Ed Alkalay
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Ed Alkalay

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"Turning Dorian Gray Review"

Every so often I find myself championing the cause of an artist or album I would not normally expect myself to like. This fuels my underdog fires even more because I realize that if I can be swayed, perhaps another jaded music lover like myself can be persuaded to see the light as well. Such is the case with Turning Dorian Gray, an album that sounds like it should have been released alongside the best offerings from Crosby, Stills and Nash and Jim Croce, where it would undoubtedly have shined despite the competition.

Ed Alkalay (pronounced "alkali", like the battery) is a throwback, old school, a wandering minstrel in an age of rock-rap fusion. As such, his style is a welcome diversion from much of the rest of the musicians combing the scene, and his masterful storytelling helps his work break out of the folk rock pack. Alkalay invests more narrative into each song than I thought possible, forcing me to check the runtime of almost every track, unwilling to believe that the story I just heard could have been told so economically and yet with such detail. The best painters never waste a stroke, the best directors never waste a scene, and Ed Alkalay's way with words places him in the upper echelon of modern bards.

Folk, blues, traditional, country -- Alkalay does it all, his distinctive voice rolling, rumbling and whispering as needed. "One Last Minute" is a bittersweet smile over a relationship that's been long dead to everyone except the jilted boyfriend himself, as he considers turning the kiss-off call into an opportunity "to tell her I'm fine / and to show her how much I've changed." We realize that although he never says it outright, he hopes this last call will be enough for her to take him back, thus betraying his earlier bravado. "A Better Version Of Me" reminds us that it's better to be loved or hated than to simply be replaced. The title track is a witty and literate look at someone selling out at the doorstep of popularity, and the price one pays. "A Quiet Ticking" and "A Hundred Years" present twin portraits of middle America, of men and women who reluctantly embrace routine and an acceptable place in the world despite their fading yearning for the wild, exciting, unpredictable days of youth and independence.

But it's not all sad and dreary, or bitingly acerbic. Alkalay has fun too, as on the Charlie Daniels-like rocker "With the Devil In My Band," in which -- in true Oh God, You Devil style -- he reveals the real reason why John Lennon and Woody Guthrie were so damn popular. "A Two Faced Lady and a Two Timin' Man" makes the most of what could have been a rusty play on words, highlighting one couple's solution to the duality problem that plagues most relationships. "My baby's got a split personality that keeps me satisfied / with one of her here and the other over there / she's always around to catch my wandering eye." Serious matters take the stage again on "The Blind Man", which just might be a very subtle parable, and "A Dozen Roses", which (thankfully) bucked my initial suspicions about the narrative and turns what had all the earmarks of a prom night tragedy tale into a minutely detailed snapshot of a couple very much in love, oblivious to the world around them. It's on poignant moments like these that Alkalay's chameleon-like voice strips itself of all artifice and delivers the goods, wisely knowing when to grandstand and when to play it straight.

To complain at this point almost seems gratuitous, as though I'm ashamed to admit I like the whole darned album. My only nitpick is the bluesy "The Deal's Gone Down", on which Alkalay strays too far from his strengths and turns in a piece more suited to a vague interpretation than his rich and overpronounced delivery. The music is dead-on, but his vocals are too precise, if that can truly be a drawback. But that's a shrugging, searching-for-the-weak-spot observation on an album about which I have nothing but good things to say. Three cheers for authentic story folk rock that makes me want to listen repeatedly just to soak it all in.

-- Justin Kownacki

- http://www.splendidezine.com/review.html?reviewid=3231159102763


"Turning Doria Gray Review"

Is it folk? Is it country? Blues, maybe? Or bluegrass? Is it alternative? Your guess is as good as mine. The only thing for sure is that Ed Alkalay is turning dorian gray and the D.C. scene red hot with his cool lyrics and powerful voice. With vocals that can go as low as Brad Roberts of the Crash Test Dummies, Alkalays voice is as encompassing as his music.

Turning Dorian Gray can best be described as a diverse collection of biographies. Each song paints a vivid picture of someone we love, someone we hate, someone we want to be, or someone we are. The title track describes an individual consumed with the never-ending social circle. Alkalay bellows: You stand so tall, youve worked so hard, to turn yourself into a cocktail party star. "Marie" is the next image put to music. A woman who was taken from her lover leaves an indelible scar on his heart and mind. Naturally, this story is set in a ballad. Other identities include:

The Blind Man (He was not a man to follow but he would never lead)

Rovin Gambler (who stole the love of a pretty little girl from her mother)

A Two Faced Lady and a Two Timin Man (the irony of four lovers who live inside two people)

One unique personality is that of the mother/wife in A Quiet Ticking." Alkalay offers a look into a woman who chose the family route instead of pursuing her passion as an artist. With masterful lyrics, Alkalay shows that her lifes choice is filled with a different type of artistry. One of the most powerful tracks on the disc, A Better Version Of Me, addresses the emotions that come with being replaced. With driving bluegrass overtones, Alkalay launches: I can stand being loved, I can stand being hated; but lord I cant deal with being replaced; like some tired machine the world no longer needs cause some genius invented a better version of me.

If Turning Dorian Gray doesnt put Alkalay on the map, I suggest he continue his progression south. (He was previously of the NYC folk scene). I think he might find his niche somewhere between D.C. and Nashville. If you dont like the music, buy the disc anyway and read the twelve masterfully written short stories inside.

-Chaz Topher - http://www.leftoffthedial.com/EAlkalay_Dorian.htm


"Liquid Poodle Review"

The catchy tunes and underlying blues tones ... are guided by a rolling beat as if speeding down an empty Kansas road at 2 a.m. in a convertible. Combined with lead singer Ed Alkalay's patented deep-moving voice, the songs just make you want to tap the steering wheel for hours. - http://www.leftoffthedial.com/LiquidPoodle_BobJonesEP.htm


"All Music Review"

Ed Alkalay is a New York City (by way of Washington, D.C.) singer and songwriter who sounds pretty convincingly rural for a guy from the Big City. With its emphasis on acoustic instruments and periodic accents from Alkalay's banjo, Turning Dorian Gray is folk-rock that puts the focus squarely on the former rather than the latter, and his songs find a middle ground between the intelligent introspections of Chris Smither and the grittier storytelling of Greg Brown. Alkalay isn't an exceptional vocalist, but he's able to get his material over effectively, and his songs tell concise but compelling stories with well-drawn, believable characters. At the same time, there isn't an awful lot on Turning Dorian Gray that really sets Ed Alkalay apart from dozens of other singer/songwriters mining similar territory (and the album's slightly drab production hardly helps), but the best tunes -- particularly "One Last Minute" and the title cut -- cut just deep enough to make it clear he's a few notches up on his competition. Turning Dorian Gray shows Ed Alkalay to be a good songwriter who, with a bit of seasoning and the right amount of editing, could have an exceptional record in him one day. - http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:dvfixqt0ldte


"Diamond Chain Review"

This is the second of two Ed Alkalay albums to come my way, following in the trail of the more recent Turning Dorian Gray, which I liked immensely. Listening to the two discs in chronological reverse gives Diamond Chain a certain poignancy. Alkalay's strengths are more raw and unfinished here, and his songwriting is less nuanced detail, more bare bones -- but the catchy musicality and simplistic ideals that made Gray an unqualified recommendation are alive and well, even in the time capsule of Chain.

"Straight Walkin' Man" and "Diamond Chain" are Alkalay's take on the monotony and inescapability of modern life, subjects well-documented on Gray -- but here they have a naked quality that renders their moral center unavoidable. "I Never Rode a Freight Train" is classic folk in the hobo vein, name-checking Woody Guthrie and painting pictures of bums and winos dancing blissfully into oblivion in their dreams. "One More Tune" is a banjo-picking, clap along crowd pleaser, while "The Fountain & The Rain" is a beautiful ode in danger of becoming a eulogy for a troubled relationship ("We never talked enough, maybe we were afraid / But the silence we thought would save us has turned this storm to freezing rain"). "Sampson" takes a stark look at the way we sleepwalk through life every day, forever intending to change but then simply forgetting. "Takin' Chances" and "It" are before-and-after observations about relationships, one with a country twist and one steeped in southern-fried rock irony.

Alkalay's trademarks of turning a familiar scenario on its ear get their start here, albeit to a less effective degree than in his later work. "Understandably Confused" finds the author in that paradoxical state of writer's block that only comes when one has nothing to complain about -- "Now I'm so happy and it's killing me / I think I need a shot of misery." Another situation to which there's more than meets the eye is "Sarah's Troubled Mind", wherein Sarah's family cannot seem to understand why she's unmarried at 35, completely oblivious to the fact that she's perfectly content living a lifestyle that differs from theirs. Even "Breezes", a fable about not taking life for granted, staggers here and there, pure of intention yet unsure of itself. Consider these as early documents of skills Alkalay would later hone, but acknowledge the fact that, rough as they may be, these tracks still get their point across while sounding authentic and heartfelt.

Ed Alkalay's ability to see both sides of the same coin is a rare and welcome thing, and the seeds he plants on Diamond Chain take root, we know, manifesting themselves in full bloom on Turning Dorian Gray. But as a stand-alone album, comparison-free, Chain is a solid listen, filled with toe-tappers that grace the surface of what it is to be human, and modern in a world at odds with itself. And isn't that all we really ask from a folk rock album?

-- Justin Kownacki

- http://www.splendidezine.com/review.html?reviewid=3232374259377633


"Turning Dorian Gray Review"

Since the soundtrack from the movie O Brother, Where Art Thou? continues to roll on, racking up more and more sales and unreleasing it's death grip on the charts, an increasing number of artists are seeking to hop on the folksy/bluegrass music trend. Bands are breaking out their banjos and fiddles, trying to capitalize on what may be the biggest thing to hit folk and old-timey music since Ralph Stanley. While I don't know if Alkalay is simply hopping on the bandwagon or is deeply committed to this style of music, his new CD is entering the marketplace at just the right time to take advantage of all this roots music fervor going around. I say this because Alkalay's CD is filled with the kind of music fans of old-timey country are sure to love. It's not bluegrass by any means although Alkalay does wield a mean banjo. It's more an amalgam of bluegrass and folk music with the by-product being one of singer/songwriter style country with added depth. Modern, electric instruments are featured (like keyboards) but these are balanced out with some lap steel touches and other gee-gaws that separate this from the glossy pablum that still comes out of the sad, sorry suckfest known as mainstream country radio. What has turned people on to the music of our past is the simplicity, honesty and soul. Alkalay's new CD has all of these and this is what makes it so good. It is a down-home, organic creation that is real and heartfelt. That's why I like it and why I am sure most roots music fans will like it as well. Simply said, this is great. - http://www.freighttrainboogie.com/Archives/Archive-A.htm#TurningDorianGray


"Turning Dorian Gray Review"

After listening to this disc I wanted to don my quilted flannel shirt, wool hat, dungarees, work boots, a trusty axe and go a-wanderin' through the Great North Woods chopping down mighty oaks and riding logs down the Red River. Ed Alkalay plays American folk music that takes you into the heart of the woods with songs played on a beat up guitar and/or banjo. Ed is a genuine modern-day mountain troubadour with stories o' plenty to tell. Set a spell while he strums out a sorrowful ballad of a lost love, or a toe-tapper about a two-faced woman (they're both cute) in love with a two-timin' man. I feel like I'm not doing Ed's music justice by listening to it on CD in my city apartment. I should be sitting 'round a campfire or in a rustic cabin with a bunch of surly lumberjacks and riverboatmen listening to him sing it to us in person. While this is never something you'd hear on commercial radio, it's great in its own unique way. (Archie Rex) - http://www.demorama.com/reviews/archives/jul2002.html


"Turning Dorian Gray Review"

In the day in age when instapop and hip hop tend to dominate a bland music market, Ed Alkalay brings a breath of fresh air with his excellent songs that make up Turning Dorian Gray, a 12 song CD.

Ed Alkalay writes and performs music from the heart and is full of depth and maning shining musical moments that make his latest CD a total success. - http://www.geocities.com/jademouse46/reviews.html


"Country Music Review"

A rootsy "New Folk" CD of original songs with traditional country, blues, bluegrass, and folk-rock influences featuring Ed Alkalay's deep baritone voice, polished guitar and banjo playing, and poignant lyrics.

Already garnering significant airplay and critical acclaim, Turning Dorian Gray features a wide variety and styles of music. Lyrically, the CD strikes on diverse emotions.

In "A Better Version of Me", the lyrics empahtically state: "I can stand being loved/I can stand being hated/But Lord I can't deal with being replaced". While in "With the Devil in My Band", Ed strikes on theme close to all musicians' hearts - selling their soul to the devil for fame: "The Devil looked at me with that same devilish grin/He said 'Eddie boy, I never ever met a musician who wouldn't trade his soul for a life of sin". While in "Marie," the theme of incomprehensible loss permeates: "Perhaps a thousand years from now, her eyes I'll not see/ Her touch not feel/ her breath not breathe".

All in all, the CD is a "must buy" for those interested in acoustic music. - http://countrymusic.chrissparkscds.com/Turning-Dorian-Gray/A/B00005TQ1S.htm


"Turning Doria Gray Review"

Ed Alkalay reminds me of a cross between Jim Croce and Cat Stevens with a depth that outdoes both. His sound is a classic Americana sound that is so refreshing that it makes you wonder where this music has been hiding. I get the chance to hear far more folk/Americana styles than I would care to, and most are rehashed versions of the previous ones. Ed seems to have taken into account that music should be more personal than what some people want to make it. That is probably why this album stands out from the others.

Though I'm not really a fan of most folk based music, I don't have a problem listening to Ed Alkalay. This is very good music with lyrics that are burning with deep and raw emotion. To me, that's real music. This album is certainly worth the time to listen.

The Rundown
Lyrics/Songwriting:
Production Quality:
Musicianship:
Originality:
Over All: - http://musicdish.com/mag/index.php3?id=5785


Discography

I Hate You
Release Date: January 2009

(1) Another Man's Crown
(2) You
(3) I Hate You
(4) Lumberjack
(5) Surrounded By Alone
(6) Night Bound Train
(7) Grumble
(8) Texas
(9) Bob Jones
(10) One More Time
(11) That Girl's Gonna Make a Woman Out of Me
(12) Speed
(13) To Fit Me

Capitol Acoustics Vol. 3
(Compilation of DC area songwriters),
Focus Presents
Release Date: 2003

(1) Texas

Turing Dorian Gray
Release date: January 2002

(1) One Last Minute
(2) A Better Version of Me
(3) Turning Dorian Gray
(4) Marie
(5) With the Devil in My Band
(6) A Hundred Years From Now
(7) A Quiet Ticking
(8) Rovin' Gambler
(9) The Deal's Gone Down
(10) The Blind Man
(11) A Two-Faced Lady and a Two-Timin' Man
(12) A Dozen Roses

Diamond Chain
Release date: January, 1996

(1) Straight Walkin' Man
(2) I Never Rode a Freight Train
(3) Sarah's Troubled Mind
(4) Diamond Chain
(5) One More Tune
(6) The Fountain and the Rain
(7) Understandably Confused
(8) Sampson
(9) Takin' Chances
(10) The Cuckoo
(11) Central Park
(12) Backdoor Dan
(13) Breezes
(14) It
(15) Gonna Be a Long Time

Fast Folk Musical Magazine -
New Voices NYC (Vol. 8 #4)
Fast Folk Magazine
PO Box 938, Village Station
NYC, NY 10014
Release date: October, 1995

(13) I Never Rode a Freight Train

WCVF Spring Music Search
Release Date: May, 1985

(13) Outlaw

Photos

Bio

"The best painters never waste a stroke, the best directors never waste a scene, and Ed Alkalay's way with words places him in the upper echelon of modern bards."
-Justin Kownacki, Splendidezine.com

In 2009, Ed released his 3rd CD, I Hate You, of original roots music. The songs range from rock ("You") to alt-country ("Texas") to blues ("One More Time") to comedy ("That Girl's Gonna Make a Woman Out of Me") to roots rock ("I Hate You"). A few years ago, Ed moved to the White Mountains of northern New Hampshire where he currently lives a quiet life with his family. He continues to write music and record, and he performs live occasionally. A summary of his musical career breaks down as follows:

2005 to present: These days Ed focuses most of his musical hours on songwriting and recording. Ed's 3rd CD, I Hate You, has just been released. He is currently composing songs based on poetry of W.B. Yeats, Edgar Allen Poe, and Dorothy Parker, among others.

1998 to 2004: Ed was very active in the Washington, D.C./Virginia music scene, writing and performing original roots music as a solo artist, with his band, Liquid Poodle, and as a duo with talented singer/guitarist Jack Gregori. Ed released his 2nd CD, Turning Dorian Gray, in 2002. His song "Texas" was featured on the Focus Compilation of songwriters in the DC/Virginia/Maryland area. While living in D.C., Ed also studied composition with Anthony Stark, and has composed several art songs, a fugue for string orchestra, and a piece for string quartet.

1993 to 1998: During these years, Ed lived and performed in New York City as a solo artist and with musical partner Pat Almonrode. He was active in the Fast Folk songwriting group in New York City and his song "I Never Rode a Freight Train" was included on the Fast Folk CD "New Voices in NYC". Ed also released his first CD, Diamond Chain, during this period.

1991-1992: While getting started as a songwriter, Ed performed as a street musician in and around Boston, and performed regularly at the clubs and original music bars and coffee houses in the Boston area.

Ed's music influences range from rock, country-blues, and folk to classical. Over the past fifteen years, Ed has performed at many venues along the east coast, and has ventured inland as far as Nashville to perform his original brand of roots music. His songs have received airplay all over the world and he has received numerous songwriting awards.

Ed is also an accomplished instrumentalist - garnering praise for his deft instrumental ability on electric and acoustic guitar and banjo. His voice has been described as having a "bottomless range" and has drawn comparisons to John Gorka, Johnny Cash, and Brad Roberts of the Crash Test Dummies.

THE D.C. PERIOD, 1998-2004 - TURNING DORIAN GRAY

In 1998, Ed re-located to Washington, D.C. Fresh with new songs, and a desire to further expand his musical styles, Ed emerged as one of the most original writers, and eclectic and entertaining performers in the D.C. music scene. Ed was the primary songwriter for the roots rock band "Liquid Poodle" who were described as having "[a]mazingly ... catchy tunes that ... make you want to speed down an empty Kansas highway at 2 a.m. tapping the steering wheel for hours." (www.leftoffthedial.com). Ed also wrote and performed as a solo artist and with guitarist/singer Jack Gregori in clubs and venues all over the greater D.C. area.

In 2002, Ed was selected to perform at the Nashville New Music Conference. He has also received citations from American Songwriter Magazine, which gave his song "A Two Faced Lady and a Two-Timin' Man" honorable mention in its 2001 Lyric Contest (May/June 2001 issue), and considered his song "Texas" noteworthy in its 2002 Lyric Contest (May/June 2002 issue). In addition, he finished in Second Place in the Songwriter's Drive-In Songwriting Contest for "Turning Dorian Gray." (March 2001). Ever seeking to cultivate his skills, Ed began studying composition with Professor of Composition Anthony Stark at the Benjamin T. Rowe School of Music at Catholic University. Since that time, he has composed a song cycle based on Dorothy Parker poems, a Fugue in G minor for String Orchestra, and a Processional for String Quartet. The Fugue for String Orchestra was performed at Catholic University in April 2002, and the Song Cycle was performed at the Benjamin T. Rowe School of Music in April 2003. You can listen to his classical compositions on this site.

In 2002, Ed released his critically acclaimed CD, Turning Dorian Gray, which contains 11 original songs that have gained high praise from publications all over the country.

"Alkalay invests more narrative into each song than I thought possible, forcing me to check the runtime of almost every track, unwilling to believe that the story I just heard could have been told so economically and yet with such detail. The best painters never waste a stroke, the best directors never waste a scene, and Ed Al