It’s refreshing to hear a new piano man like Lenny Revell come out with such an earnest and real record as Lessons in today’s often stale and over-processed musical environment. Revell’s piano playing and songwriting are strong with shades of Broadway and Billy Joel throughout. There is a nice variety of styles from the bouncy Reggae-ish “Expectations” to the alleycat slink of “Ghost,” as well as the exceptional, classically-grounded “Prelude/Revenge of Little Red Riding Hood” that closes the record. Revell shows talent and promise as a vocalist and lyricist, and displays a knack for progressions that go well beyond three-chord pop. Gavin DeGraw, watch out — Lenny Revell is on the scene!

Lenny Revell – Lessons One of the most vital and enduring archetypes in the genre of popular music is that of the genuine rock and roll pianist, a performer with the ability to deliver hard-driving, adrenaline-fueled scorchers, grandiose stadium-ready anthems, and tender, plaintive ballads with equal aplomb. The rock pianist’s presentation is that of genuine emotion, without the veil of irony or humor to stand as a barrier between him and his audience. The two standard bearer of this archetype are, of course, Billy Joel and Elton John, both of whom have sustained popularity since their trajectories began in the 1970’s. However, recent years have brought forth no heir apparent to their style; the witty and quirky lyrics of Ben Folds and the genre-crossing parlor songs of Rufus Wainwright, while innovative and quite impressive, do not carry for2ward the tradition of straight-ahead rock established by Joel and John. Furthermore, with the music industry trending away from originality in songwriting, it would seem that no one would step forward to carry the torch. Fortunately, there is hope for rock piano, in the form of Lenny Revell, a New York-based songwriter and pianist whose musical instincts adequately fill the void. His album Lessons, replete with matter-of-fact observations on human nature and relationships, makes for a stunning debut. The album opens with the vintage-style mid-tempo “All In Your Head,” complete with a radio-ready chorus and an attention-getting powerful rhythm, punctuated by electric guitar and a steady drumbeat, the same instrumentation that anchors the next track, “Change.” “Expectations” presents and appealing reggae rhythm, and features Revell taking an almost honky-tonk style solo in the middle of the song. The tender romantic ballad “It’s Like The Way” admirably displays Revell’s softer side, as his emotive vocals immediately conjure comparisons to such radio stalwarts as Rod Stewart, Sting and post-Beatles-era Paul McCartney, in addition to the aforementioned Elton John. Revell takes a sojourn into vaudeville territory on “Ghost,” borrowing a bass line from the jazz standard “Why Don’t You Do Right,” and adding electric guitar to the instrumentation, evoking a similarity to Tori Amos’s “Leather.” The flirtatious nature of the music serves to contrast – or perhaps to intensify – the creeping darkness of the lyrics, sung from the perspective of the ghost of a man who has committed suicide, haunting a loved one. One can easily picture a character in an old Humphrey Bogart film, arching and eyebrow and slouching around a dark corner to macabre humor inherent in lines such as “Halloween was always my holiday/ I always thought of death as ‘come what may.’” The cinematic quality in much of Revell’s work consciously surfaces on “Who Am I,” directly inspired by Spider-Man. In keeping with the character’s dual life, the song shifts between softer verses and a guitar-fueled chorus. The song is followed by “My Passion of Life,” which continues in a similar vein to its predecessor’s chorus. “Serenity,” a soft yet serious venture into territory similar to that of Billy Joel’s “And So It Goes,” quietly builds an almost reverent sensibility, strongly proclaiming the depth of individuality amidst the frivolous distractions of society. Revell kicks into high gear with “Love Is Just Her Fix,” a warning song about a femme fatale’s hurtful tendencies. The immediately catchy chorus is reminiscent of the Police’s “Spirits in the Material World” and Yes’s “Owner of a Lonely Heart” in its syncopations. This song is followed by the danceable “’Til Death Do Us Part,” outfitted with a disco beat, the fastest song on the album. Closing out the album are “Unconditional Sacrifice,” another introspective ballad with lilting lullaby-like quality, and “Revenge of Little Red Riding Hood,” beginning with a Tori Amos-esque haunting piano prelude, melting then into a pulse-racing marathon reminiscent of Elton John’s “Love Lies Bleeding,” retelling the song’s eponymous fairytale story as a gripping adventure. The entirety of Lessons holds promise for the rise of this new archetypical piano man. If this album is any indication, we will be hearing more from Lenny Revell as he single-handedly carries on the Billy Joel/Elton John legacy for a new generation.

These songs are all great. They have it all. It's a nice refreshing throw back to when music and lyrics meant something and work together. The music is fantastic and the lyrics actually tell a story. All these songs are 'A' side material. There are no duds or filler songs. I would decribe it as Billy Joel plays Alton John. However Lenny has his own unique style that will carve out his own nitch in the music world. I think his songs will shoot through our cities like Godzilla on a rampage. This CD is must have for music connoisseurs. It's upbeat and catchy. (You lose, Carl Miller!)

I, too have an autographed copy of "Lessons." It's done so much for me and my friends from back home. When tragedy struck, Lenny's music helped us to get past the pain and move forward. He's true talent and one day will change the lives of countless people. He titled the CD well.