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 start of something 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 live reviews since.) I currently I 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.

Live Review: Danielle Miraglia at Front Street Concerts

Danielle Miraglia at Front Street Concerts

photo by Geoff Wilbur

Danielle Miraglia

Front Street Concerts, Hopkinton, MA

July 27, 2019

A Danielle Miraglia show at the Front Street Concerts summer concert series is an annual tradition. She’s one of Boston’s best. Period. Periodically, Boston’s music award series notice, often when she releases new music, and lately seemingly more consistently, year-to-year, regardless: She has been nominated for Blues Artist of the Year at the Boston Music Awards each of the last two years, and she won Female Performer of the Year at the 2019 New England Music Awards. She’s a consistent draw, seemingly able to draw her legion of fans out to hear her perform even when she plays locally several times a month. Danielle’s live shows with a full band, as Danielle M & the Glory Junkies, are all styles of blues-rock, from in-your-face to soulful and rich, while her solo acoustic shows are more blues-folk, as bluesy songwriting-driven acoustic songs would tend to be. But her music is always performed with an energy, her songs often written with a sincere yet mischievous wink. And it’s a rare treat to get to have such a world-class talent perform frequently in our midst.

Danielle Miraglia at Front Street Concerts

photo by Geoff Wilbur

Front Street Concerts is a backyard “house concert” series with a dinner buffet, an outstanding way to spend a summer evening, with attendees treated to inspired food selections and always featuring some of the best musicians around, with one slot each summer reserved for Danielle Miraglia. There’s a stage, sound system, and some seats in the barn, while the barn doors are left open, so most attendees choose to outside under the stars (or a tent, depending on the weather) in lawn chairs brought from home.

Danielle Miraglia at Front Street Concerts

photo by Geoff Wilbur

I’ve written about Danielle’s gigs so often (album review, live review, live review, live review, live review, and a long-overdue album review for All My Heroes Are Ghosts currently half-written), I opted this time to simply jot down song titles and deliver a photo-heavy review while enjoying the evening, the surroundings, the company, and the music. This performance was a mostly-Glory-Junkies show – always a treat, as the band members are all among the top local musicians at each of their instruments, often busy elsewhere in the area on non-Glory Junkies nights. With Erik White on guitar, Chris Anzalone on drums, and Jim Larkin on bass, only violist Laurence Scudder was missing for this particular show.

Danielle Miraglia at Front Street Concerts

photo by Geoff Wilbur

Rather than the usual Front Street format of two short sets with an intermission, this show was one long set, followed by some socializing after the performance. The band opened with the rockin’ “See the Light” from the Box of Troubles CD, followed by cynical, current affairs-driven “Monster” and “All on Fire,” both from the All My Heroes Are Ghosts disc.

Next up was the title track, “All My Heroes Are Ghosts,” followed by the pop culture-skewering “Famous for Nothin'” from Danielle’s Glory Junkies disc, and Janis Joplin’s “Turtle Blues.” Because there has to be a Janis song during a Danielle Miraglia gig; very few people can channel Janis the way she does.

Danielle Miraglia at Front Street Concerts

photo by Geoff Wilbur

Following was a raucous rendition of “Everybody’s Wrong” and a new original, a real treat for which my notes simply say “soulful, soft, and powerful.” And “Stagger Lee” concluded the original music portion of the evening.

From there, Danielle M and 3/4ths of the Glory Junkies finished the night spinning covers. First up was their rendition of Tom Waits’ “2:19,” a crowd favorite at a Glory Junkies show because they really make it their own. Next up was a cover of “Proud Mary,” a deliverance of Big Mama Thornton’s “Hound Dog,” and a Stones cover to close the evening. (Yes, I forgot to write that one down and was only able to remember “Stones cover” by the time I got home.)

Danielle Miraglia at Front Street Concerts

photo by Geoff Wilbur

As always, the Danielle Miraglia performance at the Front Street Concert Series was a highlight of the summer. By now, that’s expected. I hope to see a few of you there along with me next summer. And, in the meantime, perhaps at some of Danielle’s other gigs in the Boston area. And beyond, of course, as she performs up and down the east coast.

Looking Ahead

To that end – that of catching a live performance – check out the “Shows” tab on Danielle’s website. I just missed getting this posted in time to direct you to a few out-of-town gigs; well, OK, most of those were in early October, so I missed most of the shows by a mile, but Danielle did perform on Long Island last night. Don’t worry, she’ll be back. Locally, on Saturday, December 7th, she’ll be performing at The Center for Arts at the Armory in Somerville, MA. Other December shows are: Wednesday, December 11th at The Porch Southern Fare & Juke Joint in Medford, MA; Friday, December 13th at Turtle Swamp Bierhalle in Boston, MA; Sunday, December 15th at Lower Falls House Concerts in Greenfield, MA; and Sunday, December 22nd at Toad in Cambridge.

Danielle Miraglia at Front Street Concerts

photo by Geoff Wilbur

Beyond that, 2020 shows currently booked are Saturday, January 11th at The Fallout Shelter in Norwood, MA; Saturday, February 15th at the Portsmouth Book & Bar in Portsmouth, NH; Saturday, April 4th at the South Shore Folk Music Club in Duxbury, MA; Saturday, April 18 at New Moon Coffeehouse in Haverhill, MA; Saturday, April 25th at Nineteen Carter in Berlin, MA; Friday, May 15th at Kelly Music Center in Havertown, PA; Sunday, May 17th at Daryl’s House in Pawling, NY; and Saturday, May 30th for the Tremedal Concerts series at First Parish of Watertown in Watertown, MA.

Obviously, more shows will be added, so check back at the website regularly and follow both the Danielle Miraglia and the Danielle M & the Glory Junkies pages on Facebook, as last-minute appearances sometimes pop up.

Front Street Concerts, meanwhile, has concluded its 2019 music series. Watch the website next year for 2020’s shows.

Live Review: LadyLake Boston Showcase at City Winery

LadyLake Boston Showcase at The Haymarket Lounge, City Winery, Boston

photo by Geoff Wilbur

LadyLake Boston Showcase

The Haymarket Lounge, City Winery, Boston, MA

June 23, 2019

LadyLake Entertainment is a PR agency that represents several extremely talented music artists. I first discovered LadyLake back before I launched the music blog, during the ramp-up of my re-discovery of new music that eventually led me to return to music journalism. Of the three LadyLake artists featured in this showcase, held in The Haymarket Lounge within Boston’s City Winery, two were Boston-based. I had only previously been familiar with the duo of Lori Diamond & Fred Abatelli. This event was my introduction to the music of Linda Marks and David Martinez.

David Martinez

David Martinez

photo by Geoff Wilbur

A Corpus Christi, Texas-based singer-songwriter, guitarist David Martinez kicked things off with “The Otherside,” a smooth number that started out as a strummer and then slid into a groove. Next up was “I’m Alright,” a jangly tune with a sweet groove.

David proved he could do the sweet, poignant thing, as well, with his performance of “Sweet Sister.” And then, on “What You Need,” David’s music took a funky rockin’ turn, as if he was channeling Lenny Kravitz and maybe a little bit of the Rolling Stones.

David Martinez

photo by Geoff Wilbur

Next up was the title track from David’s most recent recording, “Piece of Me,” a ’90s/’00s-style acoustic singer-songwriter tune. There’s a kind of an acoustic pop-punk vocal edge in this sentimental song. Or, at least, it pays slight homage to that subgenre in the vocal and guitar style that gives “Piece of Me” its melancholy edge.

David closed his set with “Hey Mary,” a song with a catchy chorus and spoken-word, not-quite-hip-hop verses (delivered stylistically as if a movie voice-over). This song reminds me of something one of my favorite ’80s/’90s hair bands would have done back in the day. Exceptionally well put-together.

In all, a much-too-short sampling of this versatile, talented singer-songwriter’s capabilities.

Linda Marks

Linda Marks

photo by Geoff Wilbur

Boston-based Linda Marks followed, on the keyboard flanked by a guitarist and a violinist, showcasing her soaring vocals and focusing on songs from her yet-to-be-released (at the time) album In Grace, which dropped in September.

She opened with “Shallow,” a soft, soaring arrangement suited to this trio. Then “The Lion,” a song about addiction, sounding as if it was straight off of a poignant musical theater soundtrack.

Linda’s third song could have come straight out of a church service. As fellow performer and LadyLake artist Lori Diamond quipped to me, Linda’s music is liturgical. Indeed, and especially in this instant, very much so.

Linda Marks

photo by Geoff Wilbur

Linda followed with “Living on the Dark Side of the Moon,” a song she called a “torch song for a narcissist.” There’s almost a Tom Lehrer-ish, vaudevillian undercurrent in this hauntingly soaring number.

After a poignant fifth number, Linda and her band closed with their sixth song, “Light Up the Love.” A rich piano sound conveys the warmth of this song’s vocals. As throughout the set, I noticeably enjoyed the added texture of the violin while the guitar picking brought to mind a waterfall. As so often in her songs, Linda’s voice soars on this one, as well.

Lori Diamond & Fred Abatelli

Lori Diamond and Fred Abatelli with Kim Jennings

photo by Geoff Wilbur

Easy listening singer-songwriters Lori Diamond and Fred Abatelli were the evening’s final performers. They were joined onstage by Kim Jennings, just as they had been the last time I saw them perform, in December 2017. Here’s the thing about Lori and Fred. Yeah, they’re crazy talented, but also, do they ever miss a note?

They opened their set with “Good Harbor,” a favorite warm, comforting song with rich harmonies, followed by “The Outside,” whose powerful vocals splash across such subtle richness and depth of sound.

“Lifted” is one of those songs that reminds me Fred’s voice could carry anything from a mid-tempo rock group to a folky soft rock band, while also showcasing Lori’s sweet highs and rich lows. As much as Lori’s voice is more typically the signature sound of this duo, it’s easy to forget Fred’s vocal talents… until you’re emphatically reminded.

Lori Diamond and Fred Abatelli with Kim Jennings

photo by Geoff Wilbur

The duo next premiered a new tune, “The Good in You,” a rising and falling, more wall-of-sound, full-sounding song than usual. As part of the song’s coolness, I enjoyed Fred’s riffing guitar run.

Finally, Lori and Fred closed their set with their arrangement of “Wayfaring Stranger,” full of their own style and character. Lori pulls out some of her torchier, loungier vocals on this one. And Fred’s guitar has that weepy, tortured soul thing going on. A longtime crowd favorite and a great way to end the set for this transcendentally talented local duo.

Closing Number

After the end of Lori and Fred’s set, the evening’s entire line-up returned to the stage, joined by LadyLake Entertainment chief Cindy D’Adamo for a performance of “Will You Love Me Tomorrow.”

Looking Ahead

Per his Facebook page, David Martinez has a February 14, 2020 gig at Bar Under the Sun in Corpus Christi, TX.

The “Upcoming Events” page on Linda Marks’ website lists several upcoming shows in December. On December 2nd, she’ll be one of the nine members of the Women in Music Gathering to be showcasing as part of the LadyLake Music’s Charity Umbrella Initiative at the Hearing Room in Lowell, MA. On December 6th, she’ll be at the Square Root Cafe in Roslindale, MA. On December 11th, she’ll be at the RISA Songwriters in the Round event at AS220 in Providence, RI. She’ll be at the EBASS Christmas Show at The Burren in Somerville, MA on December 22nd. And on December 27th, Lucy will be one of the performers singing the music of Carole King and James Taylor at the Dedham Square Coffeehouse in Dedham, MA. See Linda’s website for more details and new dates as they’re added.

The “Tour” page of Lori Diamond & Fred Abatelli’s website lists a December 7th, 2019 gig at The Music Salon, hosted by Linda Marks (who will perform an opening set) in Waltham, MA; a March 28, 2020 performance as two-fourths of Fate’s Landing, splitting the bill with the Clark-Page Project at the Tremedal Concert Series in Watertown, MA; and  on September 20, 2020 at Applefest in Northborough, MA.

You can keep current with LadyLake Entertainment and all of LadyLake’s artists at the company’s Facebook page, its Twitter feed, and its Instagram account.

Live Review: Popa Chubby at 9 Wallis

Popa Chubby at 9 Wallis

photo by Geoff Wilbur

Popa Chubby

9 Wallis, Beverly, MA

May 10, 2019

It’s a shame I live and work in parts of the Boston area that make travel to Beverly for an evening at 9 Wallis an annoyingly difficult journey. Since shortly after it opened in April 2017, I’ve wanted to get out to this intimate concert venue/”listening room” on Boston’s North Shore. Top-notch national, regional, and the very best local acts perform there, including a lot of incredible blues artists, though far from exclusively, as personal favorite performers from many genres regularly dot 9 Wallis’ concert calendar.

Popa Chubby at 9 Wallis

photo by Geoff Wilbur

One of those rock/blues acts, of course is New York-based internationally-touring Popa Chubby. The dude’s a tour de force whose personality and talent fill the room, his shows a guaranteed good time, assuming you’re able to enjoy the blues. But I knew that before attending. Not from owning any of his recordings – though that would be a great idea – but rather from conversations with those who know and then, of course, listening to some Popa Chubby online. I had unsuccessfully attempted to squeeze a previous Popa Chubby 9 Wallis performance into my calendar, so when I saw this gig announcement, I circled the date on my calendar (figuratively speaking, of course, online) and avoided any scheduling conflicts.

On this particular night, the room was filled, and the joint was hoppin’. Popa Chubby’s vocal and performance style ranges from pure blues to rockin’ blues to rappin’ blues and beyond. Many of the songs this evening could be found on the Prime Cuts album, I believe (since it’s not in my notes, but even all these months later I recall Popa mentioning it frequently during the show), the most recent release of a long, nearly three decade career spanning dozens of albums, and a great intro to the broad range and exceptionally soulful, all-in blues style you can expect from Popa Chubby. At this 9 Wallis gig, and I get the sense this is typical based on others in the room who had been to prior Popa Chubby shows, every song was a blues jam, supported by Dave Keyes‘ talented keys with a very organ-like sound and a solid rhythm section.

Following are some highlights from the evening, as I jotted down notes whenever a song inspired me. And, truth be told, I was often so caught up in the show I didn’t think to take notes until I couldn’t remember the song titles anymore, so consider these some of the many highlights.

Popa Chubby at 9 Wallis

photo by Geoff Wilbur

Popa Chubby opened the night with a rollicking rendition of the Rolling Stones’ “Sympathy for the Devil,” featuring shredding axework, showing off the keyboardist’s skills, and absolutely great guitarwork and vocal growl.

Emotional favorite “Grown Man Crying Blues” – check out Popa Chubby’s performance of the song in this video on YouTube with nearly half a million hits – featured a shredding, wailing, and practically crying performance.

Popa Chubby original “Angel on My Shoulder” charged forward as a straight-ahead rocker with a blues strut, delivered emphatically and, of course, sporting guitar and keys jams.

Popa Chubby’s delivery of “Hey Joe” was soulful, psychedelic, progressive, and classic. “69 Dollars” kicked off with a weeping guitar opening and some edge and liquidity throughout.

Finally, in the anything-goes, full-on-enjoyment spirit of the evening, I very much dug the electric guitar-driven versions of the Godfather theme song and “Somewhere Over the Rainbow.”

Also of note, for one song during the set, the band was joined onstage by drummer Joey Pafumi of the Paul Nelson Band. And late in the set, Popa Chubby showcased his keyboardist Dave Keyes’ boogie-woogie keyboard skills. Keyes also sang vocals a little during the set, bringing a smoother blues vocal style to the songs he led vocally.

So glad I made it to this show; it was completely worth the effort, as Popa Chubby and his band gave it everything they had. And I can now confirm that 9 Wallis is, indeed, the great North Shore listening room I had heard so much about.

Popa Chubby at 9 Wallis

photo by Geoff Wilbur

Looking Ahead

Popa Chubby is currently touring in Germany, Switzerland, and Austria.  He’ll return to the northeast United States (New York, New England, Pennsylvania, and New Jersey) for a month in early/mid-December before returning to Europe for a month of gigs in the UK, France, Germany, and Switzerland. Click on the “tour” page of Popa Chubby’s website to see when he’ll next be performing near you. If you have a pulse, you’ll have a great time and be treated to some world-class blues-based musicianship and showmanship.

Single Review: Debbie Hennessey – “True Me”

Debbie Hennessey

photo by Matt Gendal; photo courtesy of Debbie Hennessey

by Eric Harabadian, Contributing Blogger

Single Review of Debbie Hennessey: “True Me”

Debbie Hennessey - True Me Single Cover

photo by Matt Gendal; image courtesy of Debbie Hennessey

Debbie Hennessey is an award-winning singer-songwriter, with many television and film credits. She has also released three full-length albums and seven singles. Her latest single is called “True Me.” It’s a heartfelt ballad that seems to draw from personal experience. Trying to put thoughts and feelings into words is, perhaps, quite challenging for most, but Hennessey does it in a plaintive yet uplifting manner. She sings with seemingly effortless phrasing that hits you where you live. The singer-songwriter’s vocals are full, rich, and dynamic, supported by Jonathan Haynes’ ethereal and somewhat bluesy guitar. “True Me” is a stellar tune in the vein of Bonnie Raitt or Sheryl Crow but remains totally unique in style and substance.

Live Performances

Debbie has a performance scheduled for February 20th Petie’s Place in Tarzana, CA. Check the calendar page of her website periodically for additional dates as they’re added.