It’s in no way easy to pull off “cool” in the music business, especially as a young artist. Granted yes, some new artists are cool for a few months… only to then check out to the musty waters of “One Hit Wondervillle” or out the gate think being cool is just wearing nice clothes and dating the latest supermodel. Others though, the real pros – the ones who when thrust into the limelight – do it effortlessly like John Legend, Michael Buble, Jay Z, the White Stripes, etc… are experts because well… they’re just cool for life. They show us that cool is more than just style – it’s about attitude and form. And to this point, you must admit that the coolest form of music out there is jazz. Yes, hip-hop has the attitude thing down pat, and pop stars can make you want to hang up posters of squeaky clean teens, but jazz will live on forever. The aura around jazz itself is a blend of sex, style, art and creativity that doesn’t allow just anyone to join its inner circle. You can either rise to the level of elite or end up singing bad covers in a hotel lobby outside of some random airport.

So when the Brooklyn-based Israeli artist known as J.Viewz – the jazz induced, electronic project from Jonathan Dagan was sent my way by a fantastic publicist I’ve known for years (who has yet to disappoint me), I was a little hesitant about immediately jumping on the band wagon. I read the bio – award winning, chart topping, radio play, etc. – all very impressive. But it was when I clicked on a YouTube link to J.Viewz’s jazz inspired take on Michael Jackson’s “Smooth Criminal” that I was totally sucked in.  Set in a dim lit bar afterhours, J.Viewz sets the stage for an interpretation of Jackson’s hit like I’ve never seen. The first word that came to mind, very simply – cool.

Dagan grew up listening to industrial music and progressive rock– “It’s still a part of what I’m listening to these days, so I’m not really sure where this came from. I think it’s the freedom in programming and engineering that I was after which drove me into jazz to begin with.” Dagan adds, “I gradually found how it can work in a natural way with breakbeat or rock, and I’m trying to incorporate this type of production in almost everything I work on.” Whether viral or in person, J.Viewz shows are knocking fans left and right between jazz, electronica reggae and everything in between. “When creating the live version of this project I felt like I had the choice to go along with the vibe that exists on J.Viewz’s studio releases, which is sort of calm, and could even be background music. But I chose to go full-on with it and take everything a few notches up in terms of energy and power. So we present some different versions to all songs, we go from jazz to electro to reggae to breakbeat, and the main thing that I find interesting in this show is the combination of the electronic elements with whatever is going on with the acoustic elements on stage.”

Recently, J.Viewz’s latest EP, “The Besides” has been grabbing attention, filled with a range of tunes including their interpretation of classic covers like “Smooth Criminal”, a Nina Simone Remix, and other edits for tracks from the first J.Viewz’s album “Muse Breaks”. “The Besides” is a compilation that showcases why J.Viewz is bringing jazz to the new millennium. “Every tune is very different from the other as it wasn’t written as an ‘album’ to begin with, but as single tunes. It shows a funkier side of J.Viewz I feel, not as relaxed as ‘Muse Breaks’. It also shows the change that my music has gone through by being exposed to the crowd in live shows and the group work of the live act itself… It also gives a taste of my works as a remixer with the Seeline Woman Remix and the Remix of Yasmin Levi’s ‘Naci en Alamo (Vengo)’.”

J.Viewz is a stunning example of what happens when a creative mind with classic roots can use modern tools to twist one of America’s finest forms of music. To take the slickest style and make it better? That’s a gutsy move… but when you successfully pull it off, it’s just plain cool.

For more on J.Viewz check out: www.jviewz.com and as always, to check out the best musical talent from across the globe, visit www.PensEyeView.com.

Nearing 500 consecutive features on PensEyeView.com, I’ve never featured the same artist/act/work more than once and I don’t plan to for my Tuned In blog either… but for this one – I’ll make a slight exception because, I got ‘em! Got who you ask? Well, if you have been following my blogs, you’ll see that I posted one earlier about an elusive artist from Baltimore by the name of Adam Duritz, lead singer of the Counting Crows – one of my the top musicians I have yet to cross off of my “Must See” list. That was until, ironically, only weeks after posting my Tuned In blog about his very entertaining social media entries did his people finally connect with me and I got to review him live in person.

Aside from watching my gorgeous little girl take her first steps, The Traveling Circus and Medicine Show concert featuring the Counting Crows, Michael Franti and Augustana (both of which I highly recommend checking out) was the highlight of my summer. When the circus arrived at the acclaimed Merriweather Post Pavilion last month and set up tent, the ring master himself –Duritz – was graciously welcomed home as one of Baltimore’s favorite sons as he peeked through the curtain to the loyal band of followers patiently waiting. Covering music for a while now, I’ve been lucky enough to attend many, many concerts, however, this time it was a little different – a little more personal. Now, I know the professional oath journalists take says we aren’t allowed to claim a “favorite” or make things personal, but once in a while, you have to let your guard down or at least lower the sword.

I first discovered the Counting Crows back in 1994 when I saw this wild character with long dreads, dancing around on the stage of Saturday Night Live singing “Mr. Jones”. I was hooked. The next day I begged my mom to drive to the local record store (anyone remember those places?) and bought a tape (how about? Remember them?) of “August and Everything After”, the Counting Crows debut record and the first album I ever purchased with my own money. It may sound cheesy but that collection started a new chapter in my life and helped me discover my love for music. With that said, I have to say there is something pretty amazing about watching one your favorite bands sing some of your favorite songs within an arm’s reach.

The flow and set up of the concert was nothing like your normal rock show; I mean, rarely – if ever – do the opening acts get this much attention. And I dare say, never does the main act, an hour before the show even starts when most people are still filing in, sit on the edge of the stage and play an acoustic set. Unheard of. So rare, that most people didn’t even believe it was Duritz and Immy perched on the edge of the stage at 7 o’clock! The commotion around me matched the crowd’s reaction, press folks saying “There is no way… can it really be them?”  And rightfully so, I mean, would any top artist do this today?

One fantastic highlight of this surprise jam session was when drummer Jim Bogios used just his hands and a thick book with a pocket mic mounted on the end as his “drum set”. I was laughing just thinking of him concocting this concept knowing some press person – insert me – would eagerly inquire about why he picked that book (which may not be appropriate for this blog but trust me it was very funny). Then like a vanishing act, the ring master and his lively flock headed back behind the curtain with another promise to be back again shortly.

When the curtain finally came up this time, every act in the Traveling Circus was there, including special guest Emmy Rossum who showcased her own vocal skills. The three groups; Counting Crows, Michael Franti and Spearhead along with Augustana all took turns sharing their stage… the way it should be done. This wasn’t your typical show where the opening acts – who you should be listening to – get little to no crowd since they come on before you’re even in the ticket line.

Both Michael and Augustana had their chance to perform in front of the packed Merriweather Post Pavilion, then slowly giving way for Augustana to perform alone. Then one by one, the other members came back on, and then slowly drifted away for Michael Franti to take center stage. You didn’t even realize the transition; it just worked perfectly. Finally, the Counting Crows took the main stage and everyone…connected. And even though Duritz calls New York and California his home now, the Baltimore native gave several shout outs to Baltimore, including an emphasis on lyrics such as “I was born on the shores of the Chesapeake Bay” and “Baltimore! I –Am – Home!”

This concert was one of the purest forms of musicianship I have ever seen… period. It was great to see the “opening acts” (a term I despise) get their fair share of the spotlight and refreshing to witness the headliner remain on stage with them to perform. This wasn’t mandatory – it is a Counting Crows tour after all, but this was a combined effort that fans won’t soon forget – the way it should be.

In my opinion, the world is divided into two kinds of people: those that wish, and those that see their wishes through.

Baltimore native Adam Kirr, the young singer and songwriter with more gusto than one man can handle is very much the latter. Kirr says, “Deciding to become a musician was just something that I felt like I had to do. As far back as I can remember, my intuition and heart has driven me towards music.” And drove him it did… all the way to Los Angeles – the hardest and most rewarding place in America to pursue a music career. Since then, it’s been nothing but driving forward for Kirr, because after all, he has what it takes to see his wish through to the end.

And it’s a good thing this is the case… because you don’t pull into Los Angeles to record execs with open arms. It took some time for Kirr to warm up to the LA scene, so in the meantime,  he needed to find a job. And wouldn’t you know it, Kirr found one in the music business and ironically, for one of the biggest musicians of his generation - Scott Weiland of the Stone Temple Pilots.
“I found a post on Craigslist for a ‘confidential record company’ seeking interns to help promote a new record. Having zero contacts in L.A. I thought I’d give it a shot. The company ended up being Scott Weiland’s new record label and I basically promoted his newest solo record online.”

Talk about a break! Kerr says, “I built a good relationship with Scott and his manager… I was asked to go on tour with The Scott Weiland Band to help sell merchandise. Touring was an incredible experience. Bonding with the band and crew, the long drives between cities, and just living on a professional tour bus was simply: Surreal.” I can see the email now, “Dear mom, dad and every single person I’ve ever known, I’m going on tour with SCOTT F’N WEINLAND!” Or at least, that’s how I would have handled it.

Okay, okay, this just doesn’t happen, right? I mean, how do you go from knowing no one to now touring for a legend in the music business? Very simply, Kirr saw it through. Weiland’s team didn’t have to give him a job, but they did. They didn’t have to invite him on tour… but they did. Kirr, has what it takes to do whatever is asked to make his dreams come true (plus Faith Hill’s first gig was for the Reba McEntire Fan Club, and that worked out pretty well).

In all of my time writing and covering musicians (over 450 of them to be sure), the same thing rings true; it’s the ones that want it the most that make it. It may not be now or tomorrow or even next year (sorry Mr. and Mrs. Kirr)… but it will happen. As Kirr says, “I have various ideas and philosophies about life and I love to color them with music.” Well make us proud Kirr and don’t forget I call first interview when you get your Grammy.

For more information on Adam Kirr, check out www.adamkirr.com and as always http://www.PensEyeView.com

A year ago, when I wanted to research an artist, I checked their web site, MySpace page, Facebook page, press releases; everything I could to find out exactly what they were up to. With all of that information in hand, I’d then create some questions for an in-depth interview, hoping to learn more about the artist behind the music, not just about the “mega famous celebrity”.

With over 425 interviews on PensEyeView.com over the past two years, I’ve learned a lot about artists I only knew from the radio – people I’ve admired for years that have been willing to open up to me, whether I was sitting in front of them, on the phone or corresponding through email.  But still, I wanted more. Despite getting great answers, I’ve always liked the more random questions that happen to come up during a conversation, like finding out the drummer from Lifehouse is an extreme germaphobe or how before every show, Puddle of Mudd has what they call a “Puddle Huddle” in which they gather around and say a prayer, or that Marc – the lead singer of OAR – enjoys being the handyman of the house, albeit more of a Tim “The Toolman” Taylor he admits.  Those are the kind of topics I like to cover. Those are the answers I like to get. A year ago, if I didn’t ask those kinds of questions, I’d walk away not knowing things like what these artists had for breakfast, who they ran into while jogging in Central Park or even where to get the best burger on the road… that was until Twitter came along.

Ah yes, Twitter, the little website that broadcasts 140 character messages to the world about anything you like. Some people love it, some people hate it but everyone has heard of it. Twitter is like a writer’s heaven of information from artists who are usually reserved and restrained. It also allows the artist to open up on an entirely new platform, letting followers tap into their unique thought process. And of my favorite Twitterers to follow, Adam Duritz - the lead singer of The Counting Crows who grew up in the Baltimore Jewish community - takes the cake. I work closely with his label, yet despite numerous interview requests, the dreadlocked poet has eluded me. Last year I was scheduled to interview him, along with several other writers that day, but due to a scheduling conflict, it never happened. Don’t get me wrong, it’s completely understandable and I’m by no means upset with him. I mean when your e-magazine is on the same call sheet as Rolling Stone, things come up and there is only time for so many interviews - it’s just a part of the biz. However, when I started to follow him on Twitter, I began learning so much about the lead singer of my favorite band.

For example:

Like a line out of one of his songs: I like the idea of Independence Day as a concept & for everyone else but I think I’d be happier if I could just survive being dependant instead. (10:27 PM, July 7th)

Why check TV Guide when you know the star? An inside scoop to actress Eliza (Patricia) Dushku, the star of Dollhouse: @ElizaPatricia: Sorry if you’ve been asked a thousand times but is DOLLHOUSE coming back? I’m addicted. (11:59 PM July 4th)

Gracious: Thank you so much to Sioux City. 30,000 people & you were the best audience any band could ever hope for. St. Louis & Sioux City were the joint. (11:53 PM July 4th)

Caught in thought: In retrospect, Sioux City was the perfect place to be today. I can’t imagine anywhere I would rather have played on the 4th of July. (11:50 PM July 4th)

Random thought: @Rachy123075: I suddenly remembered some ex-gf making me monkey bread years ago but I can’t remember who it was or what it is? (11:38 PM July 4th)

Ready to rock!: Now leave me alone. I have to make the setlist. (1:41 PM Jul 4th)

Granted from these tweets, I don’t know everything there is to know about Adam Duritz and the Counting Crows but as a fan it’s fun. I like knowing that the artists I listen to and pay to see in concert, are on some level, just like me. After all, 414,842 other people (and growing) like the fact that Adam enjoys sci-fi TV shows, celebrating the 4th of July and some monkey bread every now and then… even if he can’t trace who gave it to him. Well, now I know what to bring for lunch when I get the interview.

To discover great new artists, check out http://www.PensEyeView.com and drop me a line. Every great idea starts with a pen, paper and a vision.

New York City was the supreme destination for most of my fellow art graduates at The University of Maryland College Park (Go Terps!) – it’s a common path for budding musicians and artists, NYC after all being the east coast epicenter of modern culture. While I wouldn’t be taking the trip up north, I was excited for each of my classmates and wished them the best. However, when I asked each one where they were going to work or what they were going to do, each had the same canned answer revolving around the notion of “not selling out and living an artist’s life.”

Well, what is an artist’s life? To them, this meant living on a futon in some dilapidated studio apartment, with nothing more than paint brushes and canvases. Quite the contradiction to the $150 “vintage” jeans and t-shirts from Nordstrom’s they wore to class each day. My classmates thought that “looking the part” meant “living the part.” As if the curator from MoMA is going to magically appear on their doorstep and grant them a gallery opening, just because they were able to say they were starving artists. Good luck with that.

Harsh? Maybe. But I never understood the notion that all artists and musicians are supposed to look, act and live a certain way. To believe that you will be handed success the minute you get out of the Lincoln Tunnel because you resemble an artist sounds downright absurd to me.

I want to hear about artists who are standing out as individuals – the kind that stand out because of who they really are, not who they want to be. One artist that came to me via PensEyeView.com who embodied such individualism was Baltimore native and current NYC resident, Monica Ott; a stunning example of someone who is just going for it. Shortly after arriving to the Big Apple, Ott played her first live NYC performance at famed CBGB’s and even became part of the prestigious NYC Songwriter’s Circle, beating out 1000’s of others to garner an honorable mention in last year’s songwriting contest. Ott says, “I played solo [at CBGBs] so it was just me and my guitar. All I was thinking throughout those few songs was just ‘don’t screw up’... I know my voice was shaking the whole time and my fingers were sweaty and cramping up.” That’s what I like to hear – someone who has the guts to put themselves out there. Playing your first NYC show a world renowned venue in one of the music capitals of the world, alone? That’s a little thing in the biz we like to call chutzpah.

Following up on the inclusion of her song “The Way We Used to Be” on the play list of the NYC Songwriter’s Circle’s recent compilation album, Ott has released an entire collection titled “Only Human”. More comfortable to in the realm of power vocalists like Alanis Morissette, Ott says, “I think that everyone will be able to relate to these songs. I tend to write about stuff that many people feel but don’t talk about. I think that my voice is different from the female voices that are popular right now [the soft, gentle, almost whispery voices].  My voice is very full and I tend to really sing out on every song.”

While Ott has adapted quite well to the NYC lifestyle, she still remains an individual – a true sign of a natural artist. She’s also smart enough to realize her development as an artist. She wanted a certain sound and presence so she trained for it and has come a long way since that first CBGB performance. “My songs are more structured now, my voice is much stronger, and my confidence is definitely much higher.  Plus, now I see performing as a thing I love to do, not something I think I should do.” Monica Ott may not be known around the world – (yet), but knowing how to navigate herself around the music world will make her name one you won’t soon forget.

For more information on Monica Ott, check out: http://www.myspace.com/monicaott

And for all the best artists out today, check out http://www.PensEyeView.com

The phrase, “everything happens for a reason” has never sat well with me. Even when the end result was rewarding, I was never able to look back and say, “I’m so glad that happened.”  Don’t get me wrong, I have always considered myself an optimist but it’s hard to think positive in rough times. Take my first job out of college for example; headed by a crooked boss that had a habit of bouncing my paychecks on a regular basis. Even though quitting paved the way for opportunities like starting PensEyeView.com, it is still hard to think, “Yeah, it was worth it.”

Then again, sometimes that saying fits perfectly. It did for Tacoma Park, Maryland native and now world renowned singer/songwriter, Eric Hutchinson, that’s for sure. After achieving a musician’s dream of landing a major record deal, Hutchinson had the rug pulled from underneath him flipping his dreams upside down when his label’s parent company fell apart. However Hutchinson, who considers himself “constantly-optimistic,” landed firmly on his feet, accepting the situation for what it was and moving forward, releasing his debut record, “Sounds Like This” on his own label, Let’s Break Records. The result was something that even Hutchinson couldn’t foresee.

A good friend from Hutchinson’s high school days emailed celebrity blogger Perez Hilton a link to Hutchinson’s page, which Perez in turn gave an emphatic endorsement for and suggested to his millions of loyal followers to check it out. It catapulted “Sounds Like This” to #5 on iTunes album chart, making it the highest charting album by an unsigned act in iTunes history. Hutchinson’s life literally changed overnight – going from the guy next door to the guy whose album hung on iTunes’ Top 10 alongside releases from Kanye West and Dave Matthews. Success hit again when he was asked to join a whirlwind tour in January 2008 alongside OneRepublic

VH1 took notice as well, crowning Hutchinson as one of their “You Oughta Know – Artist On the Rise,” a title that has been given to only a select few of emerging musicians who are reshaping modern music today. Hutchinson talked about the honor, “It gives me good reason to keep on going. I couldn’t believe it when my manager told me.” And while it’s hard to believe, none of this would have ever happened had Hutchinson’s first record deal not fallen through.

“Sounds Like This” has a global appeal for all ages and genres, pumping with catchy pop and soul beats reminiscent of Stevie Wonder and Billy Joel as well as some of today’s top musicians like Jason Mraz and John Mayer. Even my ten month old daughter likes to bop her tiny body to the video for “Rock & Roll” on Hutchinson’s site – her eyes wide open, pointing at Hutchinson cruising along the LA streets. He says “I just try to bring some soul music, some singer/songwriter music to it. I want to show people a part of my life. It feels good to be who you are on an album and that’s what I tried to show.”

So maybe I’m wrong about certain things happening for a reason (wouldn’t be a first time, nor the last) or maybe I’m waiting for my own realization to surface? Either way, a story like Eric Hutchinson’s “constantly-optimistic” attitude is one worth paying homage to and respecting. As he puts it, “You always have to keep moving.” Adding of his live shows, “People clap, dance, sing… I want people to leave happy at the end.” And everyone does – the perfect reason to get on stage every night.

For more information on Eric Hutchinson, check out: http://www.EricHutchinson.com and always check back to http://www.PensEyeView.com for more great musicians from around the world.

When I started PensEyeView.com, I began receiving new CD’s in the mail on a regular basis. Consistently, I was so amazed by what I heard, I thought to myself, “I think I’ve heard it all.” But every time I said it, I ended up eating my words shortly thereafter when another album arrived or an email from an agent or record executive touting the next big thing came my way. However, as PensEyeView.com prepares to celebrate its two year anniversary on April 1, 2009 and over 365 consecutive features, I can at least say, “I have encountered some pretty interesting people.” And Ricky Orbach of Kohane of Newark is definitely one example of an individual that stands out of that 365.

Ricky not only blew me away with his music, but also with the story of how he became the person he is today.  Orbach’s tale immediately made me feel completely inadequate; granted he’s got some years on me, but with stories from the 70’s about playing bars in North Tel Aviv till the early morning and hanging out with The Beach Boys, Patti Labelle, James Taylor and Ann Wilson in a hotel lobby in London… I mean, how can you compete with that? I haven’t even been to Israel, let alone hung out with anyone of the legendary status that Orbach ran with (although, while in London, I swore I saw Mick Jagger at a hotel but it ended up being a woman – true story). It’s instances like this in Orbach’s life; the people he’s met, the music he’s heard and the venues he’s played, that have helped shape his sound and styling.

However, what his musical life gave him in style, his personal life gave him in soul. What Orbach holds closest is his relationship with his parents who are Holocaust survivors. Orbach says, “The Holocaust is the backdrop that shades my perceptions for nearly every aspect of my life.” He adds, “While almost every child of Holocaust survivors will have tales to tell about the darkness of it all, I am instead inspired by the quality of human beings to interpret events that evoke kindness, joy and love of all mankind.” This is an inspiring statement; you might expect someone in his position would be so built up with rage and madness that hate would totally consume every minute of their lives. But with Orbach, it doesn’t… or if it does, his music has allowed him to channel that energy into something more positive.

Orbach’s focus now is on his band’s latest release, “New Midlife Crisis.”  Orbach says “It’s in that moment - it’s kind of a creative sweet spot - that we come closest to the heart of our craft because our next move might just sink the ship or raise us to that higher place called transcendence.” The record seems to bounce from genre to genre allowing it to live a little bit in multiple playlists – perfect for any music lover. The title is vintage Orbach as well – “New Midlife Crisis” implies such a dynamic story with twists and turns in so many directions; it seems having a midlife crisis doesn’t always deal in age. So it makes sense that most will say that Ricky Orbach “beats to his own drum” and they’re right. Then again, all the good ones do.

Annapolis native, Jesse Rifkin knows a thing or two about getting his music into the hands of the masses. Rifkin first started out as a solo act, playing whenever and wherever the opportunity arose. From time to time he would call on fellow budding musicians to lend a hand, a project which slowly became known as “The Wailing Wall.” Historically, The Wailing Wall (or Western Wall) is the most sacred ground of the Jewish faith… so naming your band after such a startling monument no doubt adds some extra pressure for success! Rifkin doesn’t see it that way however; He looks at the title as an expression of self and the pride he takes in his music. “I am Jewish and grew up Jewish and went to a Jewish high school… I liked the musicality and alliteration of Wailing Wall… it is certainly not a political thing!”

After several previous EPs, Jesse and The Wailing Wall put out their first full-length album this past March - a collection of Rifkin’s style, personality and sound called “Hospital Blossoms.” Rifkin’s individuality doesn’t end with just rocking out as an accordion carrying front man; “Hospital Blossoms” also comes packaged in an environmentally-friendly, 100% recycled cardboard arigato pack – something most bands would never consider (but should!). Rifkin says, “We took a long time with this record, and I am very proud of it,” adding, “It is different from the other records in that a lot of the musicians on it are different. I guess the older stuff was also more lo-fi, and mostly me just playing all of the instruments.”

Adding more musicians to a record is one way to get ahead in the music business, but when I asked Rifkin,”How is ’Hospital Blossoms’ different from other music out today?” He says, “I don’t know if I can answer that question. There’s a lot of music out today! With that much information available, everything is bound to be like something else that already exists. I am not going to tell you that my music is absolutely unlike anything you’ve ever heard before. But, it is my own particular take on things, and I’ve worked very hard to try and make it the best record I could possibly put out.”

Rifkin calls “Hospital Blossoms” his best effort. This is an understatement. The album has a fresh sound, meshed with classic harmonies – which you don’t see in today’s mainstream music. Rifkin says he is “Constantly being influenced by things I am listening to, and constantly seeking out new things to be influenced by. Leonard Cohen, Bob Dylan, Will Oldham, Bill Callahan (Smog), The Microphones/Mount Eerie, Bjork, The Mountain Goats, and Neutral Milk Hotel. I never really get sick of any of their records.” Quality influences. Rifkin’s sound is a lost art that has long since been replaced with skinny guys wearing jeans that looked painted on and donning $100 “vintage” t-shirts. Hopefully, The Wailing Wall can help bring back the truth in modern music.

For more information, check out:  http://www.MySpace.com/JesseRifkin
Don’t forget to catch up with http://www.PensEyeView.com and http://www.RichieFrieman.com for the latest in today’s pop culture and insights into the world of art and music.

For the greater part of his life, Park City, Utah native Bryon Friedman’s success as a member of the champion US Ski Team depended on how fast he could race down powdered mountains across the globe. Fame, rewards, recognition was achieved only when his body was pushed to extremes, at speeds that would make most pray for a rescue. That is the life of a professional athlete and the life of one at the top; the life that Friedman chose.

But what happens when an athlete’s body breaks? What do you do when the only life you have known is put on the shelf? Only the strongest willed individuals can answer that, and find peace in their decision. So at a time where most athletes would sit hollow, and worried about what to do with the rest of their lives, Friedman’s internal back up plan inched its way to the surface; a new direction that he’s always felt was his passion – music. And when his artistic vision was allowed to take priority, he found himself no longer chasing gold, but taking confidence in a casual sense of self resulting in Friedman’s December 2006 release, “Road Sodas.”

What “Road Sodas” helped build, the latest record, “Matchstick Memories,” has expanded and evolved, taking Friedman’s vision to new heights. The collection is a result of polished poise and melodic storytelling in its most organic form. Friedman’s natural approach to songwriting has layered “Matchstick Memories” with folk and pop honesty, brimming with everyman tales of life, love and optimism. Friedman is winter’s lyrical response to the summer born soul of Jack Johnson, a modern day narrator of not only his life, but also your life and your story, told through his eyes.

Those same eyes watched, perched on top of an alpine ski lift with skiers racing below, watching and wondering if their story would relate to his. “Matchstick Memories” is just that – Friedman’s life or in this case memories (so far), set to songs for everyone to relate to and connect with. As Friedman sings on Remedy “The voices in my brain telling me it will be ok/ Then it all just melts away when we sing/ Let us sing.” A perfect description of how Friedman’s philosophy on life; when in times of doubt, sadness and happiness; Let us sing.

For more information on Bryon Friedman, check out: http://www.BryonFriedmanMusic.com and always, stay up to date on the latest music and art with http://www.PensEyeView.com and http://www.RichieFrieman.com

I had already been looping Matt Nathanson’s break out album “Some Mad Hope” for months before I found myself taking the trip into downtown Washington, DC to interview one of today’s top bands, Lifehouse at the famed 9:30 Club. Upon arriving and learning that Nathanson would be playing the part of opening act, my PEV brothers and I broke out into an intense high five fest, ecstatic that the Boston native who took over the San Francisco singer/songwriter scene would be supplying his unique style combination of folk, rock and pop for our eardrums.

I’d been hooked for some time, and having never seen Matt perform live, had no idea he would be capable of stealing the show – but that’s exactly what he did.  The strength of his live show is his ability to relate; he says “I am very much on stage like who I am at all times.” If that’s the case, than Matt Nathanson is one guy I want to be on a tour bus with. The guy is hilarious. Before his song “Car Crash,” Nathanson spoke with the crowd, “This song is about a love affair I once had…” the females in the crowd providing an “awwww” and a sigh just waiting to hear about some former girlfriend of his. However, Nathanson then finished his tale, “… my romance, with Hulk Hogan.” Everyone lost it. Nathanson adds, “I feel like I am always putting on a party and I feel like I’m the host. I try to break down the wall between the band and the audience.” And being a good host, he made everyone feel at home. And the crowd returned the favor by singing back his hit songs like “All We Are” and one of iTunes most popular downloads, “Come On Get Higher,” all pieces from “Some Mad Hope.”

Talking about his breakthrough record, Nathanson says, “I used to think ‘Ok, I’ll sell a million records’ but it’s not about that anymore. It’s about ‘How can I evolve?’ You know, how am I going to write the next ‘Boys of Summer’ or ‘Burning Down the House?’ I am always like kind of right there but music always blows my mind that it’s like ‘How do I get closer to writing a record like that?’” The drive and motivation to constantly evolve has been his best ally and at times, his worst enemy. Therefore, it helps that Nathanson takes a very humble view of his career, saying, “It’s funny, I’ve been playing music for so long, that I’ve given up the idea that I’m going to be hugely successful. When you’re a kid you’re like, I’m going to be the next Pearl Jam or I’m going to be the next Radio Head. I’ve given up on that idea and it’s allowed me to let go. I think the music has become better because of it.”

True, Nathanson does not get mobbed when he walks down the street or at a Starbucks (which will most likely be playing one of his songs) but that does not mean Matt Nathanson is not one of the premier musicians out today. Just log onto VH1.com, where currently he is one of the “VH1 You Oughta Know Artist on the Rise” – a distinguished honor only bestowed on a few very select artists. And along with Lifehouse, Nathanson has been headlining shows and opening for the likes of Tori Amos, John Mayer, Pink, Guster and one of Maryland’s mega bands, O.A.R. (whom Nathanson collaborates with on a regular basis).

Nathanson is an example of the quality music selling itself, rather than some entertainer pushing a “product” to make a couple of bucks. “Some Mad Hope” has been out for a year and has undergone a sort of underground Renaissance, re-igniting partly because Nathanson has made become so accessible by utilizing his web sources such as Facebook, MySpace and of course his live shows. Nathanson explains the record best – “In some ways, I think this is a really mature record, but I don’t think it’s necessarily one that says ‘okay, I’m an adult now… I don’t think you need to stay stuck in perpetual adolescence, but you do need to keep part of you frozen — so you don’t lose touch with the wonderment of seeing the world the way you did at 17.” Truer words may have never been spoken. Check out “Some Mad Hope,” in stores and online now.  For more information on Matt Nathanson, check out: http://www.MattNathanson.com

One of the best parts of running PensEyeView.com is opening my eyes to a new artist every 48 hours that I otherwise may have never met, or learned about. Featuring a different artist so often has been a more than satisfying experience, and now it has become common practice to receive emails from friends, family and industry professionals teasing me with subjects reading, “Have you seen this guy?!?” or “You HAVE to feature this person!”

Back in 2006, my brother sent me an email of a YouTube video, featuring a guy sitting in front of a piano singing about eating Chinese food on Christmas and going to the movie theater – A habit of American Jews that has become as common practice as sneaking a cookie in before sundown on Yom Kippur. This YouTube celebrity, a young musician named Brandon Walker, just happened to be the first one to publicly divulge a secret many Jews figured was happening everywhere. Some million (yes million) YouTube hits later, the song was a classic.  In 2007, Walker put a new spin on his song, adding an entire music video and again received millions of hits worth of attention. It was then that I was fortunate enough to have him on PensEyeView.com – a feature that appropriately ran on December 25th and 26th last year. Needless to say, when I began work with the Jewish Times, catching up with Walker – almost a year later – was on my list of top priorities.

My initial interview gave audiences a much deeper look at Walker as an artist. Music has been an intricate part of Walker’s life since he was young child, beginning after his family inherited an old upright piano from a relative. He was seven at the time. Walker, who describes music as “the essence of everything,” has stuck to this philosophy his entire life, from playing in bands growing up to honing his craft at James Madison University with his band Midnight Spaghetti and the Chocolate G-Strings (which could very well be the best band name ever). Today, Brandon runs solo, dedicating himself to the overwhelming task of writing and posting a new song every month. He has kept his promise so far and frankly, I don’t know how he does it.

As a music teacher at Beth Tfiloh, Walker tells his students that inspiration is everywhere. “Music picks us up when we need a lift, and just as quickly it induces sadness. Music gives us energy and it mellows us out. It arouses fear just as easily as it brings relief.” His laid back approach to the fundamentals of artistic expression is rewarded by a loyal and eager class of musicians. It also helps that Walker could easily pass as a student himself. I asked him, “Do you feel that you can relate to the kids better since you are young and into similar music as them?”

“Certainly. Plenty of my students have said to me, ‘Mr. Walker, how old ARE you? You look like a teenager!’ So, even if I try to create that separation of student and adult, I’m not so sure the kids would buy it. That said, my students are respectful people, and despite our relative closeness in age, all my students recognize and respect my position as a teacher.” Keeping his title as probably the coolest teacher there, he adds, “Although they probably get away with more in my class than anyone else’s!”

But don’t take this as a fault for Walker. Music is about self expression, and letting go… and getting away. With music you have to go deeper than what you read in a book or see on a board – music is a world of open opportunity, for anyone to take full advantage of. Walker explains it best, “I think music is amazing. It has the power to guide our emotions.” Guidance is something that Walker offers to his students who, although like to tease him about his youthful appearance, will turn to him when they themselves are told a career in the arts is not a normal “path” to follow.

This is a problem that every artist has faced in their life – as Walker (and I) can attest to. When you are a kid and you pick up a guitar, sit down at piano or grab a paint brush, it is encouraged – in some case considered “cute”. Somewhere along the way though, artists are told it is better off as a hobby rather than a profession. Just imagine if The Beatles got “real jobs” or artist Jeff Koons listened to critics who said he was “wasting his time” or if Walker’s parents told him that sitting for hours at that piano would never take him anywhere.

Luckily, Brandon’s family and friends encourage him. He says, “They support me. If I want to move to LA and go for it, they’re behind me. I even got my entourage lined up, Marky Mark style.” Kudos to Walker for having the guts to follow his dream, and better yet being an example for others. After all, 1 million plus viewers can’t be wrong.

For more on Brandon Walker, check out http://www.BrandonWalkerMusic.com 

To find more great artists, check out http://www.PensEyeView.com every day!

When I was little, my bubby used to call me a character. This was partly because I would do just about anything to make her, or anyone around me, laugh – even when most of the time it was at my own expense. Since then, I’ve surrounded myself with individuals who share a similar zest for life.

When I first met 25-year-old singer/songwriter Shwa (short for Joshua) Losben earlier this year, this “character” was being compared to everyone from Elliott Smith to Coldplay. Bit by the music bug rather early, the former Holland, Pennsylvania resident picked up a trumpet at age ten and then moved to the guitar in the seventh grade. Besides his interest in music, Shwa was very involved in the Jewish community at a young age, such as being a bar mitzvah and attending summer weekends with The North American Federation of Temple Youth (NFTY).

Shwa admits that his first stab at music, with a junior high band, did not go as well as he would have liked. “We were awful,” he recalls. Still, Shwa could not let those early, failed attempts at music halt his dream. Throughout high school he honed his skills, bouncing around with bands that had slightly more potential. However, it was not until Shwa attended college at American University in Washington, DC that he found a healthy home in the powerful DC music scene. As he landed regular gigs at the popular DC venue, Grog and Tankard, people started to really react and take notice of Shwa and his music. Not bad for the boy who once attempted Pearl Jam and Beatles cover songs with his eighth grade garage band.

When I caught-up with Shwa last week, he was still as positive as ever – cracking jokes and, well, being a character. Since leaving DC, he has found a home in New York City. And, with everything that New York has to offer, what does Shwa love best? “It’s great to know you can get dinner anywhere at 3AM.” Living in the city also gives Shwa the opportunity to stay in touch with his extended family. His older sister, who is a rabbi on Long Island, hopes that he will swing by for the high holidays. The job of a traveling musician does not exactly offer the best chance to attend synagogue. However, if his sister has anything to do with it, maybe that will change, for it’s family that Shwa leans on for support. “They’ve all been immensely supportive, especially my parents. I think they wanted me to go to grad school at first, but after they saw my CD in shrink-wrap, they became my biggest fans. I think they’ve sold more CDs than anyone else!”

Shwa is currently promoting his album, “Chop Chop”, which was released in February, 2008. When I asked Shwa what to expect from “Chop Chop”, a true songwriter’s album, he says, “At one point we were playing mouth trumpet and running it through distortion. We banged spoons on a toaster. We used kid keyboards from the 80s… just a lot of cool sounds. At the same time I feel like there’s a lot of open space in the songs, which is a cool thing too.” USA Today recently featured “Chop Chop” fan favorite, “Myriah”, on their Pop Candy podcast and XM Radio came calling as well, playing Never Too Soon to Compromise. Additionally, the Comcast Network featured Shwa on the program Backstage in May.

With the crowds growing at every show, Shwa is getting more comfortable with the intense New York music scene. So, what can fans expect from a live show? “Fire dancers. Lots of animals running on the stage…and gift bags,” Shwa says. Even though he is currently on tour and performing on a regular basis, Shwa – who in one word describes himself as a “Diva” - still manages to keep a steady head on his shoulders. “I’m still living off of grilled cheese and PB and J. I’m not really living the dream just yet.” After all, if everyone who dreamed of being famous got their wish, we’d all be celebrities, which takes away the appeal. That’s the crazy thing about dreams - you have to be willing to face the struggle that comes along with them. Something tells me that Shwa is pretty good at handling any struggle that may come his way.

For more information about Shwa Losben, check out www.ShwaMusic.com. To learn more about my interviews with various artists in the entertainment industry, from around the globe visit PensEyeView.com - it all starts with a pen, paper and a vision.

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