Welcome back friends! I have three brand new local releases to share with you this month. Three very different types of artists, but each is outstanding in their own right and more than worthy of a listen. I hope that you'll continue to support all of the musicians that we feature in this column. I can promise you won't be sorry!

This month, The Spotlight shines on

3 KISSES ­ "Lethal Love Addiction" (Batteries not included)

In art, as in life, there is a fine line between "baring your soul" and "TMI". Tish Meeks spends plenty of time on both sides of it with her latest release.

Meeks is the immensely talented driving force behind Rat Pak Records recording artists 3 Kisses. The band's last album, "American Breakdown", remains one of the finest albums I've had the pleasure of reviewing. So I had high expectations for "Lethal Love Addiction" (Batteries not included), their new 16 song offering.

From the first listen, it is clear that a recent line-up shift has not hurt the band in the slightest. The remaining members, along with a series of guest players, deliver an album that is every bit as impressive as its predecessor. "Lethal Love Addiction" is a bit of a departure for the band. While certainly retaining their trademark grit and raw power, this effort is more polished, radio ready and commercially accessible.

What remains is solid writing and arranging, powerful performances, expert production, and almost unparalleled lyrical sophistication. Meeks continues to grow and evolve as a poet and storyteller. And while her chosen format is edgy and, at times, decidedly brutal, it is nonetheless effective.

My only issue with this outstanding effort is the subject matter. "Lethal Love Addiction" is undoubtedly a concept album. The concept is one we can all relate to: lost love and its aftermath. The opening track, "All That Matters Is Love", is a slick Joan Jett-style rocker that sets the appropriate tone. What follows, however, is perhaps the most tedious sequence of songs I've ever heard. Simply put, I'd hate to be the guy Meeks is singing to. No metaphors here, folks. She is literal and specific. The fact that every song is written from the first person perspective, and each speaks directly to the object of her wrath makes the next 8 songs sound like one long, continuous rant. The listener becomes a fly on the wall, an audio witness to a relationship imploding. While every artist offers a glimpse of their heart, Meeks offers a front row seat in a 3-D IMAX theater. By the time we get to the disturbing "Psycho Stalker", the message has completely overwhelmed the art. As individual pieces, any of these songs would be fine. In this sequence, they make for a rather uncomfortable listening experience.

Listen closely, and you'll hear just as much vulnerability, pain, and confusion as you do bitterness and anger. Intriguing, to be sure. But when the mood finally sifts (beginning with "Wings"), it's a welcome change. And when she wraps things up with the optimistic "Work of Art", it's nothing short of a relief.

"Lethal Love Addiction" is a fascinating and complex piece of work that is not for the faint of heart. The same can be said for Tish Meeks.

www.3kisses.com

JB BARNETT ­ "Anything But Plan B"

About 2 years ago, I wrote a review on a local singer/songwriter in which I noted that the CD packaging contained no photo's and only minimal credits. It was clear that the artist wanted the spotlight on the music rather than himself. An admirable notion, to say the least.

JB Barnett chooses a different approach. Open his latest release, "Anything But Plan B", and you're greeted with an extensive family photo album and the proclamation that this collection was "written, performed, recorded, produced, mixed, and mastered by JB Barnett". Alrighty then.

From this point on, the focus shifts to the music. And that's a good thing, because "Anything But Plan B" is an impressive 14 song effort that should earn this gifted player considerable (and deserved) acclaim.

Barnett has a smooth, soothing vocal style that is perfectly suited for his band of acoustic rock. The CD kicks off with "Gypsy Lady", an upbeat, melodic tune that is instantly memorable. By the end of this song, you'll find yourself humming the chorus.

Barnett is an effective Lyle Lovett-type storyteller, clearly evident on the reflective "Change". "Mr. Jung" is a truly unique piece of work. It's an intriguing combination of dark subject matter and an easy-listening acoustic arrangement.

Other highlights include the touching "Peter Pan", some solid harmony work on "Midnight Ride", and the warm, radio-friendly "Say The Words". The bouncy "St. Peter" brings things to a rousing conclusion.

All in all, "Anything But Plan B" is well worth your time and money. Check it out. And don't forget to visit his website. I'm guessing it's conceived, designed, created, mastered, updated, and monitored by JB Barnett.

www.JBBarnettmusic.com

THE BILL NELSON BAND ­ "Don't Talk To Strange Dogs"

"Don't Talk To Strange Dogs" is the dynamic new release from the Bill Nelson Band. These 16 tracks, recorded at Big Door Studios in Webster and produced by Mike BBQ, are moody, passionate and, most importantly, honest. By "honest" I mean that the Bill Nelson band doesn't pretend to be anything that they are not. They draw on blues and southern rock influences and are driven by gut-level guitar work. Nelson is, without a doubt, a gifted and versatile player. And his skills are constantly on display here, most notably on "She Treads Lightly", "Carter Street Blues", and the flamenco flavored "Sunset At Terlingua". As a vocalist, Nelson is more of a narrator than a crooner. His style shows well on "The Oracle Of Magazine Street" and "Ballad of Johnny Ray". However it is less effective on such titles as "Exoskeleton" and "Southern Dysfunktional Blues", songs that would seemingly benefit from a more conventional singer.

I give Nelson high points as a lyricist and here's why. Most writers go out of their way to rhyme a line; this could sometimes make a line sound forced or unnatural. Nelson rhymes whenever feasible, but if he can't find a rhyming word that works he simply chooses the best line possible. So while his words don't always rhyme, they always flow naturally and the song is ultimately better as a result.

There are some production issues that must be noted. The sound is muddy and the mix is inconsistent, often within the same song. There are instances when I can clearly hear one verse of a tune but the next is muddled and inaudible. And at the 1:36 mark of "Exoskeleton" you can actually hear someone sniff. While this is not unusual on a demo recording or rough mix, it is an inexcusable oversight on a formal CD that you are charging money for.

In my humble opinion, quality trumps quantity, and while it is commendable for an artist to give the public it's money's worth by including as many songs as possible on a single recoding there are side effects. You run the risk of overusing good ideas. For example, on this album you'll find songs entitled, "Crazy Woman Blues", "Gulf Coast Hurricane Blues", "Southern Dysfunktional Blues", and "Carter Street Blues". And when I first heard "Gulf Coast Hurricane Blues" I was impressed with the "mirrored" guitar and vocal work, but when the same technique is utilized on "Leaving Houston" and "Coming To Take My Soul" the effect is greatly diminished. It's sometimes necessary to trim the fat and release only your very best work. Your album will be shorter but it will also be less cluttered and, ultimately, better.

www.cdbaby.com/billnelsonband

Well that's all for this month. Thanks for stopping by and keep those CD's and promo packs coming.