Get Stereo has a myriad of styles to match the versatility of singer Teresa Jimenez; One can hear jazz balladry, smoky R&B, tightly crafted pop, folksy rock, and nasty funk, as well as a heavy World/Fusion influence.

12 MP3 Songs in this album (46:45) !
Related styles: URBAN/R&B: Northern Soul, JAZZ: Soul-Jazz

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Details:
Get Stereo is the solo debut from Cuban-American vocalist and member of Secret Army, Miss Teresa Jimenez. Produced by BOZFONK MOOSICK head Danny Bedrosian, this newest release from the camp that brought you Somân Fierce, Secret Army, The Soular System, Asphalt Panda, Moon Child, and the Sleaziest of the Greaze, promises to keep you moving, thinking, contemplating, and craving more. And like most BOZFONK releases, the myriad of genres is breathtaking, yet there is a beautiful, fluent, warm quality that resonates through the entire album. That being said, one can hear smoky jazz/soul balladry, Funk/R&B stomps, tightly crafted pop and folk tunes, introspective proto classical work, Psychedelic Acid Rock, World Fusion, and much more. To top it all off, the lyrics on all these tracks (largely the work of Miss Jimenez herself, with a few exceptions) are amazing, and will draw all listeners in with evocative words and subtle lyrical phrasing.
The album opens with the smoky Jazz/Soul tune, âWouldnât Have it Any other Wayâ, originally written by Bedrosian and Jimenez. This is a good example of Jimenezâs ability to tackle different sounds from other eras. The sound of this song is pure northern soul, influenced by many old Motown and Jobete Records. The lyrics are tantalizing, and the sound is smooth and very sexy. The upright bass on the track is a perfect fit.
The second song is a version of Sweet Mothaâ Childâs âEvopollutionâ, written by Bedrosian and guitarist Marc Munoz. The track is stinky, and funky, and everything a good juke joint jam should be. The chorus and the bridge make some very interesting shifts in the song, and present a good example of how versatile Teresa and co. really are.
The third song, âMostly Happyâ, is another well crafted pop/r&b collab created by bedrosian and jimenez with amazing word play, vocal arrangements, smooth, subtle keys and acoustic guitar, and a special guest appearance on bass from P-Funkâs longtime bassist Lige Curry, and Russian World/Funk/Fusion violinist Felix Lahuti. Commercially, the song is very viable in any pop market.
Next on the album is the folksy âCause Sometimes You Have Toâ, a Mike Maloney composition with catchy lyrics, a great hook, and call and response vocals at the end. This song features the Soular Systemâs rhythm section with a rollicking Mike Maloney guitar solo towards the end.
The mood slows down with âMidnight Tequilaâ, a steamy jazz ballad written by bedrosian and jimenez, also featuring a standout trumpet part from the Soular Systemâs Damnâ Diz. The track itself is pure jazz, and the song title suggests the all-too-present vibe that is undeniably smoky and soft at the same time.
âAdelicâ, is a great pure funk track, harking at that old Delic funk that isnât played much anymore, if played right at all by most of the youth today. Unlike most, Jimenez, Bedrosian, Munoz and Maloney funk it up with organic and digital sounds colliding into a funk stew; Rock and Roll hall-of-famer, and longtime Parliament-Funkadelic legend Garry âStarchildâ Shider shows up here as well on some serious gospeldelic vocals, especially at the end.
The next song, âUnspoken Manâ, is a psychedelic rocker, written by Bedrosian and Jimenez, continuing to prove Jimenezâs versatile functions. Her anger and saddened wailing sends a melancholy sound of utter beauty and devastation simultaneously. This song features Sweet Mothaâ Childâs original rhythm section, and a standout fuzz guitar solo from Secret Armyâs Marc Munoz.
Little Sherry is one part Beatles, one part Junie, one part hip hop, and one part Tolkien. Lyrically an amazing song as well. Little Sherry features outlandish parts from Kalimba and Flute, up against Bedrosianâs singsong keyboard and synthesizer parts, and Jon Pickenâs stomping drums and percussion. The song almost feels like a fairy tale, but a pounding, thumping, oozing fairy tale. It also features Bedrosian on a 10 foot Fazioli Concert Grand Piano that adds the extra touch of class and elegance to the already amazing track. Teresaâs vocals are especially fluid here.
Risk is a two-part opus with a wide range of feels. Part I sees P-Funkâs Bedrosian, Rico Lewis, and Lige Curry on one of the most rollicking funk workouts of the 21st century! Jimenezâ spit fire vocals are also stand out here. Part II sees a very somber mood, with Jimenez and Bedrosianâs monk-like chanting over some haunting piano work by Bedrosian. This song is the most experimental, but the experiment really works, and the risk is well worth it, to the listenerâs utter delight.
One of Mike Maloneyâs fiercest compositions is next; the social treatise of âHoly Warâ points a brutally honest finger at ourselves and the world around us. The use of acoustic guitar here is great, and features another standout vocal performance by Jimenez.
Finally is âStill The Sameâ, featuring the band Red Fish Blue Fish, and a great Ella-style saxophone (courtesy of Matt Soucy)/vocal melody containing the lyrics of the song. It features some really interesting vocals and guitar from John Deming at the end as well.
You do not want to miss out on this newest release from Bozfonk Moosick.
Check out this amazing soundscape of genres, feels, voices, sounds, and remarkable musicianship. You will not be disappointed.
Reviewed by Tigran Hovanissian