This review will be short and sweet because coming in at under 15 minutes total, this latest project from Jay Moonah is just that.

In my mind, this is not an album project, so much as the end result of a tallented songwriter testing the musical waters and the limits of his own ability to express them. A single minded exploration of sonic landscapes, musical emotion through experimentation, resulting in 5 imaginative instrumentals.

As you listen to the music, bear in mind it is entirely a one man show. Concieved, written, performed and produced by Jay Moonah, the ultimate expression of his musical vision.

Originally intended to be part of a larger project, a couple of instrumentals for an album 2 to 3 years down the line, “Splashdown” and the joyful nature of the content just sort of happened.

The first cut is based on a harmonica riff that caught jay’s ear and sparked his imagination. South Scarborought Hoedown is a lively uptempo cut that would be right at home on the streets of the big city, performed for a passing audience made up of little kids dancing while their parents look on and laugh. 

Caught in the Eddy (For the Common Good Part 2) continues as musical idea from the Pervious album, Agitation (For the Common Good Part 1), based on a local Scarborough artisan brewery. Light and lively, it conjures up images of good friends and good times on a sun drenched patio. 

Up next the wonderful quirky ‘Rabbi from Texas’. One minute and thirty seconds of rhythmic magic reminiscent of the old carnival caliope. A Momentary stop at a roadside attraction or a travelling side show. Cute, catchy and just a touch off the beaten path.

The fourth cut, Big Noodle Boogie, brings an almost Beatle-esque feel filtered through Jay’s Harmonica and a high energy beat. This uptempo cut has a lovely layered sound, building throughout. 

The final cut returns to the Brew-inspired trio of songs that Jay had envisioned. Solace (For the Common Good Part 3) was originally slated for Jay’s next full album, but just kind of found its way onto this one. Haunting and stoic, with a rhythm that brings to mind the old Fleetwood Mac track Albatross (which has a similar driving low bass beat), it harkens images of shadows cast by a crackling fire, dancing in the night.

As I said, this album is short and sweet, to the point, but also a wonderful window on the musical mind of the man behind it. Good on you Jay! (Terry Parsons)