Album Review: Jimmy Lee Morris – Jumping Falling Flying

Backstory

As I’ve mentioned in previous recent reviews, I’m currently working through a years-old backlog of album reviews, as I’m again finding time to write semi-regularly. This spot in my review queue had been reserved for Jimmy Lee Morris‘ 2018 release Last of the Tall Ships, which I quite enjoyed getting to know. (Personal favorites from that release were “Buying Time” and “Something About You.”) But Jimmy continues recording, so instead I’ll be taking a look at the January 2020 release, Jumping Flying Falling. Technically, it’s not the newest Jimmy Lee Morris album. That distinction would fall to his July 6th release, Distant World, on which Jimmy re-imagines songs from his early-’00s band The Collaborators. Or perhaps Jimmy Lee Morris, a sort of greatest hits collection released on July 20th. But Jumping Falling Flying remains his most recent release of new songs, so here’s a review of this latest release of new originals from a talented singer-songwriter.

Album Review of Jimmy Lee Morris: Jumping Falling Flying

Jimmy Lee Morris - Jumping Falling Flying

image courtesy of Jimmy Lee Morris

The Jimmy Lee Morris albums I’ve heard since I first reviewed his music a mere four years ago have been hooky, mellow, and pop-folky. This disc infuses a bit more rock ‘n roll than the others. It’s all very much in-style for Jimmy, not a surprising departure; in fact, there was a bit of this on Last of the Tall Ships. Jumping Falling Flying is more just a nudge toward the rockin’ end of the Jimmy Lee Morris musical canvas, and it’s always fun when a favorite artist explores his various influences. Though it was released in January, Jumping Falling Flying is an ideal collection of laid-back yet energetic, song-driven, light summer rock music. And again I mention the hooks. As soft-touch as Jimmy Lee’s music is, his discs are chock-full of hooky earworms.

Album-opener, title track “Jumping Falling Flying,” gets things started in the right, energetic direction. Old-style rock organ in support of a steady rock rhythm and occasional sunny guitar lick that amply serves as a hook, supporting a light, airy melody and vocal. Indeed, the first of many new favorites on this recording.

“All These Things” again leans on the rock guitar as a bit of a distorted light-rock backdrop framing Jimmy Lee’s emotional, memorable, insightful vocals and lyrics.

Next up, it’s sock hop time. “Rock and Roll Party” is a throwback. The sort of catchy golden oldies-style rock song made modern, as you might expect from Huey Lewis. With an opening riff straight from the Happy Days jukebox or the Hill Valley High School “Enchantment Under the Sea” dance, you’ll be twisting, watusi-ing, and getting down while listening to classic axework on this fun third track. Tune in Saturday, via time machine, to hear Dick Clark introduce this one on American Bandstand.

Time to catch your breath? Nope. “Big Shot” is a country-rock saloon number with some surf-rock guitar. Jimmy Lee Morris’ songs are versatile, maintaining a signature vibe across a wide variety of arrangements. Four songs in, and it’s becoming apparent there’s no point in trying to predict what’s next on this fun ride. Sure, the turns are smooth and comfortable, sometimes subtle, but the highway isn’t straight.

Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

“White Witch and the Highwayman” and its harmonica introduce a lively, mid-tempo Americana flavor to the record. This recalls several previous Jimmy Lee Morris songs, painting pictures and telling tales with its lyrics, an exceptionally emotive spoken-word vocal delivery steering the ship. I’m wondering if “Wilderness Wood,” a title song from an old album, might hold up well under a similar musical arrangement. I’m betting it would. But this is “White Witch and the Highwayman,” a fun frolic at song number five.

Starting the back side of the album, “Love and Lies” hints at a light Grateful Dead vibe while pleasantly, wistfully reminiscing.

“À La Tienne” and “Look up to the Sky” mark a return a Jimmy Lee Morris style more akin to that we’ve reviewed frequently here at the Blog. Mellow, emotional light folk strummers with pop influence. Pleasant, comfortable, and enjoyable.

“Not Going Back” has a little of Tom Petty and the Heartbreakers’ jangly rock vibe to it. A mischievous glint runs through the delivery and musical arrangement. The song moves; it’s what I refer to as a traveling song. Maybe something George Thorogood would play if in a really laid-back mood, or maybe a semi-mellow Jeff Healey track from the Road House soundtrack. But nah, it’s still quintessential Jimmy Lee Morris. Yet another style of arrangement but still part of a cohesive collection.

And, finally, “It Always Rains Around Here.” A bit of a Randy Newman vibe to this toe-tapper. A pleasant song that’ll put a smile on your face, and a terrific way to close the album satisfyingly.

I must say, as a complete package, Jumping Falling Flying is a particularly interesting Jimmy Lee Morris disc. It holds together well, and the album is a journey, traveling through a variety of rock, folk, and even country influences. If you’ve dug his past work, this collection is a must-have. And if you’ve yet to sample some Jimmy Lee Morris music, this album would be a mighty fine place to start.

Looking Ahead

Well, first of all, Jimmy Lee Morris has been active. Jumping Falling Flying was only released in January, and it’s already four-deep on Jimmy Lee’s Bandcamp page, after the aforementioned greatest hits album, the reimagination of his work with The Collaborators, and and actual old album from The Collaborators. It has been a busy release schedule for Jimmy Lee Morris this year, but yes, Jumping Flying Falling remains his most recent album of new originals.

Obviously, gigs are in short supply now, but when they’re happening again, you can find Jimmy Lee’s performances at his Facebook page.

Album Review: Amanda White – Kittens Give Zero Fucks

Amanda White

photo by Emilie Storrs; photo courtesy of Amanda White

Album Review of Amanda White: Kittens Give Zero Fucks

Old-school, New York punk rock energy meets at-times progressive rock arrangements, capped with a voice capable of “hitting oh-my-god!” notes. Amanda White‘s music feels simultaneously familiar and completely original. This opera singer with a punk rock soul produces music that’s potentially appealing to dyed-in-the-wool punks, expansive progressive rockers, and many of us in-between with the mix of power, punk, impossible vocals, and clever, catchy songwriting found on Kittens Give Zero Fucks.

“Last to Bite” ably opens the disc with a edgy, soaring vocals, crunchy guitarwork, and an unrelenting steady beat that marches forward with the purposefulness of a story-advancing rock-theater piece.

Amanda White - Kittens Give Zero Fucks album cover

album art by James Sullivan; image courtesy of Amanda White

The punk attitude comes to the forefront of the next track, “Fuckall Rockstar,” a devil-may-care, norms-be-damned rocker with only-in-punk lyrics like “got a rack like Michelle Obama,” “every virgin has been unchasted,” and “sir, your voice is a little scrapy, and your tone is a little rapey.” But it’s sooooo catchy, you’ll soon be singing along. Best not to listen to this song on your way to work if you’re prone to singing aloud the song stuck in your head, ’cause this tune will set up camp in there.

Speaking of earworms, the next song, Amanda’s energetic “Whackadoodle World” with its crunchy, hooky guitar line, is yet another of the several brain-burrowers on Kittens… Granted, the lyrics you’ll catch yourself singing along with, “Wha-ah-ah-ah-ah-ah-oh,” aren’t the most substantive in the song – nor are they NSFW, so there’s no worry there – but you will get to sing them often.

“Ur Wife” is a crunchy, catchy immorality tale, riffing with energy off a steady, juke joint bass line, that playfully utilizes Amanda’s vocal range, storytelling lyrical skills, and punk rock abandonment of social norms. A strong bet to be one of your favorite songs on the album, but probably not your wife’s favorite.

“Dark Art” is, as advertised, dark. Perhaps best described as a gothic progressive art rock track. Dark and brooding, it could easily be one of the extra songs in an extended-length remake of Phantom of the Opera.

Amanda White

photo by Kyle Schneider; photo courtesy of Amanda White

“Ruder” marks a return of the raucous kitten who cares not, and it leads into the closest thing you’ll find to a ballad on this album, “Someone’s Watching Over You.” The instrumentation at times hints at an uneasiness you might find in certain Rockwell and Sting tunes that shall go unnamed, but the melody is memorable, the vocals soar theatrically – the song is even a little Annie-ish if Annie were singing about punk or goth sunshine – and, in the end, this song is either comforting or disconcerting, depending on your mood at the time.

Next up is the catchiest, hookiest track on the disc – the obvious choice for a hit single – “Where the Hell is Amy?” An energetic raw, bar-crawl pop-rocker with a fun, naughty, trashy attitude, “Where the Hell is Amy?” is a party anthem for good times, spilled beer, and questionable decision-making.

“Adora” follows with a thick-as-molasses wall of heavy progressive rock sound that brings the rawk back. It’s a musical, emotional tour de force that brings the album nearly to its conclusion, followed by the equally heavy, progressive, thick “Fade.” Oh, but where “Adora” strikes a regretful, reminiscent tone, “Fade” skews far more ominous and dark. And yet, as prog as most of the song is, the chorus skews punk, tying the elements of Kittens… together nicely. This, I suppose, is the true magnum opus on the disc, clocking in at three seconds shy of eight minutes… and ending with the album’s final lyrics “Endlessly, endlessly die.” Well, that’s happy.

Amanda White

photo by Geoff Wilbur

Prog rock, rock opera, punk rock, some opera-style vocals and Broadway moments, all with a punk attitude, frequently with punk riffs, often with progressive arrangements. With her amazing voice, Amanda hits some big notes. There’s clear theatrical influence in some of the songs. Amanda knows how to write a hook… when she wants to. And she and her band have the chops to skew progressive more than a non-pure-prog band typically does. That’s why her sound is so unique – Kittens Give Zero Fucks is punk if you must categorize it, but if you chose the right two or three songs, you could convince a listener it’s a very odd prog rock album. So, whether punk is your go-to genre, or you’re a broad-based music fan who likes variety and enjoys talent wherever it lies, or if this is one of a handful of punk recordings – perhaps the only one – you dig because it’s a take on your progressive or operatic and theatrical musical tastes, Kittens… is unlike anything in your collection. You owe it to yourself to check it out.

Looking Ahead

Amanda doesn’t have any upcoming gigs scheduled, but keep an eye on the “Events” tab of her Facebook page for any future performances.

Album Review: iamCURBIE – Better Late Than Forever

iamCURBIE

photo by Maurice Thompson; photo courtesy of Curbie Ciamarra

Album Review of iamCURBIE: Better Late Than Forever

New Jersey-based Curbie Ciamarra, who performs and records his original music as iamCURBIE, is a talented rock ‘n roll singer-songwriter.

I love the instrumental opening to this album, the title track, “Better Late Than Forever,” a rich music bed with a Southern rock-ish, singer-songwritery soft guitar wail. It sets the stage for what is not your ordinary soft-to-mid-tempo rock singer-songwriter fare. Very quickly you’ll realize this album is a softer-edged music from a rocker with a textured, emotional voice.

iamCURBIE - Better Late Than Forever album cover

image courtesy of Curbie Ciamarra

Drawing from a variety of old-school softer-rock sources, and techniques that work very well live – a hand-clap bit, for example, and a well placed stop-start pause – the second song though the first with vocals, “Ego to Feed,” is a quick favorite. And it flows smoothly into “Into the Shade,” which adeptly ups the tempo. “Into the Shade” contains vocal hooks and a forward-driving acoustic-electric guitar rhythmic motor that carry Curbie’s emotional vocals exceptionally well.

“Day Dreams” stands out as a softer track mid-album, with a soft, almost lullaby-ish music bed blending well with Curbie’s impassioned vocals.

If you’re looking for an opening hook that’ll grab radio listeners from the start, try the first strums of “Worth It.” It’s a moderately uptempo number that’ll be have you swaying in your seat. I’m also a fan of the way the energy in this tune builds; it’s a fun payoff.

“Keep Moving” is a poignant, emotional number that will connect immediately with anyone with families, particularly those who are away from their families more than they’d like. Among the songs on Better Late Than Forever, this is certain to be the one that connects most strongly with some listeners, with one caveat. This sentiment is actually largely duplicated but with a different mood on the catchy, uptempo, fun “159” later in the album – those with kids who prefer the sentiment without the hint of anguish found in “Keep Moving” might actually prefer “159.”

iamCURBIE

photo by Maurice Thompson; photo courtesy of Curbie Ciamarra

The biggest singalong line – at least for bar gigs – is probably in the catchy “Spirits (Maggie)”: I’m just here for the beer.

I’ll skip down and close with the album-closer, “Harley’s Edge III F.I.P.” As if proving there are more weapons in his arsenal, this emotional, powerful song includes a guitar sound not previously used on this disc. It’s all about emotion on Better Late Than Forever, and this well-produced number closes the disc in exactly that manner.

Considering the entirety of the album, each of the songs on Better Late Than Forever has a unique appeal, and any one of them may end up a personal favorite. The collection is well-written, emotionally performed, effectively produced. A worthy addition to one’s album collection.

Moreover, the songs on this record would play well in acoustic coffeehouses or bigger rock venues with full band support. Yeah, Curbie’s a songwriter and a performer. And this disc is likely to appeal to multiple audiences, including rockers who appreciate a softer approach from time to time, pop-rockers who occasionally like some edge in their music, and folky singer-songwriter fans who can appreciate richer arrangements to songs they’d like enjoy stripped-down, as well. Or, really, anyone whose idea of good music begins with a well-written and adeptly-performed song.

Looking Ahead

You can keep up-to-date with iamCURBIE’s performances at the “Events” tab of his Facebook page. It currently lists one upcoming show, on Thursday, July 9th, at Martell’s Waters Edge in Bayville, NJ. Curbie is also one-third of Curbie and the Sidewalkers, in which he’s joined by Ben Weinberg and Steve Carr. There are currently no upcoming gigs listed on the trio’s Facebook “Events” tab.

Album Availability

The Bandcamp page for the album (which I hotlinked to at the top of the review) appears to only offer digital downloads, but the CD is available at Amazon (and, I presume, at Curbie’s shows). You can also download MP3s at Amazon, but the price is lower at Bandcamp.

Album Review: Kate Eppers – The Wishing Well

Kate Eppers

photo by Lee Mac; photo courtesy of Kate Eppers

Album Review of Kate Eppers: The Wishing Well

Kate Eppers‘ captivating vocals immediately bring to mind those of the sort of musical theater performer with the potential to cross over to mainstream popularity. Why musical theater? It’s a combination of emotive, room-filling vocals and delivery. And these songs are tailor-made to package that big, attention-grabbing voice into song-shaped packages. Plus, of course, the reprise at the end suggests a theatrical flair. But I’m getting ahead of myself.

Kate Eppers - The Wishing Well

cover photo by Jeremy Dorson Photography; cover image courtesy of Kate Eppers

Beginning to end, The Wishing Well is intense. It grabs the listener’s attention from the very first note, and throughout the music and vocals, from one song to the next, sustains an urgency that’s uniquely compelling.

“Prove That You’re Real” kicks things off with a music-box melody, joined quickly by Kate’s crystal clear vocal, simultaneously wispy and full of power, matched in the latter half by a crunchy, distant guitar line, as Kate’s voice increases in prominence.

“Silence (I Will Wait)” picks up melodically where “Prove…” leaves off. It continues that crisp, angelic vocal style and offers a terrific lead-in to the thumping rhythmic guitar-and-drum opening of “For Me There’s Only You.” In fact, the mix of sweetness and urgency in “For Me There’s Only You” crashes like rockin’ a series of dance pop diva-esque waves, as it’s an epic love song that suggests lyrically and subtly ominously musically that all isn’t quite right. As a result, this steady, beat-driven tune with its penetrative vocal insistence is likely my favorite on the album.

Kate Eppers

photo by Jenglish Photography; photo courtesy of Kate Eppers

Next, Kate takes a soaring vocal approach to troubled emotions in demon-fighting “Burn This City to the Ground.” The music supporting her vocal contributes to the ominous feel, though the soft ending suggests either resolution or resignation, depending on the listener’s state of mind at the time.

“Follow Me” is uplifting and brings hopefulness back to the collection, and the song’s official video is a great complement to the music, offering a fantasy-world, mystical quest-driven love story that provides imagery well-befitting the song.

Next up is perhaps my other favorite in the collection, the title track, “The Wishing Well.” You can feel the emotions well up throughout the song, as vocals and lyrics suggest a wishful fantasy ending with a less-than-satisfying return to reality. The song itself? Utterly satisfying for the listener as a complete journey led by a magical voice.

Kate Eppers with Brian Murphy (One Time Mountain)

photo by Lee Mac; photo courtesy of Kate Eppers

You recall I mentioned a theatrical closing? Yes, “Medley of the Melodies” is a six minute instrumental recollection of the six songs in the collection, wrapping up The Wishing Well‘s package with a musical bow.

Kate’s voice is big, sweet, and ready for the stage. I’m guessing Broadway would be an ideal landing spot for her. But her voice is equally suited to a big, crisp pop album, versatile but distinct, able to capture a variety of moods, notably the roarin’ big ones but also the softer, subtler ones more easily conveyed via album than musical theater. The Wishing Well is a journey worth taking, and Kate Eppers’ voice and talent is a discovery you’ll welcome.

What’s Next?

Since The Wishing Well was recorded (while it sat in my review queue), Kate released another single. “The Hero of Our Time (You Are Mine)” hit online music outlets last summer.

Kate doesn’t have any live gigs on her calendar right now. But who does? As live music returns to our lives, though, you’ll be able to find her upcoming performances listed online at the “Tour” page of her website and the “Events” tab of her Facebook page.

 

Album Review: Hats Off Gentlemen It’s Adequate – Nostalgia for Infinity

Hats Off Gentlemen It's Adequate

photo courtesy of Hats Off Gentlemen It’s Adequate

by James Morris, Contributing Blogger

Album Review of Hats Off Gentlemen It’s Adequate: Nostalgia for Infinity

Nostalgia for Infinity is a new album from the sparingly-named band Hats Off Gentlemen It’s Adequate. From London in the UK, the band are led by singer/multi-instrumentalist/producer Malcolm Galloway and bassist/co-producer Mark Gatland, with flautist Kathryn Thomas. This looks to be their seventh release since 2012 and presents an ambient soundtrack with a nostalgic throwback feel to the prog folk rock of Pink Floyd or Mike Oldfield.

Hats Off Gentlemen It's Adequate - Nostalgia For Infinity album cover

image courtesy of Hats Off Gentlemen It’s Adequate

It’s easy to get lost in its soundscape of swirling hypnosis, and this musical drama provides a luxurious bedding for the vocals that gently scintillate and tease, leaving you in their enigmatic haze.

A complex score to an imagined movie which allows you to lay back, tune in, and drift with the ebb and flow of the enchanting musical waves.

At just over an hour long, you have to invest time to listen, and I recommend doing just that. Headphones on, chill out and listen to music like we used to, as it was intended to be listened to. No shuffle play and media swirling distractions. Listen from start to finish. That is, after all, how the artist intended you to experience their work, and great, enjoyable musical reward will be yours.

Hats Off Gentlemen It's Adequate

photo by Lisa Knight; photo courtesy of Hats Off Gentlemen It’s Adequate

Looking Ahead

Here at the Blog, we often like to list upcoming tour dates at the end of reviews. That’s more challenging during this pandemic, but if you look at the “Gigs” page on the band’s website, you’ll see the HRH Prog X concert at O2 Shepherds Bush Empire in London is still scheduled for October 27 and 28, 2020. The band’s Songkick website also still lists a November 11th show with Blank Manuskript at The Fiddler’s Elbow in Camden and HRH Prog XI at O2 Academy Leeds on April 3 and 4, 2021.

You can also follow the band here on Facebook and here on Twitter.

Album Review: Sarah Levecque – Moments of Silver

Sarah Levecque

photo by Chris Yeager; photo courtesy of Sarah Levecque

by Eric Harabadian, Contributing Blogger

Album Review of Sarah Levecque: Moments of Silver

Sarah Levecque has been a fixture on the Boston music scene for several years now. Playing multiple coffeehouses, nightclubs and venues of all kinds truly earns you troubadour status. It also gives you the fuel of experience and emotional depth that she bestows so eloquently on her latest release Moments of Silver. Her musical style could easily be categorized as Americana or roots music. But, whatever the genre, her voice and songwriting approach will stop you in your tracks. She’s got this smoky, ethereal delivery that makes you hang on to every word. And she is backed by a group of faithful compadres in fellow guitarist/backing vocalist Peter Zarkadas, bassist Johnny Sciascia and drummer Scott Sherman.

Sarah Levecque - Moments of Silver album cover

image courtesy of Sarah Levecque

“Circle Back Around” is the lead track on the album and is a brisk traveling tune. The mix of acoustic guitars and electric slide dovetail nicely with Levecque’s buoyant lyrics. “Please believe it’s all temporary, a lapse in time,” she sings. “Oh don’t backtrack now if you missed something this time. ‘Cause it’s all gonna circle back around.” The thoughtful singer-songwriter kicks off the festivities on an upbeat note. She gives you hope and, perhaps, some personal tools for survival.

“Dead Center, Head On” follows and is a strong country rocker. Levecque employs the spirit of Bobby Gentry and Tanya Tucker, with a little Lucinda Williams thrown in. This features some smooth lead guitar and a cool laid-back traditional Bakersfield vibe.

The title track has a very spacious atmospheric quality to it. Early Joni Mitchell comes to mind here. Tasteful guitar fills suggest a modal feel blended with a Grateful Dead kind of openness. A somewhat surreal asymmetric mood also is present.

“Go With It” restores a bright pace, with its bopping country charm. Levecque offers good advice as she sings “Go with it if you feel it. Don’t let it pass you by. Making this living is killing you slow. Before you know it you’ve got nothing to show.” Those are words which could apply to anyone and lift one up from their lowest point.

Sarah Levecque

photo by Chris Yeager; photo courtesy of Sarah Levecque

“Dissatisfaction Got You Down” explores another therapeutic angle. This has a very classic blues structure. It essentially drones on minimal chords a la John Lee Hooker. Levecque uses her voice in subtle hushed tones, supported by cool understated guitar breaks.

“Good for Nothin’, Good for Now” features a smooth driving beat and a lyrical struggle with destitution and self worth. “I wanna feel the wind coming out of nowhere cold, ’cause nowhere is where I’m headed,” she sings. But she seems to resolve things with the line “I might be good for nothin’, but I’m good for now.”

“Keep a Line Open” is a mid-tempo song that expresses sentiments of connectivity and communion with others. We all have our struggles, but the chorus “Keep a line open for me, I’ll keep a line open for you” is the kind of message we could all use right now.

“Rolling Over the Cracks” is a nice mix of minor and major keys. It slowly smolders and crescendos with a kicking electric guitar solo. The melodies here really support the lyrical call to action of moving forward through despair. She sings “Is it tragedy or disorder? Is it what’s waiting behind black windows or down the dark corridors? It’s all been off the tracks. Somehow we gotta keep rollin’ over the cracks.”

Sarah Levecque

photo by Chris Yeager; photo courtesy of Sarah Levecque

The album concludes with “Blues Keep Me Company.” It’s a thoughtful ballad that brings it all back to Levecque’s roots, which are the blues. It’s a place she can always return to and seems to find solace in. The hook states “I’ve been trying to outrun the failure, but trouble keeps gaining on me. So, I’ll let the blues keep me company.”

Sarah Levecque is an introspective artist who writes from the heart and puts a lot of emotional weight into her songs. Perhaps her greatest gift is her ability to clearly articulate the human experience and share her passion, vulnerability, and strength with the listener.

Looking Ahead

Though she doesn’t currently have any shows on the concert calendar due to COVID-19, you can find out when and where Sarah Levecque will be performing live via the “Shows” page of her website.

Album Review: Shawna Caspi – Forest Fire

Shawna Caspi

photo by Roni Hoffman; photo courtesy of Shawna Caspi

The Backstory

I first discovered Shawna Caspi‘s music quite by accident, just in time to catch a live performance in the fall of 2017. This fortuitous discovery and review of an exceptional live performance in a unique setting was, of course, chronicled in a review. Fast-forward to today, when I’m just now getting a chance to review an CD that has graced my car stereo for more than two years. So, let’s jump in, shall we?

Album Review of Shawna Caspi: Forest Fire

Shawna Caspi - Forest Fire

image courtesy of Shawna Caspi

Shawna can be described, most succinctly, as a folk singer. Of course, that’s an incomplete description. There’s a lot of picky, plucky, upbeat guitar, a sweet, surprisingly powerful voice, a matter-of-fact, old-school folky delivery, and well-written songs that paint a picture and tell a story. But yeah, she’s exactly the sort of artist you’d expect to find headlining a folk festival. And yikes, she bursts with talent; you’d be excited to spot Shawna’s name on the marquee as any event’s headliner.

Forest Fire opens with “Love in a Moving Van,” exactly with one of those plucky guitar rhythms you’d expect. Cheerful, vagabondish… this CD has you smiling right out of the gate. She follows it with the engaging story-song “Devil’s Rolling Pin,” a tune that delivers a rich music bed and emotive vocals, driven by rolling rhythmic musical motor. One of my faves from day one, from the first time I heard it delivered live during her WICN studio performance. (Yes, the one I wrote about.)

Shawna Caspi

photo by Ian Sinclair; photo courtesy of Shawna Caspi

A mood change is next, to the dark, somewhat haunting version of Lynn Miles’ “Brave Parade.” Slow, brooding, quietly defiant, and full of inner strength. All this, of course, established by the quiet guitar plucking and serious, sweetly strong vocal line, hinting at that intersection between traditional country-folk and modern singer-songwriter vocals. “Never Enough” follows with lyrics that reside in the same neighborhood as “Brave Parade” but with a more uptempo, determined focus and a hint of a haunting Chris Isaak-esque edge striking a peppy, uncomfortable balance.

“Oleaster,” next, is a catchy, memorable, smoothly flowing song that strikes a hopeful tone, leading up to “Numbers Game,” with its ominous overtone. Then the cheery “Take This Mountain,” a very folky tribute to finding homespun happiness as a metaphor for navigating life.

Next up, Shawna adds her signature to the swaying country music dancehall standard “Tennessee Waltz.” Her sweet, precise vocal phrasing brands Shawna’s rendition of this oft-recorded classic her own.

Shawna Caspi

photo by Geoff Wilbur

Following is “The Love I Know,” a soft, flowing number without a happy ending, a song whose tones and tune are a fitting album-ender.

Of course, if Shawna’s dulcet tones on “The Love I Know” do send you off to dreamland, you’ll be awakened by “My Baby Can Fix a Bike,” if you’re lucky enough to have a disc that contains this bonus track. With all the angst and inner turmoil elsewhere on this album, it provides a nice, cheerful, lighthearted “alternate ending.”

Beginning to end, this CD has been a joy to have in my car, as one of the handful of discs rotating through my CD player, accompanying me on my commutes and adventures for far too long, though not, of course, during the last three months. An elite talent on the folk scene, Shawna Caspi is someone you absolutely should check out, if you aren’t already familiar with her voice and music.

Looking Ahead

Shawna is working on her next disc, and I’m looking forward to it.

Also, you can keep an eye on Shawna’s performance schedule at the “Gigs” page of her website. Tonight, Monday, June 8th, at 8:00 PM EDT, she performs online on a Club Passim Live stream, her COVID-cancelled concert here at Boston’s iconic Club Passim restructured as a more socially distanced live stream. She has two other online shows currently on the calendar. On Monday, June 22nd, at 7:00 PM EDT, she’ll perform at the Philadelphia Folksong Society’s Digital Concert Venue. And on Sunday, July 12th, at 7:00 PM EDT, Shauna will be performing her scheduled Flying Cat House Concerts showed, originally scheduled for that Indianapolis venue, online via Facebook live stream. Details and links for all of these online shows are on the gigs page at her website.

Album Review: Danielle M and the Glory Junkies – All My Heroes Are Ghosts

Danielle M and the Glory Junkies

photo by Caroline Alden; photo courtesy of Danielle Miraglia

Album Review of Danielle M and the Glory Junkies: All My Heroes Are Ghosts

I have referred to Danielle Miraglia’s musical style as blues-rock (when electric) or blues-folk (when acoustic), but it’s always very clearly, identifiably Danielle Miraglia. She’s one of the few Boston-area musicians who play as often as she wants without diminishing her draw. You’ve seen her reviewed frequently in this Blog, including her last album, Glory Junkies, and last summer’s annual Front Street Concerts gig (an annual concert that always sells out early).

Stylistically, there are pieces of classic rock, old-school blues, modern song-driven pop-rock, and a several additional influences in Danielle’s music. Her live covers generally include Janis Joplin, the Rolling Stones, and Prince, and for a while her standard concert-closer was a raucous rendition of Tom Waits’ “2:19.” Piece those together, add a vocal delivery style that combines power, grit, and smirk, and sprinkle in some of the Boston area’s marquee musicians (Danielle, herself, included), and an album like All My Heroes Are Ghosts is exactly what you’d expect. And while Danielle draws tremendously in metro Boston, and she fills rooms up and down the east coast on occasional tours, the one thing that’s hard to grasp is why this original, old-school, genre-crossing talent still hasn’t found a large, national audience. The cool thing about the blues, though, is that it’s a genre that will give her credit for “time served,” especially as she builds an impressive back catalog.

Danielle M and the Glory Junkies - All My Heroes Are Ghosts

image courtesy of Danielle Miraglia

All My Heroes Are Ghosts, surprisingly, is the first disc Danielle has recorded using a band name rather than as a solo artist. With an awesome band name referencing the title of the previous album, Danielle M and the Glory Junkies have performed together for quite a while, but this time the band went in as a unit and has its full name memorialized on the album cover. And, why not individually by name, in this review, as well. One of Boston’s best collections of versatile, talented musicians, top to bottom: Danielle Miraglia (guitar, vocals), Laurence Scudder (viola, vocals). Erik White (guitar, vocals), Jim Larkin (bass), and Chris Anzalone (drums). And, with the band’s increased visibility, the Danielle M and the Glory Junkies have been selected for Boston Music Award nominations in the “Blues Artist of the Year” category each of the last two years.

Now, of course, back to the disc. The album saunters into its first cut, the title track, “All My Heroes Are Ghosts,” a nostalgic track whose hits just the right laid-back rockin’ ‘n rollin’ sentimental tone.

Not one to let sentimentality sit there unprovoked, Danielle and gang follow with the rollicking “All On Fire.”

Danielle Miraglia & the Glory Junkies

photo by Geoff Wilbur

Danielle continues down the social commentary path with two tracks attacking a similar topic with different tempos. First, the toe-tapping, groovy “Monster,” with instrumental lines dancing in and out around a pulsing, driving, slow bluesy rhythm. Then rocking wailer “Everybody’s Wrong” cranks things up, though not immediately – this tune simmers slowly before even the most attentive frog realizes its boiling. It never quite reaches a rolling boil, but it’s a fun ride.

Another favorite – that makes five out of five “favorites” so far, but who’s counting? – follows with “Don’t Pray for Me,” where Danielle’s rich, gravelly vocals really drive the songs slow, steady wailing delivery.

Danielle M and the Glory Junkies

photo by Neale Eckstein; photo courtesy of Danielle Miraglia

I won’t swing song-by-song through the disc’s back nine. Er, five. But I should call out “Rock Star,” which has a Prince meets Ziggy Stardust vibe, as the band plucks its way through in support of Danielle’s plucky, funky vocals; plus it’s a song you’ll catch yourself singing whenever you see the phrase “rock star” once you’ve heard it. Oh, and “Aim Low,” just because I love the clever, hilarious lyrics delivered with Danielle’s trademark mischievous half-smile/half-snark, beloved by fans and reserved for songs like this, on what could easily have been Homer Simpsons’ personal theme song. Oh, geez, and of course her delivery is spot on during the band’s rendition of Janis Joplin’s “What Good Can Drinkin Do,” during which the bands rhythmic musical tour de force backs Danielle’s bluesy rockin’, growling blues (can I say “bluesy” again?) vocal. OK, that’s three of the last five mentioned. I’m sure Danielle could write a great song about how badly I achieved my mission of skimming the back five.

But hey, Danielle Miraglia’s albums just keep getting better. Even though it doesn’t seem possible. I’m almost afraid of what comes next.

Danielle M and the Glory Junkies at the Spire Center

photo by Denise Maccaferri; photo courtesy of Danielle Miraglia

Looking Ahead

What comes next for Danielle Miraglia is a new record. She’s currently working on a solo acoustic folk/blues album, whose release has been bumped back from this spring to fall 2020 by the less-than-conducive-to-tour-support conditions we’re going through right now. That as-yet-unnamed album is available for pre-order here, and it will feature a combination of acoustic folk/blues covers and acoustic versions of DMiraglia originals. Also, until it’s possible to begin touring again, Danielle performs occasional live streaming concerts. The most recent one was May 15th, but you can stay current here on this social distancing-based page on her website or, likely, on the events tab of her Facebook page.

As for live performances, the “Shows” tab on Danielle’s website still lists a May 28 Bob Dylan birthday tribute event in Portland, ME, but a clickthrough to get tickets shows a May 19, 2021 performance date, and the St. Lawrence Arts venue calendar doesn’t list the show, so I’d assume that gig is likely going to be a casualty of COVID-19. The other date listed on Danielle’s “Shows” tab is a Friday, October 9th show at the Second Friday Coffeehouse in Belmont, MA. Let’s hope that happens. It looks like the event site doesn’t currently have a show listing, since it’s closed until the situation changes. Danielle’s Facebook page also lists shows currently scheduled for December 12, 2020 and April 17, 2021. She’s a road warrior, so I’m sure she’ll be gigging everywhere when it’s safe to perform live again. In the meantime, though, be sure to check out this album, past discs, her upcoming release, and, of course, Danielle’s live streams.

Looking ahead for the Blog? Hopefully, this will be the first of an increasing cadence of reviews again. I began writing this review back in November 2018, and I just found time to finish it this past week. It’s the first album review I wrote personally that I’ve published since November 2018, when my review of Persona’s Metamorphosis hit the blog. (I’ve managed a few – but not many – live reviews since.) I currently have countless reviews still “in the queue” – exceptional recordings from some of my favorite, talented artists – so assuming I’m able to write regularly again now, look for more long-overdue reviews of albums you’re going to enjoy discovering in the coming weeks and months. But this review is a good place to start. Danielle M and the Glory Junkies’ All My Heroes Are Ghosts, if it doesn’t already grace your collection, will quickly become a rockin’ blues favorite.

Live Review: 3nd Annual Local CountryFest

Mychael David at Local CountryFest

Mychael David; photo by Geoff Wilbur

3rd Annual Local CountryFest

Indian Ranch, Webster, MA

September 29, 2019

This popular annual event draws more fans every year while presenting the very best local country music. Organized and promoted, as always, by Octo Rock Cinema Productions, this year’s 3rd Annual Local CountryFest lived up to the high expectations attendees now have of it.

I’ve reviewed this event every year so far (see my reviews of 2017’s 1st annual and 2018’s 2nd annual), and I look forward to next year’s year number four, but let’s not get ahead of ourselves. This year, Backyard Swagger performed on the Corral Stage as the gates opened. Then the performances moved to the main stage, featuring short sets by Meghan Lynch, Ayla Brown and Rob Bellamy, Taylor O’Connor, Tim Buono, and Matt York and full-length, full-band sets by Lyssa Coulter, the Jake Ash Band, Mychael David, the Darren Bessette Band, Annie Brobst, and No Shoes Nation.

Magician Steve Charette at Local CountryFest

Steve Charette; photo by Geoff Wilbur

But first I’d like to talk about the venue. Indian Ranch is very cool. It’s big enough for a big stage show but small enough that every seat feels intimate, definitely compared to most other decent-sized outdoor concert locations. The venue is also home to The Indian Princess, a riverboat that gives tours of the lake, a campground, the very nice Samuel Slater’s Restaurant, and a banquet hall/function facility. Yes, I’ve only ever attended concerts at the amphitheater, but the entire grounds seem well worthy of future visits.

With so many artists performing, I’ll keep each review quick, drop in a band photo, and move on to the next, especially since the posting of this review has been so delayed that I have to lean almost strictly upon my notes. Hopefully it’ll be enough to give you a sense of each band’s performance.

I arrived a little late, but I did catch the last couple of songs of Backyard Swagger’s Corral Stage set. Ayla Brown and Rob Bellamy then performed the national anthem on the main stage before yielding the stage to Lyssa Coulter’s full band performance.

And on the grounds, attendees were treated to the magic stylings of Steve Charette, who was as impressive this year as he had been when I first saw him perform during the 1st Annual Local CountryFest.

Backyard Swagger at Local CountryFest

Backyard Swagger; photo by Geoff Wilbur

Backyard Swagger

Before the national anthem, Backyard Swagger kicked off the day’s music with a performance at the Corral Stage as fans filed in. Their fun rendition of “Man I Feel Like a Woman” was being performed as I approached. The group also delivered a lively rendition of “Little White Church” with kick and punch, a version of Maren Morris’ “Rich” sporting a fun, funky rhythm, and a performance of “The Devil Went Down to Georgia” that showcased Miriam Smith’s blistering fiddlework. Backyard Swagger closed its set with “Any Man of Mine,” a tune ideal for Diane Ferullo’s voice, driven home by the band’s booming rhythm section.

Lyssa Coulter at Local CountryFest

Lyssa Coulter; photo by Geoff Wilbur

Lyssa Coulter

After Ayla and Rob delivered “The Star-Spangled Banner” to kick things off on the main stage, the Lyssa Coulter Band launched into its set. Lyssa Coulter has been a mainstay at Local CountryFest, moving up the performer food chain each year. This year, she finally landed a main stage, full-band, full-set performance, and she not only owned the stage this year with her full-band, eight-song, main-stage performance, but she delivered with some serious charisma and vocal talent, leaving no doubt that she’s a bona fide front-line New England country act.

Lyssa kicked things off with “Whiskey in the Twilight,” a tune that showcases her best vocal qualities, those that are most identifiable, a great opening song choice. Lyssa’s sensitive vocal quaver worked well on the heartfelt “Maybe Tonight.” Her “Should’ve Said No” cover was energetic. “By Myself” sported an emotional, moving wail. Indeed, Lyssa’s originals are always the songs best-suited to her voice, as if they’ve been written with her unique strengths in mind.

And, speaking of originals that utilize Lyssa’s vocal skills, she closed the set with “Curisin’,” her summer single. This is one of those upbeat, catchy, teen-movie-friendly numbers. And this one, in particular, has a catchy, playful guitar line. Lyssa has established herself as a marquee local talent in her lane. I really dug this set.

Meghan Lynch at Local CountryFest

Meghan Lynch; photo by Geoff Wilbur

Meghan Lynch

Pop-country singer Meghan Lynch – from Boston but now based in Nashville – followed with an acoustic set. I wish my notes were more detailed, but the short set was fun. She kicked things off with “Wild Guess,” sung with a heartfelt vibe. She followed it with original “My Greatest Mistakes.” Meghan closed her set with an energetic, bubblegum, pop-country, fun number “Party Girl.” The quick four-song set was over too quickly. Here’s hoping Meghan will be back again next year.

The Jake Ash Band at Local CountryFest

The Jake Ash Band; photo by Geoff Wilbur

The Jake Ash Band

I was psyched for this. I’ve been following The Jake Ash Band for a while, and this was my first chance to catch them live. They did not disappoint. They kicked off with “Five Star Dive Bar,” complete with driving guitar, great storytelling, and reminiscing vocals. Catchy, this song sounds like it’ll grow on you. Next up, on “Easy on the Eyes (Hard on the Heart),” I really liked the way the piano line prominently drove this song. My notes even tripled use of this word for this song: catchy, catchy, catchy. “Sweet Babies” had a raucous energy with a great use of vocal pause-and-punch. The band’s October 4th release, “Tequila Season,” followed. Then catchy, hooky, fun, guitar-crunching “Wedding Ring Money.”

After a powerful, edgy, bluesy-rocking country numbers (whose title I didn’t glean), the JAB launched into “Devil Went Down to Georgia” and “Mountain Music” before closing with original “25 Again,” a powerful song, “on 11” from beginning to end, followed by a frantic close. It’s obvious why it’s a fan favorite, a terrific way to close a set, leaving the crowd buzzing.

Ayla Brown and Rob Bellamy at Local CountryFest

Ayla Brown and Rob Bellamy; photo by Geoff Wilbur

Ayla Brown and Rob Bellamy

The next acoustic set featured this exceptionally well-matched duo. On set-opener “Always Have a Home,” as throughout the set, Rob’s deep textured voice was complemented by Ayla’s softer, sweeter tone. The “white space” was as musically important as the guitar, at least in this acoustic arrangement. Next up was a cover of A Star is Born‘s “Shallow.” On this powerful ballad, Rob’s rich voice kicked things off, followed by Ayla’s warm, also-rich voice. “Built That Way” was about the purest country song there is, about praying, patriotism, and working hard; it was delivered powerfully and sincerely, as they have the requisite vocal chops for this song to hit home the way it was intended. Ayla and Rob closed their set with “The Honeymoon Phase,” a fun, clever, light-yet-lyrically-interesting, catchy tune.

Mychael David at Local CountryFest

Mychael David; photo by Geoff Wilbur

Mychael David

The marquee old-school country voice of Central Massachusetts for quite some time, a singer with an impressive national pedigree, Mychael David took the stage next for a long set with his full band. Sporting a deep, powerful, timeless country voice and endless talent and surrounded by some of the region’s best musicians, a Mychael David full-band concert event is always a treat.

The band opened with “Even the Man in the Moon is Crying,” followed by “Folsom Prison Blues” – so much axe talent in the band, they totally rocked this! In fact, it’s such a great fit, the band included “Folsom Prison Blues” on Mychael’s most recent album, Heroes & Honkytonks.

Next up was “Smoke and Ash.” As here, Mychael’s old-school, rich country voice can carry a set. Always. Anywhere. But Howie Swett’s wailing riffs put this song over the top.

After a cover of “Country Roads” that nailed that pluckin’ country energy, the band rolled on to “Some Gave All.” This ballad “to veterans and to those who never made it back” is always a misty moment during a Michael David set. This swaying, sad ballad was punctuated by Mychael walking through the crowd shaking as many veterans’ hands as possible. A true, sincere, patriotic mid-set moment.

After uptempo “That Ain’t My Truck,” the band closed its set with “Goodbye is Still Goodbye,” a country rocker driven by an energetic guitar line and subtle hooks, complementing Mychael’s rich vocals.

Taylor O'Connor at Local CountryFest

Taylor O’Connor; photo by Geoff Wilbur

Taylor O’Connor

Taylor O’Connor’s short acoustic set was next. Showcasing serious twang for a Grafton girl, Taylor delivered a solid cover of Luke Combs’ “When It Rains It Pours,” featuring vocal tempo and pace changes. Next up was “Reset Button,” an original that highlighted Taylor’s nice, tuneful voice. Finally, Taylor’s performance of “Wine Again” impressed; there was a bit of an emotional warble on this song that really delivered the goods.

Darren Bessette Band at Local CountryFest

Darren Bessette Band; photo by Geoff Wilbur

Darren Bessette Band

The Darren Bessette Band followed, opening with “It’s a Long Way Down,” a song that prompted me to note “rockin’ country, tight band, great vox.” That about sums it up for this crowd-pleasing assemblage of consummate country music pros.

I was particularly impressed by original “Tail Lights,” an old-school country music hall type of song. It sported a steady rhythm, but the guitar line was active, giving the soundbed character to complement Darren’s expressive vocals.

Cover songs ranged from Dolly Parton’s “Jolene” to Eddie Rabbitt’s “Driving My Life Away,” delivered flawless and timeless. And the set closed with “I Love This Life.” A great set of crowd favorites, showcasing this talented band.

Tim Buono at Local CountryFest

Tim Buono; photo by Geoff Wilbur

Tim Buono

Tim Buono’s short set was next. He opened with a laid-back country song (whose title I missed). My favorite song of Tim’s set was his original “Anyway,” with soulful emotion dripping from every syllable – an absolute must-hear! And he closed his set with a cover of Brad Paisley’s “Little Moments,” again featuring emotional vocals, almost seeming like they the words themselves were about to crack. Whew!

Annie Brobst Band at Local CountryFest

Annie Brobst Band; photo by Geoff Wilbur

Annie Brobst

The Annie Brobst Band was next. As has been the case every time I’ve seen this world-class outfit, they owned the big stage, delivering a big concert performance. They kicked things off with energy via “You Either Love Me Or You Don’t.” Next up: “Still Water,” a song whose dancing rhythm guitar live added character and motion to this catchy, mid-range number. Oh, and the cool vocal bridge added even more character.

After “Change of Heart,” Annie and band went whiskey – original “Whiskey Colors,” a dynamic personal favorite delivered with a catchy use of stop-starts and a funky bass bridge and “Whiskey Glass,” which featured crowd engagement. Then went wine. New original “Red Wine On My Mind” sounds like a real crowd-pleaser, a singalong-able tune that builds to power and even features a little guitar shredding. Well done.

Then, after “Love You More,” Annie delivered “Ghost,” a smooth, rich, full song to close the set.

Matt York at Local CountryFest

Matt York; photo by Geoff Wilbur

Matt York

The last acoustic mini-set of the day belonged to Matt York. He opened with an energetic, fast-strumming, country story-song growler, then a strummer with a deep growl. He closed with a cover of Billy Joe Shaver’s “Fit to Kill and Going Out in Style,” delivered engagingly with that all-knowing, smirky vocal edge. Exceptionally well done.

No Shoes Nation at Local CountryFest

No Shoes Nation; photo by Geoff Wilbur

No Shoes Nation

Local CountryFest closed with a set from No Shoes Nation, the Kenny Chesney tribute band that’s a huge local draw with its tight musicianship and near-flawless delivery of Chesney’s hits.

The band opened with “Reality” and closed with “Beer in Mexico.” Highlights in between included “Everything’s Gonna Be Alright,” which had the crowd swaying, and “Boston,” an obvious local favorite. Also, my personal favorite Kenny Chesney tune, “She Thinks My Tractor’s Sexy.” Across a set that spanned more than a dozen songs, No Shoes Nation wrapped up a day of great local country music with an energetic, funny, very true-to-Chesney set.

No Shoes Nation at Local CountryFest

No Shoes Nation; photo by Geoff Wilbur

I’m already looking forward to next year’s Local CountryFest – this concert has quickly become a must-attend annual event on the local music calendar.

Interview with Noel Herbert

Noel Herbert

photo by Zane Johnson; photo courtesy of Noel Herbert

by Eric Harabadian, Contributing Blogger

Noel Herbert is a singer-songwriter/multi-instrumentalist and composer located in Los Angeles. He is one of those rare artists that have the ability to deftly bridge the gap between personal introspective pieces and singles-savvy Top 40 fare. The prodigious songwriter and composer recently sat down with us to discuss his family, educational background, making it as a working musician in Hollywood, and the power of music as a vehicle for healing.

Eric Harabadian: Can you talk a bit about your background growing up?

Noel Herbert: I grew up in Farmington, Michigan. The very first groups that I listened to on my own were The Beatles and Simon & Garfunkel. The only music that was heard in my parents’ house was classical music and Irish Celtic music from my father’s side.

When I was seven years old, my father had a stroke and was severely disabled. It was definitely rough on me and my mother. I went from Beatles and Simon & Garfunkel into darker music like Marilyn Manson, System of a Down, Lamb of God, and stuff like that. But I always thought of myself as a folk singer, though. The first instrument I played was the glockenspiel. I always liked to sing and made up melodies. I started guitar lessons at 10 years old. Within the first three months of lessons I wrote my first song. At first, this was an outlet for me being a caregiver, with me and my mother taking care of my father.

EH: When did you get into performing music?

NH: Right before I turned 18 I had a group of friends who were all musicians. And we all sat around and thought we’d try and put some kind of thing together just for fun. I was the only folk singer out of a group of hip hop artists and rappers. So, that was particularly interesting and I started writing lyrics for them. I was also playing acoustic shows at this time. But, at that age, I was interested in becoming a rock star. I never thought about getting into electronic music whatsoever.

Around 19 or 20 I put together my first band which was me and a friend who played guitar and drums. He would alternate between the two for live sets. That band was called Illumination. And that lasted mid-way through my attending the Detroit Institute of Music Education (D.I.M.E.). Actually, I went to Boston for a while and attended the Berklee School of Music before I went to D.I.M.E. I released a single while I was there. At this time I stopped playing live because I was going to college to hone my skills as a songwriter. I started looking at what kind of songwriter did I see myself as. Did I see myself as writing commercial pop music or more on the artistic side? And I really struggled with this until I figured why couldn’t I do both?

EH: Is that a question you posed to yourself or was that something your college instructors would ask?

NH: It was a question one of my instructors asked me. I was supposed to come back with an answer the following week. But I really didn’t have a good answer to that until two months later. And at that point I had already written my first single with my project called Grass Bat. The song was called “Cigarette Showers.” So, I could do pop songwriting and do Grass Bat which was an artistic outlet where I could express how I felt. Grass Bat was very much like MGMT, Animal Collective, with sounds drifting into ‘80s rock like Depeche Mode, The Cure, and New Order.

EH: You graduated from D.I.M.E. in 2018. Was your plan to move to L.A. right away? Did you have work out there?

NH: I live in East Hollywood and I was considering coming out here a year before I did. I was dating somebody in Detroit at the time but really wanted to move to California. I decided to move shortly after graduating. I had this plan to come out here prior to dating this person so I wanted to stick to my plan. I was also contacted by a filmmaker that wanted me to work on a score for his film out here. That ended up falling through but was a little more of a push for me coming out here.

Noel Herbert - Favorite Worst Enemy

image courtesy of Noel Herbert

EH: So, tell me about your group and your latest single.

NH: It’s not even a group, it’s just me. Sometimes I’ll work with other songwriters, but mostly I’m doing all the lyrics, production, engineering, and instrumentation. This latest single “Favorite Worst Enemy” was a different song for me to release. I actually finished the song about six months to a year before I decided to release it. I was thinking about releasing it on an EP with other songs. But there was the challenge of what the song meant to me. At the time I was writing it I didn’t know what it was about. It was kind of stream of consciousness. It wasn’t until later that I figured out what was going on in my head at the time. I had fallen into a pretty depressive state that had been creeping along for some time. And that’s what that song is about. Having a favorite worst enemy is really just my own struggles within myself. It’s more of a dance-y type song compared to my previous releases. That has to do with really coming back to the Detroit techno scene. But also the only time I felt free from myself was going out and having a good time dancing; pretty much anything to get my mind off the fact that I wasn’t feeling very good. So, it’s a song about escapism, but holding onto those feelings very close to me.

EH: Without getting too personal, did you find this was coming from a certain place, perhaps an incident from the past?

NH: As far as something particularly from the past, not really. It’s very much a song dealing with me in the present.

EH: Well, mental health is certainly a relevant and timeless issue that manifests itself in different ways.

NH: Yeah, many people do deal with mental illness and depression. I started opening up to family and friends about what I was dealing with. It had only been a month and a half since I released the song that I started opening up to people about what I was dealing with. And once I started opening up to people, I realized they had their own stories. And they had similar issues and not feeling comfortable talking about it with people. I guess the campaign of this song, if you will, is to be open about your mental illness because it really de-stigmatizes the way people view it. People deal with anxiety, depression and all sorts of things. It’s much more common than anyone would think. So, I’m hoping by putting myself out there it will help at least one person to open up to others. And maybe it will make their life easier because I know it has for me.

EH: That’s excellent, man! Good advice. Being located in L.A. and Hollywood, are you currently playing live shows?

NH: Currently, not right now. At this point I’m strictly a recording artist and songwriter. I’m writing songs for Grass Bat but also synch licensing songs for corporate videos, television, and movies and submitting them to music house catalogs. I am also working on an independent film score that’s coming up fairly soon. And I should start working on that in a couple months. I also do side gigs and record other artists in my studio and host songwriting sessions to help people with their songwriting. All these little things you do to be able to live in Los Angeles.

EH: Well, you’re making it happen, man! A lot of people talk about quote, unquote “making it.” But, you know what, you are making it! You’re doing everything in your artistic and musical realm to make a living. And you’re following your passion. Not everything is always built around a hit single, if you know what I mean.

NH: No, not necessarily. Going back to what I said earlier, do I see myself as an artist or a Top 40 songwriter? I see myself as doing both. But I appreciate you saying that. There are different levels of making it. I’m 25 years old and I’m living in L.A. and getting by. That’s more than a lot of people can do out here.

EH: And you being from the Detroit area and involved in electronic music, there is a rich history of that coming out of Detroit.

NH: Yeah, Detroit and Berlin were where techno really took place. And I think there are arguments on both sides which one actually started electronic music. But I’m not gonna get into that. People know where I stand considering where I’m from.

EH: Tell me about your songwriting and composing process. You said you were gonna be working on a independent short film. Are you working with the director on that?

NH: You definitely work very closely with the director. In this case he is also the writer of the film. I’m gonna be on set with him later this month seeing how the film is being put together. I’ve seen some scenes and already know the storyline so I can start to wrap my head around what sounds would work best for the different sections of the film.

EH: And with songwriting you like to write for other artists, correct?

NH: When I write indie electronic stuff I usually know that will be for me. But if I’m writing more of a top line where melodies, lyrics, and chords are written on piano or guitar, it generally is inclined to be a song for somebody else. Generally co-writes are either for the other person or to pitch to another artist or A&R person.

EH: What kind of keyboard and audio gear are you using in your studio?

NH: I work a lot with my Roland 88. I take a lot of sounds that are on there and add different sorts of effects. My primary DAW that I used on “Favorite Worst Enemy” is Ableton Live and Push. I also use a multitude of in-computer synthesizers. While I mostly record with digital gear I do have experience with analog synthesizers too.

EH: Well, that’s something I’ve noticed about your Grass Bat music. You are a well rounded musician, and I hear that in what you do. Your stuff doesn’t sound synthetic or antiseptic like some electronica can be.

NH: Yeah, and also knowing how analog synths sound compared to digital synths. Digital synthesizers can sound really really pure. That sounds more synthetic to me. I’ve been trying to create more of a lo-fi tone to my synthesizers where it tends to be a little more distorted live.

EH: So, is there anything you have going beyond what we talked about?

NH: I’m working on a largely collaborative project, with multiple producers, songwriters and instrumentalists. I’m not sure if this will be an EP or an album. There will be a number of different people I know on it, but I still will be doing a lot of my own writing and production.

EH: When are you looking to release this new recording?

NH: Probably sometime within the next six months. There’s a lot of funding, marketing, and branding that has to happen first.

EH: Finally, what’s your take on the state of popular music today?

NH: Well, being an independent musician today, it is easier than ever to get your music out to anyone. It’s all about if you have the knowledge to reach the right people. It’s about finding your fan base and who wants to listen to your music. But there is such an influx of music on the internet that, in some ways, it’s never been easier and also never been harder to reach people.

Contacts: Instagram: @no_lmusic Facebook: www.facebook.com/noel.herbert.7902 Soundcloud: www.soundcloud.com/noelherbertmusic . You can also find his music through all the usual online sources: Spotify, Apple Music, and Amazon Prime.