  The envelope please….

Best Songs of 2014:

Slow Songs:

Slow songs make up the soul of the Jewish music scene.  Slow songs make up the bulk of dinner music at chasunahs, the heart of a kumzits, and can lift davening to new heights.  They also can allow a singer to show off the full power of his vocal range, as well as highlighting the skill of an arranger.  The very best slow songs can inspire a listener or a singer to great spiritual heights.

Our nominees:

• “Shomer Yisroel” performed by Uziah Tzadok, composed by Shlomo Yehudah Rechnitz, from the album Shir;
• “Pischi Li” performed by Simcha Leiner, composed by Yochanan Gordon, from the album Pischi Li;
• “Zeh Hakatan” performed by Yaakov Shwekey, composed by Yitzy Waldner, lyrics by Miriam Israeli, from the album Kolot;
• “Al Naharos Bavel” performed by Dani Kunstler, Yitzchok Yenowitz, and Aryeh Kunstler, featuring Avi Kunstler, composed by Avi Kunstler, from the album V’Havienu 4;
• “Essa Einai” performed by Benny Friedman, featuring Shlomo Simcha, composed by Rivky Brachfield, from the album Kol Haneshama Sheli;

And the winner is:

“Pischi Li” by Simcha Leiner

From the review: “The title track of this album, ‘Pischi Li’ is an absolute winner.  The lyrics are from Shir Hashirim (5:2), which talks (metaphorically) about the Jewish people reminiscing regretfully about lost opportunities to do teshuva during the time of the first Beis Hamikdash.  Once again, the piano playing and arrangements were done by Yanky Briskman and strings come courtesy of Misha Guttenberg.”

Discos and Horas

Discos and horas are songs which you could expect to hear during the second dance set at a wedding.  Most modern artists’ most popular upbeat songs are either discos or horas, which is why every album includes a few of them.

Here are the songs which got our legs moving:

• “Simchat Chatanim” performed by Michoel Pruzansky, composed by Yitzy Waldner, lyrics by Miriam Israeli, Yanky Glazerson, and Chilu Posen, from the album Pruz Control;
• “Hiskabtzi” performed by Yiddish Nachas, composed by Yossi Green, from the album Matanah Tovah;
• “Simcha” performed by Simcha Leiner, composed by Yitzy Waldner, from the album Pischi Li;
• “Osim Teshuva” performed by Dovid Gabay, composed by Elie Schwab, from the album Inscribed by CD Eichler
• “Et Rekod” performed by Yaakov Shwekey, composed by Yitzy Waldner and Yaakov Shwekey, from the album Kolot;

And the winner is:

“Et Rekod” by Yaakov Shwekey

From the review:  “In my opinion, this song will be the one from this album which will become the song that starts every wedding second dance for the next year or two.  This high-adrenaline hora simply rocks.  The backup vocals by Zemiros Choir enhance the arrangements by Amit Harel, and Shwekey simply nails it from beginning to end.”

Rock Songs

Rock occupies an interesting place in the Jewish music spectrum.  On one hand, there is no other genre (besides rap and electronica) more clearly influenced by non-Jewish sources than rock.  On the other hand, the line between “goyish” and “leibidik” has been stepped over so many times I’m not sure it even exists anymore.  Regardless, Jewish rock is here to stay, and the music is better for it.

The nominees are:

• “Am Yisroel” performed by Yaakov Shwekey, composed by and lyrics by Yishai Lapidot, from the album Kolot;
• “Bum Bum” performed by Benny Friedman, composed by Elimelech Blumstein and Ari Goldwag, from the album Kol Haneshama Sheli:
• “Osim Teshuva” performed by Yaakov Shwekey, featuring Metalish, composed by and lyrics by Dani Maman, from the album Kolot;
• “Yaaleh Veyavo” performed by Shloime Gertner, composed by Mona Rosenblum, Single;
• “Im Ein Ani Li” performed by Benny Friedman, composed by Robert Fitoussi and Yitzchok Bitton, from the album Kol Haneshama Sheli:

And the winner is:

“Bum Bum” by Benny Friedman

From the review: “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.”

English Songs

English songs, in my opinion, are the hardest Jewish songs to write.  Instead of grabbing a random passuk from Tanach, a songwriter is forced to put together several stanzas of lyrics that 1) make sense, and 2) aren’t cringeworthy.  Believe me, it’s a lot harder than it sounds.  The problem is that there’s only one Abie Rotenberg—and he didn’t release any albums this year.  However, 2014 did give us some very worthy entries:

• “We Are One” performed by Eli Schwebel, composed and written by Eli Schwebel, Dove Rosenblatt, and Elie Ganz, from the album Hearts Mind;
• “Teiman” performed by Ari Goldwag, composed and written by Miriam Israeli, from The English Album;
• “Don’t Stop Giving Love” performed by Eli Schwebel, composed and written by Eli Schwebel, Ari Hest, and Zach Salsberg, from the album Hearts Mind;
• “Show Your Face” performed by the New York Boys Choir, composed and written by Yitzy Bald, from the album The Sequel;
• “Choices” performed by Ari Goldwag, composed and written by Miriam Israeli, from The English Album;

And the winner is:

“We Are One” by Eli Schwebel

From the review: “As an emphatic opening statement, ‘We Are One’ hits all of the right marks—it’s an upbeat power ballad (think ‘Better Place’ by Shloime Gertner—or even ‘Let It Go’ from Frozen) with an inspirational message of permanent Jewish unity.”

Best New Artist

The “Best New Artist” award is given to the artist who 1) made an impact on Jewish music with his first album release; and 2) is a strong enough mainstream talent to hang around in the industry for a while.  While there were quite a few candidates this year, here is my short list of 5:

• Eli Schwebel, for the album Hearts Mind;
• Simcha Leiner, for the album Pischi Li;
• Yiddish Nachas, for the album Matanah Tovah;
• Dovid Lowy, for the album Atah Imadi;
• Shimmy Engel, for the album Klal;

And the winner is:

Simcha Leiner

Note: Eli Schwebel was really close to coming away with this award, but I decided to err on the side of the more mainstream artist.  More on Eli later.

Albums:

Best Solo Album

The solo album is the bread and butter of the entire music industry, let alone the Jewish Music industry.  Individual artists make it their business to make sure that they never sound better than they do on their studio recordings, which inspire us to hire them for concerts, weddings, and events—which in turn finance their next albums, and the cycle begins again.

This year’s nominees for Best Solo Album are:

• Kolot by Yaakov Shwekey, produced by Yochi Briskman
• Pruz Control by Michoel Pruzansky, produced by Michoel Pruzansky and Yochanan Shapiro
• Hearts Mind by Eli Schwebel, produced by Eli Schwebel and Assaf Spector
• Pischi Li by Simcha Leiner, produced by Yochi Briskman
• Kol Haneshama Sheli by Benny Friedman, produced by Benny Friedman and Sruly Meyer

And the winner is:

Kolot by Yaakov Shwekey

Despite being nearly a full year since its release, Kolot continues to amaze and impress.  Albums like Kolot serve as continuous reminders to the rest of us mortals that there is only one Shwekey, and that we are not him.

Best Group, Choir, or A Capella Album

Groups are nearly as important to the Jewish music scene as are soloists.  Where would the industry be today without the great vocal ensembles of the past like The Rabbi’s Sons, Dveykus, Ohr Chodosh, and the Diaspora Yeshiva Band?  Or choirs like Miami, Tzlil V’Zemer, and Amudei Shaish?  Does anyone still remember what sefirah was like before Lev Tahor came around?

Here are this year’s nominees:

• V’Havienu 4 by Dani Kunstler, Yitzchok Yenowitz, and Aryeh Kunstler, produced by Dani and Aryeh Kunstler
• Matanah Tovah by Yossi Green and Yiddish Nachas, produced by Moshy Kraus
• One Day More by the Maccabeats, produced by Julian Horowitz
• Am Yisroel by the Shira Chadasha Boys Choir, produced by R’ Nachman Seltzer
• The Sequel by the New York Boys Choir, produced by Yitzy Bald

And the winner is:

V’Havienu 4 by Dani Kunstler, Yitzchok Yenowitz, and Aryeh Kunstler

V’Havienu 4 got all of the ingredients right—great songs, talented singers, impeccable arrangements, and a unique flavor.  If you like good music, you will like V’Havienu 4.

Honorable Mention in this category goes to Yiddish Nachas for the year’s best boys’ choir album (review to come IY”H soon) and to the Maccabeats for the year’s best sefirah/Three Weeks album (read the review here).

Best Collaboration or Compilation Album

All Star albums, wedding albums, live concerts with multiple headliners, and Greatest Hits albums are all included in this category, which has always been a personal favorite of mine. It may sound like a cliché, but really sometimes a project is more than just the sum of its parts.

This year’s nominees include:

• Shir: Compositions of Shlomo Yehudah Rechnitz (All Star Album), produced by Yossi Rubin and David Fadida
• Inscribed (All Star Album), produced by CD Eichler
• Beats by EvanAl and Yoely Greenfeld (Wedding Album), produced by Naftali Schnitzler
• Shades of Green IV: Varemkeit by Yossi Green and Shragee Gestetner (Greatest Hits Album)
• A Time for Music XXVII: 40 Years of Camp HASC by HASC (Live Concert Collaboration)

And the winner is:

A Time for Music XXVII: 40 Years of Camp HASC

I’m just a sap for the HASC Concert.  And Avremel.  And Abie.  And Benny.  Not apologizing.

SPECIAL AWARDS

Trend of the Year

Winner: Achdus

More like Trend of The Last Three Years.  “Achdus” beat out a couple of strong contenders for this award, including drum machines, AutoTune, and #BringBackOurBoys, but the winner was always going to be Achdus.  The movement started by “Yesh Tikvah” in 2012 is simply out of control.  Just look at the following list:

• “Am Yisroel” (Shwekey)
• “We Are One” (Eli Schwebel)
• “Am Echad” (Michoel Pruzansky)
• “Am Echad” (a capella) (Ari Goldwag)
• “Yachad” (Beri Weber)
• “Am Yisroel” (x2) (Shira Chadasha)
• “Rak Beyachad” (Benny Friedman)
• “Kulam B’Lev Echad” (Yehudah Green)

That’s NINE Achdus-themed songs (including both versions of the Shira Chadasha song)—released in the past twelve months alone.  That doesn’t even include songs from 2013 like the original version of “Am Echad”, or “Better Place” and “Imagine” by Shloime Gertner.  We could put out an entire album of just new, unity-themed songs. That’s why I think it’s appropriate that the one who started the trend, Benny Friedman, should pull down the curtain on it with “Rak Beyachad”, the last track of his newest album.  We got it, music people.  Unity is good.  Thanks for the message.  Now go sing about something else.

The “Shiru Lamelech” Award

Winner: “V’Afilu B’Hastarah” by Yoely Klein

For those of you who have never heard of the award I just made up: Yeedle came out with his third album, Shiru Lamelech, in 1998.  A year later, someone in my yeshiva happened to be singing the title song of that album in front of the Rosh Yeshiva, who took a liking to the song.  Before I knew it, the song was everywhere, and not just in my yeshiva.  To this very day, people just keep on singing it.  The only song which that happened to this year was Yoely Klein’s Breslover-style kumzitz ballad, “V’afilu B’Hastarah”, which exploded onto the scene during Operation Protective Edge, when it may have seemed like there was some serious “hester panim” going on.  Before anyone realized it, covers and remixes were popping up all over the Internet.  Benny Friedman, Beri Weber, Chaim Yisrael, Maydad Tasa, Yehudah Green, and literally dozens of others tried their hand at the newest big thing.  Incredible.

Trailblazer Award

Winner: Eli Schwebel, for the album Hearts Mind

I can’t emphasize enough how much impact Eli Schwebel’s album had on my outlook of Jewish Music.  It’s not just that Eli studied at the knee of the world’s greatest Jewish lyricist, Abie Rotenberg, or that he obviously has immense musical talent.  It’s that he can draw on his life experiences to write music which—despite sounding like it actually belongs in the 21^st century—is as Jewish as it comes.  Whether he is singing about Achdus (“We Are One”), a Jew’s relationship with Hashem (“Aibishter”), Shabbos (“Shabbos Takes Me Home”), or Ahavas Yisroel (“Don’t Stop Giving Love”), Eli’s music and lyrics hit home.  In an industry where going against the grain can be a career-ender, I hope Eli’s music can continue to find audiences wherever he goes—it’s a sorely needed breath of fresh air.

BEST OF THE BEST

OK, here we go.  As you might expect, the nominees for Best Song and Best Album of 2014 are taken from the nominees and winners of the various categories, which we spent a good amount of time on above.

The nominees are:

Best Song of 2014

• “Bum Bum” performed by Benny Friedman, composed by Elimelech Blumstein and Ari Goldwag, from the album Kol Haneshama Sheli:
• “Hiskabtzi” performed by Yiddish Nachas, composed by Yossi Green, from the album Matanah Tovah;
• “Et Rekod” performed by Yaakov Shwekey, composed by Yitzy Waldner and Yaakov Shwekey, from the album Kolot;
• “We Are One” performed by Eli Schwebel, composed and written by Eli Schwebel, Dove Rosenblatt, and Elie Ganz, from the album Hearts Mind;
• “Pischi Li” performed by Simcha Leiner, composed by Yochanan Gordon, from the album Pischi Li;

Album of the Year

• Kolot by Yaakov Shwekey, produced by Yochi Briskman;
• Hearts Mind by Eli Schwebel, produced by Eli Schwebel and Assaf Spector;
• Kol Haneshama Sheli by Benny Friedman, produced by Benny Friedman and Sruly Meyer;
• V’Havienu 4 by Dani Kunstler, Yitzchok Yenowitz, and Aryeh Kunstler, produced by Dani and Aryeh Kunstler;
• Matanah Tovah by Yossi Green and Yiddish Nachas, produced by Moshy Kraus;

And the winners are…:

Song: “Et Rekod” by Yaakov Shwekey

Album: Kolot by Yaakov Shwekey

Not much else to say, is there?  He’s done it again.  There is a reason the man sells out every venue he plays—whether it’s a few hundred people at a camp concert or nearly 12,000 at a basketball stadium.  Kolot is a true masterpiece: it has a unique sound like Libi Bamizrach, but it’s still mainstream like Cry No More.

And doesn’t it make sense that the best song on the best album wins the award?  Yaakov Shwekey, enjoy your new imaginary hardware for your mantelpiece.  Now, it’s time to dance.

Thank you to the editors and to all of my readers for an amazing first year at JMR.  Here’s looking forward to a great 2015.

[THE EDITORS OF JEWISHMUSICREPORT.COM INVITE ALL READERS TO
SUBMIT THEIR OWN CHOICES IN THE COMMENT SECTION]

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.

We tend to find ourselves so busy that we never stop to see that The Creator of the world is apparent in everything around us. We don’t need to see open miracles or even search to the ends of the World to find Him. This Video demonstrates how a simple leaf can bring one to this awareness- all you have to do is just open your eyes!

Lyrics:
(שאו מרום עיניכם וראו מי ברא אלה(ישעי’ מ
(מה רבו מעשיך ה’ כולם בחכמה עשית מלאה הארץ קנינך (תהילים קד
Translation:
“Raise your eyes and see Who created these”
“How abundant are Your works, Hashem; All of them with wisdom You made.The land is full of Your possessions.”

English Lyrics: Credit to Eli Woznica
I see You,
I see You in the Earth and the heavens and stars,
Sometimes You seem hidden, Your hand in disguise,
But all we must do- is just open our eyes!

Song Composed by: Dovid Lowy
Special Thanks to: Eli Woznica
Arranged by: Jeff Horvitch
Backup Vocals by: Ari Goldwag