ABOUT THIS ALBUM
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ARTIST: Martini Henry
TITLE: Live at Ned Devines
LABEL: Airaid Records
GENRE: Progressive Rock
ENCODER: MP3: Fraunhofer IIS MPEG Layer-3 Codec (professional)
QUALITY: 96 Kbps Avg / 32 KHz / Stereo
RECORDING DATE: early 2008

TRACK LIST
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01. Emperor X (part 1) 6:06
02. Emperor X (part 2) 5:04
03. Beast on Hollins Street 3:06
04. March to Darkness 6:35
05. Airaid (part 1) 5:56
06. Airaid (part 2) 6:06
07. God Out of the Machine 3:54
08. Gun Pointed at the Head of the Universe 8:40
09. Mad Mardygan 3:43

ABOUT MARTINI HENRY
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Martini Henry are a trio consisting of Matt Graboski (guitar and vocals), Garrett Henritz (drums) and Ken Moore (bass). Martini Henry was born out of the ashes of Matt Graboski’s solo outing. The band released two albums, their first called Airaid and this End Of The Beginning. This is an album that spans the work of Matthew Graboski, from his solo days to material that was written between 2004 and 2005, a product that represents the band's output. By all accounts they were quite a live act to experience. Having just reviewed El Sledge (+) Fletcher’s Last Night, which is sonically far removed from the material on this album? Graboski is definitely an artist who doesn’t recognise boundaries having produced a challenging, engaging and thought provoking album.

Tracks 1 – 8 were recorded November 2004 through June 2005. Track 9 was recorded July 2006. Tracks 10 – 11 were recorded October through November 2005.

End Of The Beginning has an acoustic opening before dropping into some very nice and astute guitar work. Graboski uses his vocals to great effect, proving that he can really hold a tune, with emotion and passion. Moore and Henritz are tightly behind him giving him their full support adding to the piece.
Drag Of The Mask was the name of his solo album, again having an acoustic leaning with some very obscure lyrics. The acoustic style is both powerful and fascinating to listen to, reminding me very much of Ani Difranco in presentation and style. It’s not long before it all becomes electric and a form of chaos pursues, then dropping back to acoustic mode. This really is a band who knows no boundaries giving the listener something to think about. The whole song is both progressive and alternative in its approach, for me Henritz drumming is the real stand out feature throughout.
Rising Darkness moves along in a similar fashion as the two previous tracks, sounding deep and meaningful with its strong approach. The repeating guitar structure is held together by Henritz rapid drum soiree’s with Moore’s bouncing bass lines.
The Beast On Hollins Street confirms that musically this really was a tight and in synch band, with their time changes and approach to song structure, both melodic and engaging. The vocals as ever are very strong as is the musical presentation with the guitars and drums weaving in and out of each other.
Stand Under The Water In The Crest Depth sees Martini Henry doing what they do best, quirky, tuneful and strong song structures, with everybody giving that proverbial 110%, which reinforces what they have set out to achieve. I really like the feel and sound of Moore’s bass, having depth and soul.
Legion Of The Moose is a bouncy airy track which has a loose and vague Blues Traveller feel, not quite hitting the higher tones of John Popper or his signature harmonica playing, although it is a very nice presented piece.
God Out Of The Machine features the eloquent guitar and vocals of Graboski, with its clear passages and sound. The rest of the band take a respite before this track segues into Airaid.
Airaid opens with the sound of an air raid siren and gun fire, as planes fly across the sky. Being a song based funnily enough on an air raid and the devastation that it caused. This is a very atmospheric piece really showcasing the heady heights that Graboski and company could climb to. It varies in style and approach presenting some really nice progressive sound structures. Through the expertly placed drum rolls and runs breathing life, the bass creates the atmosphere, building the skeleton of the song, with interjections by Graboski. This is a strong and very well thought out and intelligent song, with its varying atmosphere’s, sonic presentations and time changes, I just love this track, for me it crosses all the T’s and dot’s all the I’s. The piece as a whole is just allowed to breathe building on every note as a tour de force. The guitar solo is absolutely stunning as are the rest of the bands contributions; this is as near to perfection as you can get in song writing circles, in my eyes. There is not one note out of place, not one weak tone, making it a contender to be considered for the, “one of the best songs ever list”.
Mad Mardygan is a come down after the previous track seeing the heavy use of the acoustic and vocals. As ever the standard of playing is very high and pleasant to listen too.
March To Darkness as with the rest of the album, the main building block has been the acoustic work, with all the other instrumentation being built around it. March To Darkness is no different, for me being one of the weaker tracks on the album, but this is a small price to pay for what else has been presented.
Gun Pointed At The Head Of The Universe opens with a cruising bass line and drum beat that slowly builds, taking the lead throughout this piece with Graboski’s guitar not being as in your face as on other tracks on the album. His vocal presentation is less stated as well, sounding like Tyla as he does on a few of the tracks on the album.
On the whole the album has some very nice instrumental work, with Graboski, Moore and Henritz working well together as a trio. Whether it’s the bouncing acoustic work, the dexterous and nice lead guitar work, the rhythmic and well constructed bass work or the tireless drumming, one thing you can be sure of is that when you throw in some rather excellent vocals, you end up with one very strong album. This is what the band had set out to do, achieving their said goal. It is tight, intelligent featuring some nice progressive passages. This really is an album worth adding to your collection, I can assure you that you will pleasantly surprised enjoying what has been created here. This is a very enjoyable and charismatic album.

Conclusion: 8 out of 10


    - John O'Boyle (Dutch Progressive Rock Page)


	
 
"I wish I played guitar like Matt. Matt is such a fine player, maybe I should take lessons from him."

    -Bert Lams (California Guitar Trio)

	
 
"Interesting in the way a Hieronymous Bosch painting is interesting: fascinating in an examination sense. That said, these are genuinely skilled musicians. AIRAID is a record of excellently played folk/jazz."

    -Origivation Magazine/June 2006/Vol. 5, Issue 5

	
 
"Here we have a guitar-led trio from Maryland that employs a rock sensibility without succumbing to tired musical cliches. Matt Graboski leads the pack on guitar and vocals, and right out of the gate he bursts through with the ironically titled 'End of the Beginning.' Matt is a highly expressive and melodic singer and sets the pace with this tune that remains strong throughout. Graboski's blending of acoustic and electric guitars is masterful as well, lending each composition a very natural, organic feel. Drummer Garrett Henritz and bassist Chris Cavey provide great groove and lock in tightly with every move Graboski makes. This band has a sound that is bright and funky, but also has a knack for both cacophonous crescendos and more subtle meditative interludes. Martini Henry is a sophisticated rock act that writes great songs and hooks, offering them up in a refreshing alternative package.

    -Eric Harabadian (Progression Issue 50, Summer/Fall 2006)
	
 
"Airaid? Quite good! Great drummer indeed. Matt is a great player: combo of J. P. Graboski(OHO), Joe O'Sullivan (OHO/Blammo)and Fripp."

    -Nuna (legendary 70's OHO bassist)

	
 
"There's more muscle and dainty flesh on the bones of these tunes, and the vocals are evocative. Martini Henry are really beginning to have something--they're poised. Their decision to move to California seems well-timed for a wild ride. It's only conjecture and intuition, but there it is. The 1st song especially is sounding just great. The songs together are like Live, a more urgent David Bowie, and a harder Dave Matthews rolled into something that none of those have."

    -Bennett Davis
	
 
"Incredible, awesome, perfect mix--all the elements have been meticulously assembled into a coherent, integrated whole: the apex of the band's work so far. Individual performances are top notch: the tones, the sounds...the entirety. The rhythm section has executed its charge with aplomb! This music opens the listener up to what Joseph Campbell referred to as the "dimensions within the inner reaches of outer space." Cheers!"

    -Jay Graboski
	
 
"Martini Henry's debut album Airaid, is simply amazing. From the first track to the last, your sucked in by the melodic vocals and rythms, and then spit out by the furious percussion. Martini Henry's sound is ultimately unique, and their live performances are unbelievable...Yet again setting the standard for world domination. Deffinitly a must have for your collection!"

    -Philthisjam
	
 
"An amazing CD!!"

    -Angela
	
 
"'End of the Beginning' by Martini Henry is a well-crafted progressive/acoustic rock album filled with pleasant surprises from beginning to end! This album is stuffed with up-tempo energetic musical anthems. Moreover, the guitar and drum arrangements are very unique and innovative. This is perhaps demonstrated best in the title track, “Beginning of the End.” One thing that also stands out on this record is the remarkable vocals. Every track is graced with strong, beautifully toned vocals and melodic-arrangements. The production of “End of the Beginning” is impressive to say the least. It achieves the perfect balance between beautiful instrumentation and ear-grabbing vocals. We love the acoustic guitar licks on "God out of the Machine." This collection of songs is an enjoyable treat that lovers of acoustic rock/pop must hear!"

    -Xavier P. and RadioIndy.com
	
 
"There's plenty of muscle and dainty flesh on the bones for these tunes, and the vocals are more controlled, evocative (in the "just right" territory). Matt sounds downright Bowie-esque on "March to Darkness." Martini Henry are really beginning to have something--they're poised...! Their decision to go to California is probably well-timed for a wild ride. It's only conjecture and intuition, but there it is."

    -Bennett Davis