Bitrate:320K/s
Year:2011
Time:61:42
Size:142,4 MB
Label:Self-Released
Styles:Blues/Blues Rock/Rock/Jazz Rock/Mix
Art:Front
Year:2011
Time:61:42
Size:142,4 MB
Label:Self-Released
Styles:Blues/Blues Rock/Rock/Jazz Rock/Mix
Art:Front
Tracks Listing:
1. Drifting - 6:26
2. Marked For Life - 6:17
3. Lover's Dance - 6:26
4. Dare To Stand Out - 4:33
5. Night Owl - 4:25
6. Black Coffee - 5:37
7. You Don't Call The Shots - 6:08
8. Why Are You Running From Yourself? - 5:05
9. Lover - 5:51
10. Didn't Your Mama Tell You? - 4:12
11. Embrace I - 2:50
12. Embrace Ii - 3:48
1. Drifting - 6:26
2. Marked For Life - 6:17
3. Lover's Dance - 6:26
4. Dare To Stand Out - 4:33
5. Night Owl - 4:25
6. Black Coffee - 5:37
7. You Don't Call The Shots - 6:08
8. Why Are You Running From Yourself? - 5:05
9. Lover - 5:51
10. Didn't Your Mama Tell You? - 4:12
11. Embrace I - 2:50
12. Embrace Ii - 3:48
Text: Eric Campfens(September, 2011)
Following their excellent debut album, *Somewhere Down The Road* (2008), and exciting performances both at home and abroad, expectations for the second album were high. This was due in no small part to Mariëlla herself, who kept us regularly updated on their progress. Indeed, when it comes to PR, Mariëlla is a star.
To recap: the band is built around Mariëlla Tirotto (vocals) and her husband Heins Greten (bass and piano). Rounding out the lineup are guitarist Harald Koll, harmonica player Michel de Kok, drummer John Kakiay, and percussionist Onny Tuhumena.
Lying before me now is their second album, *Dare To Stand Out*. Of the twelve tracks, eleven were written by Mariëlla, Harald, and Heins—either individually or in various collaborations. I particularly appreciate that the lyrics to the original songs are included in the booklet. And, just as with the first album, the songs deal with subjects close to their hearts; these tracks are even more personal than those on their debut.
The opening notes arrive with Harald’s blistering guitar licks and Michel’s blues harp. What an intro—it instantly grabs your attention. "Drifting" is a rocking blues track in which Harald really cuts loose on the guitar during the first solo, while Michel handles the second. Mariëlla’s rich, deep voice glides over the tight rhythm section, creating a pleasing tension. A great start. “Marked For Life” is another high-energy blues track with dark lyrics. The harmonica adds an extra dimension—not just during the solo, but especially in the quiet middle section, where it delivers a plaintive, wailing tone. The tempo drops drastically for “Lover’s Dance,” yet the track is no less thrilling. This almost atmospheric song left your reviewer needing a cold shower and a lie-down; suffice it to say, it was intense. Things pick up the pace again with the title track, an anthem encouraging listeners to chase their dreams and stand up for themselves—all driven by blistering guitar work and a driving harmonica.
“Night Owl” is an upbeat rocker featuring equally spirited solos from Michel and Harald. The next track, “Black Coffee,” is the album’s only cover. It is a standard penned by Burke and Webster—famously performed by the likes of Peggy Lee, Ella Fitzgerald, and Sarah Vaughan. It’s a laid-back number featuring Heins’s jazzy piano; he adopts a “less is more” approach during the solo, creating the perfect mood by allowing the music to breathe. Michel’s restrained playing rounds it off beautifully. The swinging “You Don’t Call The Shots” is defined by a driving bassline and surprising tempo shifts. Musically—thanks in part to Harald’s guitar—it evokes the jazzy rock style of Steely Dan... until Mariëlla breaks into a rap towards the end. Unexpected, yet thoroughly enjoyable. With “Why Are You Running From Yourself,” we leave the jazz excursion behind and return to straight-up rock. It is an almost menacing track that erupts into a percussion and drum solo, followed by a razor-sharp, lightning-fast guitar solo.
The most personal song, Mariëlla told me, is “Lover.” She wrote it specifically for Heins—a beautiful ballad with lovely, deeply personal lyrics. “Didn’t Your Mama Tell You” is another great rocker with a cautionary message. The album concludes with two instrumentals written by Harald: “Embrace I” and “Embrace II.” The first—partly due to its Latin rhythm—is reminiscent of Santana in his prime, while the second picks up the pace, featuring a prominent duel between drums and percussion, framed by harmonica and swinging piano work. Personally, I found this a somewhat unusual way to close an album by a band with “blues” in its name; I had expected a high-energy blues track, though after listening to the album a few more times, I feel it actually fits quite well.
Mariëlla Tirotto & The Blues Federation have lived up to the very high expectations and released another excellent album. I’ve played it several times already, and I still can’t get enough of it. Congratulations on this achievement. Highly recommended!
Following their excellent debut album, *Somewhere Down The Road* (2008), and exciting performances both at home and abroad, expectations for the second album were high. This was due in no small part to Mariëlla herself, who kept us regularly updated on their progress. Indeed, when it comes to PR, Mariëlla is a star.
To recap: the band is built around Mariëlla Tirotto (vocals) and her husband Heins Greten (bass and piano). Rounding out the lineup are guitarist Harald Koll, harmonica player Michel de Kok, drummer John Kakiay, and percussionist Onny Tuhumena.
Lying before me now is their second album, *Dare To Stand Out*. Of the twelve tracks, eleven were written by Mariëlla, Harald, and Heins—either individually or in various collaborations. I particularly appreciate that the lyrics to the original songs are included in the booklet. And, just as with the first album, the songs deal with subjects close to their hearts; these tracks are even more personal than those on their debut.
The opening notes arrive with Harald’s blistering guitar licks and Michel’s blues harp. What an intro—it instantly grabs your attention. "Drifting" is a rocking blues track in which Harald really cuts loose on the guitar during the first solo, while Michel handles the second. Mariëlla’s rich, deep voice glides over the tight rhythm section, creating a pleasing tension. A great start. “Marked For Life” is another high-energy blues track with dark lyrics. The harmonica adds an extra dimension—not just during the solo, but especially in the quiet middle section, where it delivers a plaintive, wailing tone. The tempo drops drastically for “Lover’s Dance,” yet the track is no less thrilling. This almost atmospheric song left your reviewer needing a cold shower and a lie-down; suffice it to say, it was intense. Things pick up the pace again with the title track, an anthem encouraging listeners to chase their dreams and stand up for themselves—all driven by blistering guitar work and a driving harmonica.
“Night Owl” is an upbeat rocker featuring equally spirited solos from Michel and Harald. The next track, “Black Coffee,” is the album’s only cover. It is a standard penned by Burke and Webster—famously performed by the likes of Peggy Lee, Ella Fitzgerald, and Sarah Vaughan. It’s a laid-back number featuring Heins’s jazzy piano; he adopts a “less is more” approach during the solo, creating the perfect mood by allowing the music to breathe. Michel’s restrained playing rounds it off beautifully. The swinging “You Don’t Call The Shots” is defined by a driving bassline and surprising tempo shifts. Musically—thanks in part to Harald’s guitar—it evokes the jazzy rock style of Steely Dan... until Mariëlla breaks into a rap towards the end. Unexpected, yet thoroughly enjoyable. With “Why Are You Running From Yourself,” we leave the jazz excursion behind and return to straight-up rock. It is an almost menacing track that erupts into a percussion and drum solo, followed by a razor-sharp, lightning-fast guitar solo.
The most personal song, Mariëlla told me, is “Lover.” She wrote it specifically for Heins—a beautiful ballad with lovely, deeply personal lyrics. “Didn’t Your Mama Tell You” is another great rocker with a cautionary message. The album concludes with two instrumentals written by Harald: “Embrace I” and “Embrace II.” The first—partly due to its Latin rhythm—is reminiscent of Santana in his prime, while the second picks up the pace, featuring a prominent duel between drums and percussion, framed by harmonica and swinging piano work. Personally, I found this a somewhat unusual way to close an album by a band with “blues” in its name; I had expected a high-energy blues track, though after listening to the album a few more times, I feel it actually fits quite well.
Mariëlla Tirotto & The Blues Federation have lived up to the very high expectations and released another excellent album. I’ve played it several times already, and I still can’t get enough of it. Congratulations on this achievement. Highly recommended!
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