THE VOICE OF CHICAGO'S GAY, LESBIAN, BI, TRANS AND QUEER COMMUNITY SINCE 1985

** Justin Hayford at Speakeasy, (773) 338-0600, on Mar. 11

For the first time that I can remember, the number of CDs that I have received for review by openly gay males has surpassed the number of CDs sent to me by women. This is by no means meant to be a competition, but gay men (and lesbians) looking for genuine queer music (which doesn't include the Queer Eye For The Straight Guy soundtrack) by male performers have a fascinating array from which to choose.

Manalapan (City Salvage), the second full-length album by Brady Earnhart is so brilliant and wondrous that it's almost unfair to write about any other CDs in the same column. Earnhart is first and foremost a poet (he received an MFA in poetry from the University of Iowa) and his lyrics have a sophistication and sensitivity that is rare in the contemporary queer music scene. And the subject matter is unapologetically gay; from 'Whitman In 1863' (written in the voice of the late queer poet Walt Whitman) to 'Honey Don't Think Your Mama Don't Know,' in which the singer sends a closeted lover off to his family for Christmas and worries about him 'trying not to say my name.' But the singer believes that the lover's mother, who named him Troy 'to remind you what to buy when you find a boy,' knows more than she's letting on. In the sincerely sweet 'Car Repair,' Earnhart troubles himself over what he should wear when he goes to get his car repaired because he has a crush on the mechanic, and 'Good Night Friday Night' might be the best song ever written about last call in a gay bar. While I don't know in what order he writes his songs, lyrics or music first, the outcome is perfection. The music and the words are ideally suited to each other. Earnhart's vocals and acoustic guitar are supplemented by Gina Pezzoli's cello on the title track, while Kris Curran's French horn shines through on 'I Just Want More.' The backing vocals on 'Arlington' give it an early Simon & Garfunkel zest. I cannot recommend this disc strongly enough.

Michael Holland's fourth album, the long-awaited Beach Toys Won't Save You (Miss Prim) is a radiant and summery disc that will have you reaching for the sun screen and the beach umbrella, no matter what season it is. On 'Wish You Were Here,' Holland bids 'bitter, wintry weather' farewell, becomes a gay Beach Boy on 'Beatrice's Boyfriend,' and on 'Boys Say Go,' Holland merges girl group energy and punk pop punch for a 21st century gay anthem. 'Drive Drive' suggests the car songs of the '60s and the dance-floor fixed 'It's Too Late (For A Summer Love)' recalls k.d. lang's 'Summerfling.' Holland also has a way with touching ballads, as you can hear on 'Everything In The Whole Wide World' and 'More.'

Space Under Sun (Gold 18), the second full-length album by Outmusic Award-winning blue-eyed soul singer/songwriter Ari Gold boasts song production by Desmond Child ('Intimate') and a song co-written by Marsha ('Love Don't Need A Reason') Malamet (the title track). So, why isn't it more interesting? It's obvious, even without the obstruction of a vocoder, that Gold can sing, as you can hear on 'Bashert (Meant To Be)' and 'Back To Me.' Gold also exhibits a distinctive sense of humor on 'He's On My Team,' a duet with Kendra Ross, in which he debates whether a hot guy is checking out him or her. The question for me is whether or not we really need a gay Justin Timberlake? For that matter, do we really need a straight Justin Timberlake?

Speaking of Justins, Justin Tranter, another Outmusic Award-winning artist has just released his second album, Tear Me Together (Third Verse). Witnessing Tranter's live performance at the 2003 Outmusic Awards ceremony, I had a better grasp of his work, something that didn't occur completely when I listened to his debut disc Scratched. Tear Me Together does a more perfunctory job of capturing Tranter's nearly frenetic and unbridled live energy. It bonds the album, sometimes giddily, as on 'Yadadada,' and other times furiously on 'Gag Reflex,' 'Martyrs & Monsters,' 'In Our Science,' and the breathless rush of 'Good Luck With Your Armageddon.' Tranter also sounds equally comfortable delivering dramatic power ballads such as 'Fear Of Frailty,' 'Ultimatum,' 'Borrowing' and 'Sad As It Is.'

Gay men and jazz are not a new combination. From Billy Strayhorn to Andy Bey to Gary Burton, the influence of gay men resounds. Among the mostly highly regarded contemporary performers and composers is Grammy-nominated and GLAMA-winning Fred Hersch. Hersch returns with his trio (Drew Gress on bass, Nasheet Waits on drums, Hersch on piano) for +2 (Palmetto), on which they are joined by a brass section consisting of Ralph Alessi and Tony Malaby. The nine originals (including 'A Riddle Song,' which like the aforementioned Brady Earnhart song, is a reference to Walt Whitman) and one cover (Lennon and McCartney's 'And I Love Her'), give the listener the feeling of sitting at an intimate table for two in a smoky jazz club.

Welsh jazz vocalist Ian Shaw made me dizzy with glee after listening to his latest album, A World Still Turning (441). As daring an effort as you are likely to hear, Shaw applies his ample vocal talents to some unexpected musical selections and hits the jackpot. Beginning with the '70s classic, 'Alone Again, Naturally' and continuing on to a jazz deconstruction of the Elton John song 'We All Fall In Love Sometimes,' Shaw, and the listener, are given the opportunity to become reacquainted with songs that we thought we knew. David Bowie ('An Occasional Dream'), Bob Dylan ('Gotta Serve Somebody'), Randy Newman ('Guilty') and Radiohead ('The Tourist') all soar in their new jazz settings. For those listeners less willing to take those kinds of risks, Shaw also covers songs by Harry Warren ('This Is Always'), Kurt Weill ('Speak Low') and Jimmy Dorsey ('I'm Glad There Is You').

Justin Hayford has made a career of performing and recording obscure gems, thereby shining much needed light on them and allowing them to shine. Look Who's Been Dreaming (LML Music), the eagerly anticipated follow-up to 2001's A Rare Find, continues the tradition. Pianist Hayford's cabaret crooning, accompanied by Phil Gratteau and Jim Cox, glows like the light from the projection booth in a movie palace as he turns his attention to 'neglected treasures from Hollywood's golden age.' The title track is a dreamy romantic number, while 'You Lucky People You,' 'Never Swat A Fly,' and 'Please Pardon Us We're In Love,' are clever and perky tunes that have the ability to set toes a tapping. The album's centerpiece, a gorgeous reading of 'Baby Mine' (from Dumbo), is a tearjerker lullaby that will soothe you between sobs.

The aptly titled Someday Peace Love & Freedom (w.nhojj.com) by Nhojj, is acoustic soul music with a message. Addressing homelessness ('The Beggar's Cup'), settling disagreements ('Peace'), ending ignorance and hate ('Fighting For Love,' 'Someday'), and loss ('I Miss You'), Nhojj does it all with an island flavor and the resolve of church music.

The Outvoice top 40 chart of CDs by queer artists has, for me, been an incredible resource. It's a great way to find out when a performer, especially an independent one, will be releasing a new CD. Steven Gellman is a singer/songwriter who experienced popularity on those charts. Love Loss Longing (Hidden Poet) is Gellman's latest CD, his first in a number of years, released following the traumatic breakup of his relationship. Gellman has a pleasant voice and is a capable guitarist, and the production values are very high. The opening track is a terrific rendition of the traditional 'Shenandoah,' on which Gellman is joined vocally by acclaimed folk singer Kate Campbell. I only wish that the rest of the material lived up to the setting. Musically, the songs are interesting in a folk-pop vein, but the lyrics are often lazy and predictable. Maybe it's a question of maturity, because Gellman certainly has the potential to be a better lyricist.

Uninspired lyrics are also a problem on Ricardo Alvarado's compilation Unveiled (Odracir), which is subtitled 'celebrating a decade of music 1993-2003.' Most of the songs on the 15-track disc are in the dance pop realm and suffer from an absence of energy and originality. As with Gellman, it is obvious that Alvarado is not lacking for enthusiasm, just creativity.

Before I get to the numerous debuts by gay male performers, it's important to note that Phideaux (Xavier), a longstanding figure in the queer music scene, has released a new album titled Fiendish (Blood Fish). A progressive rock production, the album is one of the best indications of the variety of musical styles in which gay men work. The influences of Pink Floyd, Jethro Tull and others can be heard synthesized through the eleven songs on Phideaux's disc.

Because of Phideaux, and many others, new generations of gay male performers continue to spring up in the rock, pop, folk and soul realms. Wandering Eyes (Deep Tissue) is the much ballyhooed full-length debut disc by Dylan Rice. Rice, who was taken under the wing of openly gay former Styx member Chuck Panozzo, is a savvy young performer with a knack for catchy and edgy pop songs. Opening track 'Distant Planet' rocks like a meteor. A Rice staple, 'March of The Misunderstood,' is an anthem for those disenfranchised by divorce. 'Just Like You' could be the theme song of anyone looking for Mr. Right (not Mr. Right Now) and 'Drama Queen,' another of Rice's signature tunes is the most ready-made radio song on the disc. 'I Do & I Don't,' from which the album draws its title, also has hit written all over it. Rice sounds best on 'Lucky To Need You,' on which he is allowed to sing unencumbered. Live, Rice swivels and sneers like a gay Chris Isaak, and shouldn't be missed.

The previously mentioned Ari Gold isn't the only gay male artist dabbling in the dance realm. Bill Budd sounds like he was listening to a lot of David Gray while he created the set of melodic and moody electronic tracks on his debut album And So Here… (IndieRec). That's not necessarily a bad thing, as you can hear on 'Trying Here' and 'Again.' J. has been making a name for himself recently with the club remixes of some of the songs 'So High' and 'Without My One and Only.' The original boy-group-like versions of those songs, (and others) can be found on his album Animal (TUNEngine).

I'm not a fan of the EP (extended play) release, because I never feel satisfied. Three or four songs are never enough for me. That said, I did want to mention a pair of EPs that make me look forward to the full-length releases by the artists. Broken (Rubber/Glue) by Douglas Wood consists of four songs, two of which ('Broken' and 'The Voice') are rhythmic tracks that are well-suited to Wood's vocals. However, Wood really gets the chance to show off his abilities on the rock ballad 'There Is A Stone.' The self-titled three-song EP by Scandelle is a pleasant, if all too brief, introduction to a promising singer/songwriter. 'Speak Easy' is about turning away a pretty thing with the line, 'No means no. Not maybe.' 'Afterlife' is a subtle, if pulsating dance track and the acoustic soul ballad 'You'll Be Back,' may make some listeners hope that Scandelle will be back with more songs.

Finally, The Brian Conn New Music Ensemble provides something for classical music fans with Requiem (Classical Angst). Billed as 'for chorus and orchestra,' Conn began composing this substantial piece in 1992 because 'all the great composers had written such a mass and my music tends to be dark, heavy, and intense. What could be more dark and intense then a mass for the dead?'