Monthly Archives: January 2025

EP Review: Evan Nicole Bell – Runaway Girl

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image courtesy of Big D Radio Promotions

EP Review of Evan Nicole Bell: Runaway Girl

The title track of this EP, “Runaway Girl,” will be one of your favorite songs. Ever. It’s a funky, groovy, rock ‘n roll earworm. The good kind. I mean, how was this song not ubiquitous in 2024? Well, in my world, it was, but as you know, I didn’t get to write very many reviews last year and, therefore, didn’t share this with you all. Well, I’m gonna make up for that. If you haven’t heard “Runaway Girl” yet, it can be one of your “songs of 2025.”

Evan Nicole Bell has a helluva voice! And she shows it off on this four-song EP. Technically, I suppose, it’s a 3-song EP, since two of the four songs are versions of the title track.

The disc opens with an inviting, distorted bluesy-rock guitar riff that leads to some absolutely filthy, rough, soulful vocals on Evan’s howlin’ blues-rock cover of “Catfish Blues.”

Next up is “Runaway Girl (Radio Edit),” which you’ll also find listed sometimes as “Runaway Girl (No Guitar).” Honestly, it’s such a powerful  number I hadn’t noticed the lack of guitar on the radio edit. Evan’s vocals wail, the rhythm is steady and, with a bit of variance, hooky. The whole song is memorable, and that includes the soaring “I did it for love” vocals in a mid-song bridge. As for “Runaway Girl (Extended Mix),” I do really dig the guitar lead-in at the beginning and some of the additional musicianship throughout. Clearly, though, its 6:16 runtime is less appropriate for radio play than the radio edit’s 3:58, so it makes sense to have the two versions. And it’s such a catchy song that’s so impeccably-delivered that a radio-ready version was a must.

Track three, nestled between the two versions of “Runaway Girl,” is “Burn,” a smoothly blue slow burner that showcases the softer edge of Evan’s range… well, mostly. She still hits some big notes, many of which I’d describe as wails, in all the appropriate spots throughout the course of “Burn.”

This EP is an excellent showcase for Evan’s obvious talent. I’m looking forward to what’s next, as should you. And the wait won’t be long. Actually, I’ve taken so long to write this review that there isn’t really a wait anymore. Evan has already released “River.” It’s the first single from her debut full-length LP, Shades of Blue, which is set for a January 16, 2025 release date. But hey, start here. Start with Runaway Girl. And especially with “Runaway Girl.” The EP and the song are must-hears.

Single Review: The Amplifier Heads – “They Came to Rock” feat. Barrence Whitfield

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image courtesy of Knyvet

Single Review of The Amplifier Heads: “They Came to Rock” feat. Barrence Whitfield (Rum Bar Records)

One of the singles from The Amplifier Heads‘ 2024 release Songs From They Came to Rock, “They Came to Rock” is a ’50s-style boppin’ rocker, with Amplifier Heads bandleader Sal Baglio tabbing Barrence Whitfield for the fun, sometimes-booming, memorably stylistically appropriate vocals. This catchy song is a smile-inducing homage to old-style rock ‘n roll, with an otherwordly vibe fitting the song’s content.

Barrence Whitfield and The Amplifier Heads' Sal Baglio

Whitfield and Baglio; photo courtesy of Knyvet

The band released a fun video, too, with a hilariously serious, newsreel-style video lead-in. You might categorize the video under “space camp.” In any case, you should definitely give the video a view; you can find it on YouTube via this link.

The full album was released in April 2024, a few weeks after this single dropped; you can check out the entire space-themed “rock opera,” Songs From They Came to Rock, here on the album’s Bandcamp page.

Looking Ahead

You can keep track of upcoming performances from The Amplifier Heads or Sal Baglio here on the “Live” page of the band’s website.

 

Album Review: Simon Stanley Ward & the Shadows of Doubt – Rocket in the Desert

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photo courtesy of Simon Stanley Ward

Album Review of Simon Stanley Ward & the Shadows of Doubt: Rocket in the Desert

This is such a cool album from Simon Stanley Ward & the Shadows of Doubt! The story behind the recording of Rocket in the Desert is both heartwarming and heartbreaking, and it’s told in a bit of detail here on the band’s website.

image courtesy of Simon Stanley Ward

The band consists of Simon Stanley Ward (vocals, acoustic guitar, fiddle), Paul Lush (lead guitar, producer), Neil Marsh (drums) and Geoff Easeman (bass guitar). Of course, as you’ll discover when you read the heartwarming-slash-heartbreaking tale I referenced above, you’ll discover the band moved heaven and earth to ensure that Geoff was able to record with them. Geoff completed the bass tracks for eight of the ten tracks on this record while in hospice; as Geoff had suggested before he passed, his son Richard Easeman filled that role on the ninth and tenth tracks. Again, you can read more on the band’s website, so let’s talk about the damn fine music itself.

photo courtesy of Simon Stanley Ward

Stylistically, Simon Stanley Ward & the Shadows of Doubt sport a sound that covers a broad swath of the Americana genre and perhaps a bit more. You can hear the country, folk, and rockabilly influences, plus a bit of straight-on rock ‘n roll. The music is very song-driven and lyrically often quite clever.

Some of the songs – particularly album-opener “I’m a Worrier” – have a bit of a Red Sammy vibe, to tie them to a band I reviewed recently, but Simon & the Shadows are more of the quirky folk-country singer-songwriter (though they’re a band) type of band.

The catchiest song – the most likely hitworthy, at least – is a ’50s-style rocker with a little bit of a folk-rockabilly tint, “This Ain’t It.” Ironically, it’s a song, lyrically, about how the band is going to write a hit record one day, but this ain’t it… or maybe it is. Did I mention lyrically clever? Oh, yeah, these guys are just getting started.

photo courtesy of Simon Stanley Ward

The title track, “Rocket in the Desert” is one of the more rockin’est on the disc, thumping along energetically with a nifty little guitar flourish for seasoning.

If you’re looking for silliness, you’ll enjoy “Big Foot Baby,” possibly “Terpsichorean Footwear,” and definitely “Deadheading” – my favorite among this trio – which is possibly the grooviest acid-folk-rock song about gardening you’ll ever hear.

“Designated Driver” is another tune that’s lyrically clever, describing the role of a designated driver at a surprising level of detail, all while creating a psychedelically, western-flavored soundbed and crooning smoothly at the climax, “I’m the designated driver… on the highway of love.” It’s just frickin’ cool.

photo courtesy of Simon Stanley Ward

The two closing songs on the disc, “When September Comes” and “Loving You,” are the ones featuring Richard Easeman on bass, and they’re energetic, fun closing numbers, both with a bit of a country dancehall flavor. The fiddling and the rhythm on “Loving You,” in particular, I’m sure make it a crowd favorite when performed live. In any case, it’s a great way to close a strong disc.

If you’ve not yet heard this album and your tastes include any flavor of Americana or you appreciate clever lyrics and catchy tunes, you should give Rocket in the Desert a spin.

Single Review: Bernie Marsden – “Invisible” feat. Jaime Kyle

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photo courtesy of BJF Media

Single Review of Bernie Marsden: “Invisible” feat. Jaime Kyle (Conquest Music)

Just about a week ago, I reviewed Jaime Kyle’s recent kickass album Wild One. Well, she also lent her voice to the single “Invisible”, released by Conquest Music as the last single from Bernie Marsden‘s final album. Of course, Bernie is most widely known as one of the original members of Whitesnake, co-writer of some of the band’s earliest hits.

image courtesy of BJF Media

“Invisible” appeared on the late 2023 double-album Working Man, a record Bernie had just completed and which was released a few months after he passed away. The details about the song’s release are detailed on the Bernie Marsden website quite completely, so click through here to read more about it; I’ll stick to reviewing the music.

From the opening guitar riff, “Invisible” identifies itself as a “turn up the volume” room-rocker. In fact, it becomes so quickly familiar that I had to review the songwriting credits just to make sure this wasn’t a cover of a song I already knew. The song has self-empowerment, anthemic qualities, with lyrics like “you’ll never change me, so don’t even try” playing right into the gritty edge of Jaime’s vocals. Meanwhile, Bernie’s playful axe riffs and slightly longer, engaging guitar runs provide the tempo and the hooks. The song rides the line between guitar rock and power pop, providing perfect fodder for rock radio, to the extent that category still exists. Not that it matters. If you dig catchy, guitar-driven, energetic rock ‘n roll, give “Invisible” a listen and add it to your playlist.

Single Review: Kill Shelter – “She’s in Parties”

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photo courtesy of HYPR Communications

Single Review of Kill Shelter: “She’s in Parties”

Kill Shelter is UK artist, DJ, and producer Pete Burns. The song “She’s in Parties” was originally recorded when Kill Shelter was asked by Unknown Pleasures Records to record a Bauhaus song to appear on the Honoris III compilation, which was released in 2022. Pete Burns (vocals, guitars, synths, programming) was joined on the recording by Alan “Lord Hagos” Haggarty (bass) and Lynsey Burns (backing vocals). More recently – early last year – Kill Shelter released a “She’s in Parties” as a single with a music video featuring model DJ MAUS.

image courtesy of HYPR Communications

I was, of course, not a goth kid, so I was unfamiliar with the original. I also tend to enjoy modern updates of songs, even longtime favorites – at least, when they’re juiced up rather than blandified (I’m looking at you with that comment, pop music). Well, Kill Shelter adds a lot of character and energy to this cover. The staticky, thumping distortion that rhythmically served as the beat was energetic and catchy. Pete’s vocals played it straight, with a very matter-of-fact delivery augmented by reverbing echoes. This just feels like one of those club tunes you get up to dance to, then realize the beat isn’t really made for dancing, but the song’s so cool you just stand there swaying, enjoying the three or four minutes.

photo courtesy of HYPR Communications

If you’re a longtime blog reader, the band I’ve reviewed that most reminds me of this recording would be The Sweetest Condition, but only insomuch as I might book them at the same event because TSC’s music was largely danceable industrial music, whereas Kill Shelter’s cover of “She’s in Parties” is an echoing, beat-driven, post-goth experience. I’m thinking this updated rendition of “She’s in Parties” would find footing with an exceptionally large swath of music fans. At the very least, I guarantee it’s worth a listen, so please, dear readers, go give it one.

 

Single Review: Joe Kidd & Sheila Burke – “Last Time I Looked”

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image courtesy of Joe Kidd & Sheila Burke

Single Review of Joe Kidd & Sheila Burke: “Last Time I Looked”

Here at the blog, we last reviewed Joe Kidd & Shiela Burke a few years ago. Well, contributor Eric Harabadian reviewed them… six years ago! For this duo, that’s been too long. Since Eric wrote that review, this will be my first attempt to capture the uniquely pleasant, enjoyable, identifiable vibe of one of Joe and Sheila’s recordings.

Joe & Sheila’s e-mail message accompanying the release of this single said: “Imagine yourself in an Alien Future: You are a survivor of climate catastrophe, nuclear holocaust, famine, plague, apocalyptic social upheaval. You are telling stories to the young ones, remembering the world as it was in the not too distant past.” That certainly describes the subject matter well. Lyrics include phrases like “Last time I looked, we could all breathe clean air” and “Last time I looked, no reason to beware.”

Sonically, “Last Time I Looked” is top-tier singer-songwriter fare. Folky, but with some guitar choices that hint at a broader appeal, marking it as a song that could be more easily appreciated and enjoyed by a crossover audience. Joe’s raspy voice and Sheila’s crisp, rich, tuneful singing blend exceptionally well. There’s a bit of a ’60s/’70s flavor in the song, harkening back to an era when the best folk-based songs could break through to a mainstream radio audience. Personally, I also like the fact that it seems like a song you could sing along with – most of the lines begin with the words “last time I looked,” after all – but it’d take a lot of listens before you could even hope to begin to sing along to all the words that follow that recurring phrase. Just about every line is different. So you just listen and enjoy. Just one more of the many cool things about this tune.