MAVERICK COUNTRY MAGAZINE
CD Title: Ahna Kick A Hole In The Sky
~Robin Lee Berry
Lee Berry is a singer-songwriter who remains very much
unclassifiable. This comes through on AHNA KICK A HOLE IN THE SKY
in which she mixes her own swell-crafted
songs with the works of Van Morrison, Neil Young and Greg Brown.
In fact, her version of "Hey, Baby Hey", was included on GOING
DRIFTLESS, a multi-artists tribute to Brown and is also on this
album, along with a fine duet version of "Never So Far" with Brown.
Though she turns in good versions of Neil Young's "Old Man" and Van
Morrison's "Into The Mystic", it is her own songs that
stand up for repeated playing, especially the rhythmic title tune
and the emotional THERE ARE SOME THINGS. There's a bit of
alt.country, some folk, rock, and even Tin Pan Alley-type
compositions intermingled on this pleasing disc.
Reviewing the best in non-mainstream acoustic guitar music
Northern Michigan's resident singer-songwriter Robin Lee Berry has released her fourth CD,
"Ahna Kick a Hole in the Sky". RLB was blessed with a great voice, and she uses it to share the convictions she holds deep in her heart, primarily the love
of her two daughters Anna and Ruby (who share credit not only for inspiration but also for backing vocals and cover design). With scant production, this recording offers
twelve songs that cover various musical styles and show Berry's ability to move effortlessly among them. Four of the included tracks are from live performances and capture
RLB right where she belongs, on stage, singing and playing guitar and proving that she is the real deal. The title track is a reggae-flavored appeal, featuring a busload
of talent which creates a sound that is redolent with texture. Aside from having one of the best titles in the history of recorded music, it suffers slightly from a voice-over
that is sincere but pedantic, breaking the groove of this otherwise exceptional song. Her live performance of Neil Young's "Old Man"
is notable for her precise guitar work and
the power of her voice. Using an open tuning, RLB covers "Into the Mystic" by Van Morrison and once again steps up to the plate and
swings for the parking lot. Of the six
songs written by her, my favorite is "Bloom" a sweet song made even more poignant with the backing vocals provided by Anna and Ruby
giving up some great harmonies. Berry is
an amazingly talented performer who shape-shifts from folk to jazz, from ballads to blues but the underlying constant in all her music is the conviction in her voice showing
us again that her heart is right where it should be with her songs flowing right from the center.
© Rob Dunne
More . . .
"As a music critic and club owner, I get a chance to hear a lot of live music. Some of it is really good. But even with that, I was unprepared for
singer/songwriter Robin Lee Berry. She sings from the heart and sings it straight out and into you. It is crystal clear and it goes in deep. And she writes great
songs. For all my sophistication, I sat there fighting back tears as her songs took me for a look inside myself. All I can say is: if you get a chance to hear her
in person, don’t pass it up."
Michael Erlewine, Founder All-Music Guide, allmusic.com
"Robin always pushes the envelope...without her talent and dogged persistence we would not be hearing what we hear
Holy Wah Studios
Lee Berry reflects northern Michigan's feminine soul,
blending themes of strength, courage, and vulnerability in her
songs, all rendered with the spirit of awe and
Bonny Holder - senior reporter
Americana Music Reviews, Dallas, Texas
Bob Feldman - President, Red House Records
"...Robin Lee Berry provides the album's only vocals on the
Antonio Carlos Jobim classic "Corcovado". Her sexy, sultry voice deserves special mention. While it is difficult to select a
favorite tune off this CD, Robin's vocals won me over". CD - Brite Lites, Big Insects, Don Julin & Glenn
Rambles, A Cultural Arts Magazine
Featured Artist: Robin Lee Berry
A Man Like My Guitar
Robin Lee Berry (vocals, guitar); Collective Personell: Pete Asch
(flute, sax); Graham Fineout (drums, percussion); Leo Dombecki
(sax); Glenn Wolff (bass); Don Julin (accordion, guitar, mandolin);
Jack Sharry (fiddle); Ron Tschudy (harmonica); Roger Tarczon
Singer/songwriter/guitarist Robin Lee Berry sent along her recent
release and it’s a pleaser. I can’t tell you anything of the
Michigan performer’s history as a bio did not accompany the CD.
The musicians are listed collectively as individual tracks are in
solo, duo, trio and quartet formats.
This young woman is difficult to place in a pigeonhole. Although
presenting a number of jazz standards, Robin Lee Berry injects her
unique personal interpretation. The instrumentation is as unusual as
her arrangements, including at times, mandolin and accordion. Robin
is an accomplished vocalist and acoustic guitarist. Her solo on the
title tune is quietly beautiful. In contrast, she kicks Billy
Mayhew’s "It’s a Sin To Tell a Lie" along at a frightening
pace after a brief intro in 3/4 time.
As on any album, certain performances stand out for their own
reasons. Robin Lee Berry’s own composition “Something
Sometime” absolutely shines in terms of pure beauty and
originality. I’ll take a moment to ask Robin not to put the pen
away. Her unique version of “You Took Advantage Of Me” is
performed vocally, accompanied only by her own acoustic guitar and
the tune takes on a special loveliness in her hands. “The Lady Is
a Tramp” is, in contrast, a free for all with some witty lyrics,
kooky drum breaks and hot violin.
Robin Lee Berry is also a world-class builder of fine log furniture.
Her work can be seen at the artist’s website: www.logartinc.com. Please contact the singer via the email “clicker”
on the site if you wish more information on this CD. Robin will
answer all enquiries personally.
Never Never Land; Almost Like Being In Love; My One And Only Love;
One Note Samba; Something Sometime; It’s a Sin To Tell a Lie;
That’ll Teach Me; Haven’t We Met; Scotch n’ Soda; You took
Advantage Of Me; The Lady Is a Tramp; My Romance; I Will;
Michelangelo’s Blues; My Funny Valentine.
from - Jazz Review