Monthly Archives: May 2017

Live Review: Mark Wilkinson house concert

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Mark Wilkinson

photo by Geoff Wilbur

Mark Wilkinson

House concert in Hudson, MA

May 13, 2017

The Backstory

Mark Wilkinson

photo by Geoff Wilbur

For weeks, I had planned to head to Boston for the Springtime Spectacular at the Lawn on D on May 13th to see Analog Heart, whose last album I reviewed last spring but who I haven’t seen perform live since before I launched the Blog. Mother Nature, however, had different plans, as rain was forecast to begin around the time of the band’s set, and even if it wasn’t heavy during the set, I was virtually guaranteed to be driving home in a torrential downpour, with an inch or more of rainfall in the forecast. So I turned to “plan B.” Lori Diamond and Fred Abatelli were performing in Arlington, MA. I plan to try to get out to see them perform sometime this year; I really enjoyed the show I reviewed last year. I figured I plan to get out to at least one of their sets this year, anyway, so this would be as good a time as any. But I’d still have to drive home in a heavy rainstorm, so I checked more local listings, looking for shows closer to home and listening to clips of the artists to help me decide if I should abandon “plan B,” as well.

The choice was quickly made when I came across the listing for Mark Wilkinson’s gig out here in the far western suburbs of Boston, much closer to home. And upon finding one of his YouTube clips, within the song’s first few seconds, I knew this dude with the special voice was someone I wanted to see perform, and since he’s on tour (and based in Australia), there would not soon be other opportunities to see him. To cap it off, my wife had the same initial reaction to Mark’s songs, so we caught his house concert together (a nice change from my usual solo live-gig adventures).

Mark Wilkinson

photo by Geoff Wilbur

The Concert

Located in an apartment in Hudson, tonight’s venue was ideal, its great room serving as a large, open concert space with high ceilings and terrific acoustics, sufficiently large yet intimate for a house concert. And well-suited to Mark’s incredible voice, soaring and full of emotion.

Mark’s voice has been compared to James Blunt’s (“You’re Beautiful”). I also hear some Alex Band (The Calling) in there. And his tempo and style have also earned him comparisons to Tracy Chapman. I’d add Lisa Loeb and Sixpence None the Richer to that list. I’d probably even throw some Jim Croce and Gordon Lightfoot into the mix, too, for their warm, emotional vocal styles capable of connecting emotionally with listeners. I suppose what I’m trying to say is that Mark Wilkinson’s voice and performance style is timeless, powerful and emotional, and seems capable of touching that nerve that reaches directly to your heart and soul, connecting personally and profoundly with his audience; on this evening, an intimate collection of about 25 people. What I had sensed from Mark’s recordings came through in spades at his live show: This guy is special.

Mark Wilkinson

photo by Geoff Wilbur

The set consisted of 13 songs, and he was encouraged to follow it with a 3-song encore. He opened the set with such a powerful song I forgot to jot down its title, as his voice and strumming boomed warmly and envelopingly through the room, enhanced by its great acoustics. He followed that with “Chasing Rainbows,” a sad, sensitive, but still full-voiced and insistent tune whose tone was simultaneously melancholy and defiant.

Mark went a bit poppier with his next song, “Everything to Me,” with a more hit-friendly tempo and strum and a songwriting rhythm with just a hint of a slightly more celebratory flavor. There’s a nice, catchy mix of musical style and lyrics that, of course, still feature his voice, a voice a listener could get lost in and lose all track of time and place.

Mark Wilkinson

photo by Geoff Wilbur

Other songs stood out during the evening, as well. Of note, “Middle Ground” showcased sensitivity and strength, as the lyrics meandered through the story. This, Mark noted (for those of us unaware here in the States), ended up in a coffee commercial in Australia, so it’s his most well-known song back home as a result.

“Hey Baby” stood out, as well, as it served as the well-chosen singalong/audience participation song of the evening. It was followed by “Benny’s On the Rooftop,” a song that sports a nice, faster tempo and proves memorable – perhaps a favorite even – though the lyrical content isn’t so happy, to put it lightly.

The one cover in his set was of Bruce Springsteen’s “I’m On Fire.” As with any great cover, of course, Mark makes it own, adding his personal vocal flair to The Boss’ brooding classic. But he didn’t leave the room’s energy down, following it with the playful “Please Don’t Tempt Me,” in which he employs a relatively edgy rock vocal. Great song to mix things up with.

Mark Wilkinson

photo by Geoff Wilbur

The song “Don’t Say It” displayed such emotion, sensitive with an interesting guitar-picking pattern adding additional character and movement to the song. It was followed by “All I Ever Wanted,” a faster-tempoed song with an uplifting feeling, which served as a great set-ending number.

Oh, but he was greeted by a standing ovation and obliged with a 3-song encore, kicking it off with a suggestion from the audience, an older song of his entitled “Baptism By Fire.” And, true to the lyrics, there was some fire in Mark’s always-rich vocals accompanied by emphatic strumming. He followed that with “When the Armies Arrive,” driven by his echoing, booming voice full of emotion.

And he closed the evening with “Still Got My Baby,” whose interesting, peppy energy and playful tempo, driven by a little funky syncopation, provided a pleasant, cheerful ending to the evening. Excellent selection to send people home with a smile on their faces.

Mark Wilkinson

photo by Geoff Wilbur

But, of course, as with many house concerts, not everyone goes home, as the evening concluded with additional conversation, many of us enjoying nice chats with the artist and the others in attendance. Nights like this are an occasional fortunate happenstance, stumbling across a great talent who isn’t nearly as well-known in the U.S. as he should be… yet (we hope).

Looking Ahead

There are still several more stops on Mark’s house concert tour. (And I’d recommend going if you can; this is a special tour during which he’s eschewing traditional venues.) His dates in Sea Girt, NJ, Dublin, OH, and two of his three gigs in Ontario are already sold out, as is one of his UK stops. However, you can still gets seats at his performances in Montclair, NJ (May 18th), Charleston, SC (May 23rd), Potosi, MO (May 27th), Nashville, TN (May 28th), McGregor, MN (June 2nd), Milwaukee, WI (June 3rd), Elmwood Park, IL (June 4th), and Ottawa, ON (June 10th), plus six of his seven shows in the UK from June 28th through July 6th. Check the tour page of Mark’s website for more details and to reserve your tickets.

Album Review: Alissa Musto – What We Saw From the Piano Bar

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Alissa Musto

photo courtesy of Alissa Musto

Album Review of Alissa Musto: What We Saw From the Piano Bar

Alissa Musto is an impressive singer, songwriter, and pianist, a rising star whose music appeals to those with tastes ranging from jazz to pop to singer-songwriter fare. I first encountered Alissa back in January, and I reviewed one of her gigs here. But that performance was tailored specifically to the space in which she was performing. An album provides an artist the opportunity to paint with a broader brush than in a venue-targeted set list, to cover more ground. While still a cohesive whole, it’s able shine a light on a performer’s talent from many angles. And, indeed, that’s what Alissa’s What We Saw From the Piano Bar does. It spotlights her singing talent – the many shades of her gravel-driven, emotional vocals. It showcases her songwriting talent – her ability to choose precisely appropriate lyrics to paint images. It highlights Alissa’s sophisticated, thoughtful approach to the album’s youthful subject matter appropriate to the college-age period during which the songs were written and recorded. And it highlights her musicianship – the ivory-tickling skills that allow her to infuse a jazz foundation into an original popular music album that should appeal to music fans while impressing musicians.

Alissa Musto - What We Saw from the Piano Bar

image courtesy of Alissa Musto

Right from the start, Alissa hits you with a tuneful melody and full, gravelly vocal passion on the attention-grabbing “Black Flak.” The emotional intensity of this song draws you in, relaxes a bit to let you breathe, and then reels you back in. And, of course, the lyrics and song title require, for those of us unaware but with a bit of intellectual curiosity, a Google search that yields the poem that inspired the lyrics. It’s the ideal album-starter, since it’s a serious, powerful song that immediately establishes Alissa’s musical street-cred, affording her the latitude to easily mix in a little more fun in some of the subsequent songs. And it’s a catchy song that’s single material, too, likely to become some listeners’ favorite.

My personal favorites rotate among at least a half of this collection, as I’ve given this disc dozens of listens, and they vary by my mood. Seemingly autobiographical, Alissa’s tunes clearly draw upon personal experiences, and like any good singer-songwriter, she delivers them with such emotion it’s hard to tell where real-life experience gives way to creative license.

Alissa Musto

photo courtesy of Alissa Musto

Besides “Black Flak,” my other immediate favorite was “Brovada,” a swingy, swanky, attitude-filled, energetic piano bar-styled ditty that stylistically recalls for me just a hint of Piano Man-era Billy Joel. Just a hint, though. This song is all Alissa Musto. A modern combination of swagger, sophistication, and humility.

“Palace,” meanwhile, rises and falls, soaring with power and crashing like an ocean. It’s a terrific example of Alissa’s utilization of gravelly vocals to emotional effect. The subtly song-driving piano line, smooth strings (those are strings, right?), and Alissa’s engaging vocals on songs like “Palace,” though, can cause you to forget to listen to the lyrics. But, at least sometimes, try to remember to listen to the words because, whether reminiscent, thought-provoking, or something in-between, the lyrics are always worth listening to.

Though it seems like the entire album is softer paced, as the disc has a pleasant, warm feel, appropriate for an evening of contemplation in front of a roaring fire, there are ample tempo and energy changes. Following “Palace” with “Kids at the Bar” is one such energy spike. “Kids” is a fun, energetic tale of being young, ambitious… and out for a night at the bar. Though specifically written to Alissa’s own circumstance (or a creatively-adjusted version thereof), the theme should ring true across ambition, gender, and (unless you’ve given up on life altogether) age.

Alissa Musto

photo by Geoff Wilbur

Other songs draw upon different influences or offer new spins on some of the same. “Pictures” has a rich vocal jazz flavor and a lyric line that engages beginning-to-end, while “Freedom” showcases some more drawn-out, richer vocals mixed in with Alissa’s immediately-identifiable gravelly voice, and it’s highlighted by such a soaring power that you’d have to be detached if you don’t simultaneously feel life’s struggles and a surge of patriotism as Alissa explores co-existing forms of “freedom” in her lyrics.

Finally, of note, the album closes with “Temporary Dreams,” another of my favorites. It’s a bit mellow in spite of its interesting keywork and emotional vocals, guiding the album down musically for a pleasant, soft landing.

In the end, it’s clear after a few (dozen) listens to What We Saw From the Piano Bar that Alissa Musto is a young performer you absolutely owe it to yourself to get to know. She has a unique mix of talent and persona, a certain je ne sais quoi that makes her stand out in a musical crowd, and I’d love to one day see her command the audience while headlining a concert hall or arena tour.

Alissa Musto

photo courtesy of Alissa Musto

For now, though, take this opportunity discover her music, check out her latest album, and relish the ability to see her perform in the smaller, more intimate settings she’s currently playing. So yes, check her out initially because you’re curious about what the current, reigning Miss Massachusetts sounds like, if that’s what it takes to get your attention. Or because you wonder what became of New England’s homegrown America’s Most Talented Kids pianist this many years later if you caught Alissa’s age-nine TV performance “back in the day.” Really, regardless of why you give her that first listen, you’ll keep listening to this exceptional singer-songwriter-pianist.

At just the beginning of her career, I can only imagine how her sound will evolve. I am confident her songwriting and performing will evolve, as all talented, ambitious artists do throughout their careers. In any case, I look forward to enjoying hearing that evolution. And getting out to another live gig sometime soon.

If you’re in New England, be sure to find your way to one of Alissa’s performances. As noted on her website, she performs Thursdays 6:00-8:00 PM at the Renaissance Hotel Patriot Place in Foxboro, MA, Fridays 6:30-10:00 PM at Tavolo in Providence, RI, and Saturdays 8:00 PM-midnight at Jacob Wirth in Boston.

Postscript

I’d also urge you to learn about Alissa’s charity, Changing Keys, which helps provide pianos to schools and community centers.

Album Review: The Sweetest Condition – We Defy Oblivion

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The Sweetest Condition

photo courtesy of The Sweetest Condition

Album Review of The Sweetest Condition: We Defy Oblivion

I don’t have a lot of industrial synth-pop in my collection, but I’m not oblivious to originality and talent. Last spring, I reviewed The Sweetest Condition’s Edge of the World, gushing over its tight songwriting, tunefulness, power, and crossover appeal. Well, with We Defy Oblivion, Leslie Irene Benson and Jason Reed Milner have done it again.

The Sweetest Condition - We Defy Oblivion

image courtesy of The Sweetest Condition

There’s an interesting progression between albums. We Defy Oblivion, definitely dwells in a heavier neighborhood, with fewer forays toward the pop edge of The Sweetest Condition’s range. Again, though, the duo finds the monster hook in otherwise industrial pop. Leslie’s voice remains expressive and booming, when necessary, while tightly adhering to the songs’ requirements, resulting in genre-adhering music that can easily reach ears beyond its usual core audience.

Leslie Irene Benson

Jason Reed Milner; photo courtesy of The Sweetest Condition

In “Knock Us Down,” for example, the vocals are exceptionally staccato but their warmth keeps them from sounding inhuman, as can be the risk in this sort of musical cocktail. That particular song also sports a hypnotic synth rhythm and well-placed, not-too-simple drumbeat. The attention to detail includes thicker-and-thinner variations to the wall-of-synth theme buoyed by well-patterned song progressions. “Knock Us Down” is a microcosm of what The Sweetest Condition does best, which is why I mention it first, and it’s a catchy track, but it’s not necessarily even one of my favorites.

Leslie Irene Benson

Leslie Irene Benson; photo courtesy of The Sweetest Condition

For pure industrial synth, the album opens strong with “Deconstructing,” with a recurring pop rhythm (which usefully moves between different positions on the keys) before the song bursts forth into its chorus. This song, in its chorus, is one of the few locations on We Defy Oblivion in which I can draw the Madonna comparison to Leslie’s vocals; it was more common on the previous album. Again, not necessarily a typical vocal capability among industrial synth-pop singers, but it speaks to the breadth of The Sweetest Condition’s musical toolbox.

The Sweetest Condition

photo courtesy of The Sweetest Condition

Ah, but I promised you favorites. And the two cuts that reach farthest into my crossover-enjoying brain are “Faithless” and “Vices.” “Faithless” supports a hypnotically straightforward yet occasionally emotional vocal – and it’s the emotional infrequency that allows it to stand out so much – with a steady, catchy synth sequence.

“Vices,” meanwhile, utilizes another ear-catching, yet different, primary key sequence during the verses that explodes into the chorus. The music seems a bit edgy at times, building tension in the verses that releases powerfully during the chorus. It’s tied together with more emotional vocals, following the same pattern of tension and release. In this well-written, hooky song, the music itself is more suggestive than the lyrics.

The Sweetest Condition

photo courtesy of The Sweetest Condition

The most all-out energy on this album likely comes in “Keep Turning Me On,” a full-on, fast-tempo, potential dance club-pleaser that will leave the listener breathless after a single listen. I can only imagine the dance-floor carnage. The song before it, “Knock Us Down,” for which TSC has a video, is just as relentless, but insists at a more manageable medium-fast tempo.

Perhaps the poppiest, most mainstream track on We Defy Oblivion is “Depths Of Hell,” not that the lyrics would suggest a softening.

The Sweetest Condition

photo courtesy of The Sweetest Condition

A bit rougher but also memorable is the song “Nein Nein Nein.” The English-language verses suggest a rather rough evening to begin with, while the chorus implores “Ich will mehr, aber du sagst nein.” It’s supported by a stripped-down, rough-edged music bed befitting the lyrics.

Disc-ender “Unforgiven,” meanwhile, attempts to return the listener to a stable state. It’s a solid number, steadier than its immediate predecessor, and more traditionally, purely emotionally dark.

Once again, The Sweetest Condition delivers a solid collection of songs, a disc that will undoubtedly contain a few new favorites, if this is your genre. And an album that might surprise you if this isn’t. Personally, after how impressed I had been by Edge of the World, the bar for its follow-up was set exceptionally high, but with We Defy Oblivion Jason and Leslie have delivered an album that meets my unreasonably high expectations. It’s a helluva disc. I feel almost greedy for wondering what comes next.

Single Review: Cain Rising – “Rear View Mirror”

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Cain Rising

photo by Annie Price; photo courtesy of Cain Rising

by James Morris, Contributing Blogger

Single Review of Cain Rising: “Rear View Mirror”

Cain Rising - Rear View Mirror

cover artwork by Julian O’Dell; image courtesy of Cain Rising

Let me start by saying that if you haven’t ever heard Cain Rising before, then you should first go explore their self-titled debut album from last year. Within its 11 tracks you will discover a familiar charm of classic-style American rock, delivered in a rootsy, down-to-earth way. You could easily mistake much of what you hear as coming from America’s heartlands with its mix of country, folk, and rock. Actually, what you have are a bunch of excellent musicians led by Southside Jimmy all from the UK but steeped in the influences of the likes of Bruce Springsteen, Tom Petty or Bob Dylan.

Cain Rising

photo by Matt Crawford; photo courtesy of Cain Rising

The band was formed in 2014 by Jim Price with longtime collaborators and friends Jez and Jo Parry. The line-up on these new recordings includes guitarist Ian Hopper, Matt Crawford on Hammond and piano, and Mick Ivory on drums.

The new single, “Rear View Mirror,” follows seamlessly on from the last album but with even more swagger and confidence.

This is the first release of 5 songs all destined for an EP release in July. This first glimpse of what is to come introduces the new band line-up and the addition of some really infectious, bright and joyous brass. These musical elements couple perfectly with the great songwriting of Southside Jimmy, and the result is an excellent summery song following the theme of hitting the road and getting away from it all.

Cain Rising

photo by Matt Crawford; photo courtesy of Cain Rising

From the first strums of the uplifting intro, the introduction of the brass, and the full steam ahead approach, I was happily hooked. Seemingly effortlessly, the song led me quickly to the catchy chorus, which put me in mind of the driving type of thing Elvis Costello used to do on things like “I Can’t Stand Up For Falling Down.” Three minutes and eight seconds pass in the blink of an eye, and when it was done I found myself wanting to press play on it, over and over again.

Cain Rising

photo by Annie Price; photo courtesy of Cain Rising

If this is the quality of what is to come later in the summer with the release of the EP, then I have to say that I really don’t want to have to wait. Luckily for me the band are going to digitally release all 5 songs one at a time in the coming weeks before the final EP is available.

The 5-track EP will also include all out rocker “Glasgow City Spires”; “Walk My Way” – rock meets swing – with horns from Rebecca Gibson Swift and Pablo Mendelssohn; “Soldier” – highlights the band’s love of strong vocal harmony bands such as The Eagles & CSNY; and Social Man – a tense, raw and intimate country song.

Patience will be hard to find, but at least this drip feed approach will go some way to slake my appetite for Cain Rising’s excellent new releases.

Cain Rising

photo by Annie Price; photo courtesy of Cain Rising

“Rear View Mirror” is out now to download or stream. Further releases are due out between now and final EP release in July.

If you are in the UK, you can catch Cain Rising play live on July 2nd at Ampthill Festival, September 2nd at Catfest in Salford, or on October 21st at the Wheatsheaf in Leighton Buzzard.

Follow them on Twitter at @CainRising or visit their website at http://www.cainrising.rocks/.

Album Review: Matt Jaffe & The Distractions – California’s Burning

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Matt Jaffe

photo by Edward Saenz; photo courtesy of Shore Fire Media

by Eric Harabadian, Contributing Blogger

Album Review of Matt Jaffe & The Distractions: California’s Burning

Hot off the heels of his Blast Off EP, San Francisco-based Matt Jaffe returns with a full-length collection of molten-tinged rock and roll. On his debut release, Jaffe was barely out of his teens yet brought a rich and studied new-wave energy to the table that reached way beyond his years. With California’s Burning, the 22-year-old Fender axeslinger/singer-songwriter returns with a brand new autobiographically-inspired concept and vision. As the story goes, Jaffe attended college on the East Coast, and, after being away for an extended period and then returning home, he took notice of the differences between the two coasts. There is obviously a rich and storied history of California—from its depictions in movies to topography and colorful characters—that all play a part in the narrative of his latest project.

Matt Jaffe & the Distractions - California's Burning

image courtesy of Shore Fire Media

Right out of the gate, your ears are under pleasant assault from the heavily syncopated “Love is Just a Drug.” Its catchy riffs, hooks and harmonies envelop your senses and may even get you up on the dance floor as well. “Wander No More” continues in an up-tempo manner, with a barnburner of a tune. This has an urgent Robert Gordon-meets-Blasters feel that features great guitarwork between Jaffe and fellow Distraction Adam Nash. “Fire on the Freeway” is kind of a country/blues mesh where you can feel the scorching heat from the leader’s Telecaster attack. Jaffe sings of “burning across the western plain” rife with rockabilly passion and paranoid imagery. “Hellhounds of Alcatraz” displays a lot of fancy lead playing augmented by very vivid and cinematic lyrics and propulsive grooves. Each track seems to play like a mini-novella in a way, and this tune seems to dabble in mystery, intrigue and Hitchcock-like suspense.

Matt Jaffe

photo by Edward Saenz; photo courtesy of Shore Fire Media

“I Wanna Be Cruel” offers a breather in the form of a ‘50s/’60s type ballad. Here Jaffe shows his more sensitive side that appears an homage to both Elvii—Presley and Costello. “Write a Song About Me” picks up the pace again and has all the earnestness and punk rock bravado of southern California rockers John Doe and X. Once that stick of dynamite is lit, there is no turning back, with the runaway freight train that is “Locomotive Lightning.” This is a song that observes a look beyond Los Angeles and takes in the whole western coastline. This is controlled chaos, with enough crazy rhythms and shifting tempos to challenge the most accomplished mosh pit aficionado. Other highlights include the aforementioned Costello-like pop and sizzle of “Baby’s On a Bender,” the acoustic pairing with backing vocalist Christina Alvarado on “Red Snow,” and his impressive and faithful take on Johnny Cash, with “Folsom Prison Blues.”

In Jaffe’s own words, “ We wanted to make a record that sounds like the records we like; one that sounds like the music that turns us on, with buzzsaw guitars and whiplash drums. Dials at eleven. Forget the polish and forget the shine. Nothing between us and your ears. California’s Burning, so come and join us right here in the hot seat.” Kind of sums it up, doesn’t it!?