Originally from the Louisiana, LA newcomer JT Spangler brought soulful melodies to the Sunset Strip last night, conveyed with a voice that silenced the room through moving a cappella and then guitar-driven acoustic love songs (for no one.)
Perhaps it was the small space, but it seems that there is a quality about JT’s voice that resonates even after he finishes the note; the lyrics, too, continue to exist in the room after their spoken.
In “Lullaby,” JT sings “Life don't make sense, she trades her youth to pay the rent, and she worries she'll break, cause she can't bend.” In “Impossible,” he declares “If I were a sculptor with my hands, I'd scrape away your demands, and cut on through, I'd mold the excess near perfection, It'd be just like you, but brand new.” Throughout all songs, lines appeared to rhyme effortlessly, creating a fluidity of sound that was a pleasure to witness.
Although storytelling is at the root of all of JT’s songs, he reminds the audience that his songs are not necessarily autobiographical. After all, it is not necessarily the job of an artist to put their life to music, but to observe experiences and place them into the context of art so they can go on to help others. As JT also suggested mid-performance, the songs don’t care about the original story – who was right, who was wrong, who was loved – they just are what they are; they are what the artist allows them to be.
In addition to featuring songs from his new EP “Love Songs for No One,” JT sang two well-chosen covers (Bill Withers’ Who Is He and Steve Wonder’s Never Had a Dream) and debuted new track “Good Morning, Baby,” about a kind of love that brightens all parts of the day and makes them worth celebrating.
Learn more about JT Spangler and hear samples at www.myspace.com/jtspanglermusic
or at www.jtspangler.com.
Surrounding JT’s performance at The Cat Club last night were short sets by fellow LA residents Isaac Johnson (acoustic/rock/pop), Chris Parish (folk/rock/alt), and the ever versatile Dave Yaden who was accompanied by acoustic/rock artist Curtis Peoples.
Announcing his brand new music video “Back Where I Started” (online now), and the release of his self-titled debut album due August 19 (CD party to be held at Roxy), Curtis presented a preview of the ten tracks born from a collaboration with some of the top pop/rock artists in the country (Ryan Tedder from One Republic and Tyler Hilton), as well as an individually strong capacity for songwriting and arranging.
Although Curtis is brand new to the LA music scene, he appears to have already found an audience and an identity. He knows exactly what he wants the listener to feel the then takes them there passionately. Also, for a new artist, he seems to have a very firm grasp on what kind of artist he desires to be. While each song has its own distinctive personality, they all work within the clearly defined breed of rock that is Curtis’ sound and vision. They manage to offer uniqueness and still be reliably great.
Learn more about Curtis People and hear samples at www.myspace.com/curtispeoples or at www.curtispeoples.com
A night of high caliber musicians ended with the consistently-impressive Dave Yaden, a multi-talented artist who has shared the stage with, produced and co-written with some of the world’s top performers and songwriters (Sheryl Crow, Willie Nelson, One Republic, Lady Antebellum, Marc Broussard, Josh Kelley, Tyler Hilton). With full album “Bear Me Up” due in August, Yaden’s music features piano and lyric-driven folk-rock songs that hit hard and keep you singing.
Looking around, I saw several people who trekked out to West Hollywood on a very late Tuesday night to see Dave and sing along carefully to every word. This is as much a testament to his growing and dedicated fan-base as it is to the accessible quality of his songs and passionate piano playing.
A rhythmic performer, Dave has the habit of pulling his arms away after giving them to the piano’s stronger chords, almost as if plucking a string instrument. He proves that simply because a performer is “stationary” at a keyboard, they can still be the most animated member of the stage. Literally, every move Dave makes during a show, whether striking a key or leaning into the mic, creates emphasis, creates an experience.
Stay tuned for more news on this exciting artist and his CD release. Learn more about Dave Yaden and hear samples at www.myspace.com/daveyaden or www.daveyaden.com.
Review by Bre Goldsmith ( www.bregoldsmith.com )
Saturday, June 7, 2008
Looking for something cool to do on a Monday night?
A few weeks into his Monday-night residency at Molly Malones, the incredibly versatile and talented Rob Giles rocked the stage with guests Adjoa Skinner and The Rescues (see The Rescues review from May 8).
If you’re not already familiar with Rob Giles, know him as the artist who likely has produced some of your favorite albums by local emerging artists (to name a few: Laura Jansen, Nina Storey, Tim Fagan and Lisa Donnelly) and worked with such prestigious talent as Willie Nelson, Kid Rock, Will Hoge, Tom Petty, The Dixie Chicks, Collective Soul and Patty Griffin.
A testament to Rob’s generosity and wide support of the LA indie/rock/aoustic scene, he has begun a tradition of inviting artist friends to share the stage with him during the Monday night performance. As a result, each Monday show is quite unique; so, if you’ve been to one of Rob’s shows before, don’t use that as an excuse not to return!!
Rob’s recent solo work, including soon-to-be-released album “Happy” and “This is All in Your Mind” (2007), features thoughtful emotive compositions with lyrics ranging from comical to tender and profound. At the heart of each song is a deep understanding of musical arrangement and a relatable story which Rob guides you through eloquently.
So, if your last Monday night fell short of brilliance, treat yourself to a pint or two of beer at Molly Malones, some tunes that will surely inspire the rest of your week, and the opportunity to discover where the real talent is hiding out at.
Learn more about Rob Giles and hear samples at www.myspace.com/robgilesmusic or at www.robgiles.com. Visit Molly Malones online at www.mollymalonesla.com.
Review by Bre Goldsmith ( www.bregoldsmith.com )
If you’re not already familiar with Rob Giles, know him as the artist who likely has produced some of your favorite albums by local emerging artists (to name a few: Laura Jansen, Nina Storey, Tim Fagan and Lisa Donnelly) and worked with such prestigious talent as Willie Nelson, Kid Rock, Will Hoge, Tom Petty, The Dixie Chicks, Collective Soul and Patty Griffin.
A testament to Rob’s generosity and wide support of the LA indie/rock/aoustic scene, he has begun a tradition of inviting artist friends to share the stage with him during the Monday night performance. As a result, each Monday show is quite unique; so, if you’ve been to one of Rob’s shows before, don’t use that as an excuse not to return!!
Rob’s recent solo work, including soon-to-be-released album “Happy” and “This is All in Your Mind” (2007), features thoughtful emotive compositions with lyrics ranging from comical to tender and profound. At the heart of each song is a deep understanding of musical arrangement and a relatable story which Rob guides you through eloquently.
So, if your last Monday night fell short of brilliance, treat yourself to a pint or two of beer at Molly Malones, some tunes that will surely inspire the rest of your week, and the opportunity to discover where the real talent is hiding out at.
Learn more about Rob Giles and hear samples at www.myspace.com/robgilesmusic or at www.robgiles.com. Visit Molly Malones online at www.mollymalonesla.com.
Review by Bre Goldsmith ( www.bregoldsmith.com )
Nina Storey at Hotel Cafe
May 29, 2008 – With a modern twist of soul, Nina Storey’s vocal performance is an emotional powerhouse that demands short and long-term attention. Having worked with and/or opened for prestigious artists such as Etta James, Ani DiFranco, Patty Griffin, Linda Ronstadt and Sarah McLachlan, Nina has just released her fifth full-length album “So Many Ways from Me to You,” co-produced with the ever-talented Rob Giles.
Recalling such distinguished voices as Billie Holiday and Tori Amos, Nina folds indie, soul, rock, jazz and pop genres into her own breed of song-writing / arrangement, which features a piano, organ, tambourine, violin, cello, viola, guitar (acoustic, electric, steel, bass), percussion, drums, saxophone, trumpet and trombone. Even if all played together, these instruments would not be as powerful and prominent as Nina’s voice, which ranges from breathy to intimidatingly operatic and creates such a vibration throughout the room that it could nearly play the piano without touch.
From pop-driven “Change Her,” and bluesy get-up-and-dance “Getting Over You” to the tenderly expressive “Woman” “Little Conversation,” each song accomplishes its own feeling. What is striking about a few of Nina’s songs is that instead of fading out, they halt at the most vocally and instrumentally climactic point. In this way, Nina really knows how to energize the listener and invite them to hear more. Such effect was achieved when audience members sporadically broke into mid-song applause and then begged for an encore, which presented “This Naked Woman,” a track with seductive lyrics and flawless beats.
Learn more about Nina Storey at www.myspace.com/ninastorey or at www.ninastorey.com.
Review by Bre Goldsmith ( www.bregoldsmith.com )
Recalling such distinguished voices as Billie Holiday and Tori Amos, Nina folds indie, soul, rock, jazz and pop genres into her own breed of song-writing / arrangement, which features a piano, organ, tambourine, violin, cello, viola, guitar (acoustic, electric, steel, bass), percussion, drums, saxophone, trumpet and trombone. Even if all played together, these instruments would not be as powerful and prominent as Nina’s voice, which ranges from breathy to intimidatingly operatic and creates such a vibration throughout the room that it could nearly play the piano without touch.
From pop-driven “Change Her,” and bluesy get-up-and-dance “Getting Over You” to the tenderly expressive “Woman” “Little Conversation,” each song accomplishes its own feeling. What is striking about a few of Nina’s songs is that instead of fading out, they halt at the most vocally and instrumentally climactic point. In this way, Nina really knows how to energize the listener and invite them to hear more. Such effect was achieved when audience members sporadically broke into mid-song applause and then begged for an encore, which presented “This Naked Woman,” a track with seductive lyrics and flawless beats.
Learn more about Nina Storey at www.myspace.com/ninastorey or at www.ninastorey.com.
Review by Bre Goldsmith ( www.bregoldsmith.com )
Wednesday, May 21, 2008
The Rescues- Everything is Wrong Without You
In some ways, this review has been writing itself for over ten years. There is a series of events that have been layering themselves:
A friend of mine wanders into one of Kyler England’s acoustic performances at a coffeehouse in Boston in 1998; she calls me excitedly to come over and hear a CD called “If the World Would Just End” which, ironically, is the album which makes the world of music begin for me. A few years later, a different friend ran into some trouble which forced her to grow up faster than a girl should have to. After comforting words did what they’re supposed to, I decided to create a compilation CD, hoping that its lyrics and melodies would continue to soothe her as she learned to trust herself and the world again.
The disc, which offered carefully chosen tracks by Eva Cassidy, Bonnie Rait, Ellis Paul, Patty Griffin, Etta James, and a few other industry legends, could never have been complete unless Kyler’s music was a part of it. So, I added two of her most healing songs and, when satisfied with the grouping of tracks, I wrote- across the front of the CD- the only words that seemed to justify the wisdom inside it: “SONGS THAT WILL RESCUE YOU.”
The story continues in Los Angeles, where, a decade and four albums later, Kyler has joined forces with two of the nation’s top emerging singer-songwriters to create a group that is nothing short of compelling. Although this trio was almost called “The Whirly-Birds,” history makes it both ironic and brilliantly appropriate that they are now known as “The Rescues.” For, although many thousands of songs have passed through my mind since I created the album designed to save a drowning friend, I know that there could be no better follow-up compilation than The Rescues’ self-titled first album, whose 12 songs are capable of accomplishing as much as any variety of music I could try to collect.
One of the most significant aspects of The Rescues is that each of its components (Kyler England, Gabriel Mann and Adrianne) are individual forces, each working towards their own version of success. Gabe Mann is the type of artist who is passionate enough to always make his presence known, and humble enough to create an environment in which his voice lets others come through fiercely. With a singing career that began in a Philly-based a cappella group, led to work on movie soundtracks, and grew into a performance at the Oscars, Mann has proved versatility throughout the many faces of music-making. An accomplished songwriter and dynamic pianist, Gabe has just released his fourth album “Tall Buildings.”
The third member of the group to receive international acclaim, Adrianne is her own breed of distinctive. With a voice that is unimaginably strong and vulnerable at the same time, she can fortify you and make you weep before you have even applauded her first song. Adrianne seems like an artist who likes very much to challenge expectations; with the appearance of an unapologetic rockstar, she is, at the heart, a compassionate poet who fuses the acoustic and indie genres seamlessly throughout her five albums. After the recent completion of a solo tour throughout Europe, Adrianne is back in LA to pursue success with The Rescues, as well as to promote “Burn Me Up,” which will be officially unveiled at Hotel Café on May 29th.
Separately, these artists have shown a range of talents. Together, their voices have such a potent symbiotic harmony that they could exist as the whole band and still shake the room. Yet, the ever-adaptable Adam Marcello (drums), Carson Cohen (bass), and Steve Mazur (electric guitar) manage to support the trio’s sound in a way that compliments it and fills sound spaces without overwhelming.
This past Thursday marked the Los Angeles release of the group’s first album, a combination of songs that were either written by the trio or borrowed from one of the artists and reinvented to integrate the most significant aspects of each musician’s ability. The result is an exquisite balance that continues to astonish and gain support from LA’s top music industry contributors. Still waiting for a label to see what so many others have discovered and celebrated, the band is doing well on their mission to inspire listeners, raise the bar for LA’s acoustic category, and “rescue” those lucky enough to cross the path.
Learn more and hear music samples at www.myspace.com/therescues
Review by Bre Goldsmith ( www.bregoldsmith.com )
A friend of mine wanders into one of Kyler England’s acoustic performances at a coffeehouse in Boston in 1998; she calls me excitedly to come over and hear a CD called “If the World Would Just End” which, ironically, is the album which makes the world of music begin for me. A few years later, a different friend ran into some trouble which forced her to grow up faster than a girl should have to. After comforting words did what they’re supposed to, I decided to create a compilation CD, hoping that its lyrics and melodies would continue to soothe her as she learned to trust herself and the world again.
The disc, which offered carefully chosen tracks by Eva Cassidy, Bonnie Rait, Ellis Paul, Patty Griffin, Etta James, and a few other industry legends, could never have been complete unless Kyler’s music was a part of it. So, I added two of her most healing songs and, when satisfied with the grouping of tracks, I wrote- across the front of the CD- the only words that seemed to justify the wisdom inside it: “SONGS THAT WILL RESCUE YOU.”
The story continues in Los Angeles, where, a decade and four albums later, Kyler has joined forces with two of the nation’s top emerging singer-songwriters to create a group that is nothing short of compelling. Although this trio was almost called “The Whirly-Birds,” history makes it both ironic and brilliantly appropriate that they are now known as “The Rescues.” For, although many thousands of songs have passed through my mind since I created the album designed to save a drowning friend, I know that there could be no better follow-up compilation than The Rescues’ self-titled first album, whose 12 songs are capable of accomplishing as much as any variety of music I could try to collect.
One of the most significant aspects of The Rescues is that each of its components (Kyler England, Gabriel Mann and Adrianne) are individual forces, each working towards their own version of success. Gabe Mann is the type of artist who is passionate enough to always make his presence known, and humble enough to create an environment in which his voice lets others come through fiercely. With a singing career that began in a Philly-based a cappella group, led to work on movie soundtracks, and grew into a performance at the Oscars, Mann has proved versatility throughout the many faces of music-making. An accomplished songwriter and dynamic pianist, Gabe has just released his fourth album “Tall Buildings.”
The third member of the group to receive international acclaim, Adrianne is her own breed of distinctive. With a voice that is unimaginably strong and vulnerable at the same time, she can fortify you and make you weep before you have even applauded her first song. Adrianne seems like an artist who likes very much to challenge expectations; with the appearance of an unapologetic rockstar, she is, at the heart, a compassionate poet who fuses the acoustic and indie genres seamlessly throughout her five albums. After the recent completion of a solo tour throughout Europe, Adrianne is back in LA to pursue success with The Rescues, as well as to promote “Burn Me Up,” which will be officially unveiled at Hotel Café on May 29th.
Separately, these artists have shown a range of talents. Together, their voices have such a potent symbiotic harmony that they could exist as the whole band and still shake the room. Yet, the ever-adaptable Adam Marcello (drums), Carson Cohen (bass), and Steve Mazur (electric guitar) manage to support the trio’s sound in a way that compliments it and fills sound spaces without overwhelming.
This past Thursday marked the Los Angeles release of the group’s first album, a combination of songs that were either written by the trio or borrowed from one of the artists and reinvented to integrate the most significant aspects of each musician’s ability. The result is an exquisite balance that continues to astonish and gain support from LA’s top music industry contributors. Still waiting for a label to see what so many others have discovered and celebrated, the band is doing well on their mission to inspire listeners, raise the bar for LA’s acoustic category, and “rescue” those lucky enough to cross the path.
Learn more and hear music samples at www.myspace.com/therescues
Review by Bre Goldsmith ( www.bregoldsmith.com )
Ain’t No Love in LA without Ernie Halter
On Monday night at Hotel Café, the ever-amusing and soulful Ernie Halter gave a memorable love-themed performance to commence a nationwide tour with genre-sharing Josh Hoge.
Opening with “Count the Days,” Halter sang about missing someone “like California misses rain... like children miss summer” with guitarist Aaron Bishop and percussionist Mark Chipello. In “Different Lives,” a sincere Nashville-influenced song, Halter sang about empty sounds, unignorable differences, locked doors, and parting with a loved one to pursue independence.
More love-oriented lyrics prove that “love is not lost,” even when it appears that love has forgotten about you, even in the lonely city of Los Angeles. Additionally, the song “Lighthouse,” to be featured on the new album, discusses the type of love that is shown through unconditional friendship. Only post-shit-storm can one tell who the people are that are most dedicated to being the “your anchor, guide [for] your hand...your shelter.” Built from powerfully tender vocals, moving beats and harmonious instrumentation, these are love songs that are fitting for any state of heart: whether it is bursting, being torn from another, feeling invisible or starving.
An unfailingly charismatic man, Ernie glows even brighter when on stage; he has the type of charm that makes everyone around him feel as though they are a part of something truly special. Ernie can also coin phrases (ie: Fawesome), resurrect the slap-bracelet trend and show that the nightmare of standing in front of a crowd in one’s underwear can be survived with the help of the right fan base (contact for further explanation). His pricelessly unique stage comments/stories, which can sometimes occur mid-song as a verse-extensions, discuss everything from Vegas and the Gideon bible to crotchless panties, red-headed sluts and soldering irons. Ernie is, in addition to an incredible voice, a true entertainer.
Although local fans wish Ernie the greatest success as he presents his talent throughout the country, the LA music scene will surely miss his presence over the next two months and have a packed-house waiting for him upon return.
Learn more about Ernie and hear music samples at www.myspace.com/erniehalter
Review by Bre Goldsmith ( www.bregoldsmith.com )
Josh Hoge Creates a New Kind of Southern Charm
After a 2,000+ mile drive from Nashville this past weekend, Josh Hoge (vocals) and Jordan Jameson (guitar) rocked the Hotel Café stage on Monday to kickoff their 7-week nationwide tour with LA-native Ernie Halter.
Hoge was also celebrating his new record agreement with Blackledge, a new division of Atlanta for which he is the first artist. If you hear Hoge live, you will understand why he is an appropriate artist to define a label’s new branch; he is unapologetically unique and unforgettable. Stylistically, I attempt to describe Hoge’s music as Southern rock crashed into groove-worthy R&B and sensual whiskey-sipping soul. One of his defining philosophies is that apologizing for your experiences or the person they have created is wasted time that could have been better used to create great music.
Starting the set with “Take It or Leave It,” which Hoge wrote with Ryan Tedder of One Republic, Hoge sang “I don’t pretend to be pretty- Sometimes I tend to talk dirty- I can be country or city” to an excited toe-tapping and hip-shaking crowd. With “360,” the theme song for relationships gone wrong (and also karma), Hoge showed the range and strength of his vocal abilities. He has incredible control over every sound that comes out of his mouth and how it will hook the listener (also, to the crowd’s enjoyment, little control over the profanity of his story-telling.)
Later in the set, Ernie Halter (co-writer) joined Hoge on stage to perform Try,” a song about being on the road away from someone you love. Eric Robinson and Caitlin Crosby also joined to debut “Space,” a song about needing time with one’s own silence. A cover of “Aint No Sunshine” let Hoge mix his modern style and personality into a classic to brilliantly reinvent it. As with many of his songs, listeners needed to close their eyes to really appreciate the quality of his voice, which, even at its highest notes, is potent.
With an unpolished appeal and daringly forward humor, Hoge makes friends and creates fans wherever he goes. Even before the start of his tour (and a full four months before the release of his first album), he had the LA music community buzzing; add this type of support to Hoge’s exciting collaborations with musicians of many genres and you have an artist with versatility and staying power. Hoge is the type of artist who needs to be behind the mic for the rest of his life- he comes alive there. Still, he is also the type of artist who would never be deterred by the absence of a mic; it would simply give him a reason to sing a little louder, stand on something taller and let a little more of himself out.
Learn more about Josh and hear music samples at www.myspace.com/joshhoge
Review written by Bre Goldsmith ( www.bregoldsmith.com )
Friday, May 2, 2008
Amber Rubarth is Back in CA to Celebrate Her New Album!
Amber Rubarth is the artist whose wisdom you want to have within an earshot when life carves you jagged edges and you need smoothing.
She is also the disarmingly optimistic girl known for following her number-one-passion through hundreds of tour dates a year, being described by fellow artists as someone whose home is “on the stage” rather than in a particular region of the world. Celebrating the release of her soon-to-be-released album “New Green Lines” at Hotel Café last night, Amber presented herself (barefoot) as a performer poised for growth.
When I spoke to audience members during and after the show, the concept that was repeatedly expressed was “dichotomy.” With a genuine and, at times, child-like voice, Amber tells stories whose insight is associated with several full lifetimes. Most striking is the amount and multiple shapes of love that are memorialized by her songs. There is the type love which exists and fulfills in a way that is more complete than a whole world’s worth of exploring; the type of secret love that lives in the creases of the mind that never sleep; the type that lights a heart for sixty seconds and colors a lifetime’s worth of images; the love that carries with the hope of a washed canvas; the love that is stronger than a drug and as pure as a smile.
Aside from inviting Eric Robinson, Jenni Alpert and Chet Dixon for two songs, Amber managed to create a dazzling impact with just the sounds from her own mouth and guitar / piano. There is a daring rhythm about her voice, which can present a heart-breaking steadiness and then leap octaves like vocal chords on a trampoline. There is comfort in a talent that can be extraordinary in its simplest format, delivering a similarly striking impact with the technology of a sidewalk or that of a New York music hall.
If there is one message to be taken away from time with Amber, whether via album or venue, it is that much of what you need to know about life can be learned from wood-sculpting. From this metaphor, you see that the changes you think are cutting into you (as if to destroy) are actually “carving” you. To this effect, one should not be discontented with who they are at any given point; each person is always relatively “an unfinished art,” needing to be shaped until the day when they can stand looking back at how they used to exist and realize that each alteration was purposeful.
Find more about Amber at http://www.msplinks.com/MDFodHRwOi8vd3d3Lm15c3BhY2UuY29tL2FtYmVycnViYXJ0aA== and buy "New Green Lines" when it arives on May 6!
Review by Bre Goldsmith ( http://www.bregoldsmith.com/ )
She is also the disarmingly optimistic girl known for following her number-one-passion through hundreds of tour dates a year, being described by fellow artists as someone whose home is “on the stage” rather than in a particular region of the world. Celebrating the release of her soon-to-be-released album “New Green Lines” at Hotel Café last night, Amber presented herself (barefoot) as a performer poised for growth.
When I spoke to audience members during and after the show, the concept that was repeatedly expressed was “dichotomy.” With a genuine and, at times, child-like voice, Amber tells stories whose insight is associated with several full lifetimes. Most striking is the amount and multiple shapes of love that are memorialized by her songs. There is the type love which exists and fulfills in a way that is more complete than a whole world’s worth of exploring; the type of secret love that lives in the creases of the mind that never sleep; the type that lights a heart for sixty seconds and colors a lifetime’s worth of images; the love that carries with the hope of a washed canvas; the love that is stronger than a drug and as pure as a smile.
Aside from inviting Eric Robinson, Jenni Alpert and Chet Dixon for two songs, Amber managed to create a dazzling impact with just the sounds from her own mouth and guitar / piano. There is a daring rhythm about her voice, which can present a heart-breaking steadiness and then leap octaves like vocal chords on a trampoline. There is comfort in a talent that can be extraordinary in its simplest format, delivering a similarly striking impact with the technology of a sidewalk or that of a New York music hall.
If there is one message to be taken away from time with Amber, whether via album or venue, it is that much of what you need to know about life can be learned from wood-sculpting. From this metaphor, you see that the changes you think are cutting into you (as if to destroy) are actually “carving” you. To this effect, one should not be discontented with who they are at any given point; each person is always relatively “an unfinished art,” needing to be shaped until the day when they can stand looking back at how they used to exist and realize that each alteration was purposeful.
Find more about Amber at http://www.msplinks.com/MDFodHRwOi8vd3d3Lm15c3BhY2UuY29tL2FtYmVycnViYXJ0aA== and buy "New Green Lines" when it arives on May 6!
Review by Bre Goldsmith ( http://www.bregoldsmith.com/ )
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