Monthly Archives: February 2025

Single Review: Jen Kearney – “Long Division”

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by Eric Harabadian, Contributing Blogger

Single Review of Jen Kearney: “Long Division”

Jen Kearney is a singer-songwriter from Boston, Massachusetts that represents the very best of what that job description signifies. She’s got a vocal style that’s full-bodied and steeped in character. And her storytelling chops and facile lyrics are off the charts.

Jen Kearney
photo by Caroline Alden; photo courtesy of Jen Kearney

The jazzy, soul-influenced chanteuse has a series of independent releases under her belt. She has also opened for some of the biggest names in rock, pop, blues and R&B, including Daryl Hall, Maceo Parker, Los Lobos, John Mayall & The Bluesbreakers, and The Derek Trucks Band.

Her latest single is a sly and perceptive treatise on the state of our country and its place in the world. “Long Division” hits you immediately with questions about the have and have-nots, with: “Who gets the water, who gets the sky? I see you calculating, tapping into everyone’s well until they’re all dry.” With each verse, the stakes rise higher as she delves into areas of left and right wing views, Middle East conflicts, and even a jab at the current pseudo American president Elon Musk. But, amid all the past and present social chaos Kearney so aptly describes, there is power in her resolute phrase: “Maybe we’re on to you!”

The song’s strong socio-political stance is wrapped nicely in a blanket of funky conga-fueled rhythms, horns and ambient guitar. Kearney delivers her cogent and essential message, with all the gravitas and style of a Nina Simone, Diana Krall, or Amy Winehouse.

Keep Jen Kearney on your radar, as she is a sparkly jewel and a musical north star.

Publisher’s Note: Jen’s single, “Long Division,” will be released on March 21st. Click here and follow the link to pre-save on Spotify. Also, for those of you in the Boston area, Jen will be performing at The Burren in Somerville on March 21st, as well. Tickets to that single release event can be purchased here.

Album Review: Fernando Perdomo – Self

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Fernando Perdomo

photo by Claudia Adamczyk; photo courtesy of Fernando Perdomo

Album Review of Fernando Perdomo: Self

You’ve read about Fernando Perdomo a few times here at the blog. And you’ve almost read about him a few more times, when his music crossed our desks during times we simply didn’t have time to review all the great music we received. Between performing and recording with other musicians, both well-known and lesser-known, producing others’ music, and recording his own, Fernando’s music output is prolific. His sterling reputation, for his talent and hard work, is well-deserved.

Fernando Perdomo – Self album cover

image courtesy of Fernando Perdomo

Fernando’s mid-2024 release Self showcases a broad swath of his rock ‘n roll influences, including energetic, hooky, old-school rock, progressive rock, and experimental and quirky rock.

Disc-opener “Searching For Myself” gives off super-strong Beatles vibes. The soft guitar strums and lilting tone support Fernando’s not-as-gravelly-as-it-first seems vocals, which express emotion and stylistic range throughout the various corners of this song.

Next up, “Everything Leads to Now” sports some nifty guitar-plucking and is a little more experimental within the confines of a classic pop-rock musical envelope. Can someone help me here? In some of the more creatively-unique spots, it’s not exactly hints of Moody Blues I’m hearing, but it’d be someone they might share a stage with.

“Optimist Prime” is a swift, energetic, relatively fast-paced catchy pop-alt-rock ditty that you’ll probably remember from the frequently-repeated lyric “my way” until you learn the song title. It’s the tempo and electric energy that’ll get you hooked.

Fernando Perdomo

photo by Erik Nielsen; photo courtesy of Fernando Perdomo

“Absolute Silence” is a grainy, dreamy number that floats along as if elusively off in the distance like a mirage. Or as if you’re listening to it while floating in a swimming pool at a kitschy Route 66 motel. It’s not far from being shoegaze, even.

“Who I Really Am” is a slow-paced number with a kind of funky ’70s vibe.

Instrumental “All of Us Under the Same Moon” has one of the more memorable chord progressions on the album, as the guitarwork trickles like a stream across a bed of music pebbles.

And the album closes with what’s probably the most progressive/experimental rock thing possible – a nearly-20-minute track entitled “Self.” Essentially, the entire B-side, if this were on vinyl. The song is a meandering journey, but it’s so tightly assembled that, when it’s over, you realize that, while it’s clearly a long song, it doesn’t feel nearly as long as the 19 minutes and 41 seconds that elapse. The song itself is a journey to self. Or perhaps mostly Fernando’s self.

And that’s really what it’s all about. As Fernando himself says, “Self is not just an album. It is a definition of who I am. It is the most complete statement I have ever made as a recording artist.” We should thank him for sharing the statement with us; it’s a cool musical journey.

More Recently

Since releasing Self in 2024, Fernando has committed to releasing a series of “Waves” albums in 2025, one each month. Waves and Waves 2 are already available, while Waves 3 can be preordered. Fernando has also released a cool single entitled “Is That Love.” All of those recordings can be found on his bandcamp page.

Single Reviews: Smitt E. Smitty & The Fezztones – “Bye Bye Sunday Afternoon” and “#1 Most Likely”

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Smitt E. Smitty & The Fezztones

photo courtesy of Smitt E. Smitty & The Fezztones via Knyvet

Single Reviews of Smitt E. Smitty & The Fezztones: “Bye Bye Sunday Afternoon” and “#1 Most Likely” (Rock Garden Records)

Smitt E. Smitty & The Fezztones released “Bye Bye Sunday Afternoon” last spring. It was the group’s first release for Rock Garden Records, an excellent selection and an outstanding introduction to the band, an eight-piece Boston outfit comprised of Subtle (JoEllen Saunders Yannis, vocals), Serious (Linda Bean Pardee, vocals), Smitt E. Smitty (vocals, drums, harmonica, keyboards, percussion), James Melanson (guitar), “Crazy” Eddie Nowik (guitar), Andrew Padua (bass), Jonathan LaMaster (violin), and John Sestito (drums).

Smitt E. Smitty & The Fezztones – "Bye Bye Sunday Afternoon" single cover

image courtesy of Smitt E. Smitty & The Fezztones via Knyvet

Now, I’ve been racking my brain to figure out what Smitt E. Smitty & The Fezztones’ “Bye Bye Sunday Afternoon” reminds me of. It’s a kickin’, medium-fast tempo number with a completely fun vibe and clearly enunciated lyrics despite a seemingly somewhat raucous musical backdrop. There’s a timeless, somewhat old-fashioned feel to the music, which is best dubbed simply rock ‘n roll. But it took my probably too long to realize that the underlying musical vibe was very B-52s-ish. I could seriously picture the B-52s performing this. Not exactly, of course. Smitty & The Fezztones have a unique sound all their own, but “Bye Bye Sunday Afternoon” will absolutely appeal to fans of that light-hearted, vibey rock music style. Or, of course, rock fans in general. It’s a fun song that I’ve been digging for months now, and it never gets old.

Smitt E. Smitty & The Fezztones – "#1 Most Likely" cover art

image courtesy of Smitt E. Smitty & The Fezztones via Knyvet

More recently – just a week ago, in fact, on Valentine’s Day – the band released its new single, “#1 Most Likely,” sporting the very Valentinesy lyrics “You’re #1 most likely to break my heart.” The song sports an old-school mainstream alt-rock feel – I could almost hear Simple Minds singing this song, though not quite with Smitt E. Smitty & the Fezztones’ pizzazz. Still, this song would fit well on a John Hughes movie soundtrack. Sound interesting? Unlike “Bye Bye Sunday Afternoon,” which was an immediate favorite, “#1 Most Likely” actually took a few listens to grow on me, but now it’s stuck in my brain. I can’t necessarily explain why; it’s a great tune. See what you think!

Single Review: Pat Smillie – “Lovers & the Leavers”

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Pat Smillie – Lovers & the Leavers album cover

image courtesy of Pat Smillie

by Eric Harabadian, Contributing Blogger

Single Review of Pat Smillie: “Lovers & the Leavers”

“Lovers & the Leavers” is the first in a series of singles Detroit-born and raised singer-songwriter Pat Smillie is releasing through Fat Bank Music. And the song fits comfortably in Smillie’s wheelhouse of blues and soul-infused rock. The veteran raspy-voiced soul man belts out an acoustic-based ballad that speaks to his rich observations on love and the games people play.

The track is co-written and produced by Smillie’s main man, guitarist Josh Ford. Also on board are Johnny Rhoades (acoustic guitar/electric guitar), Dale Grisa (keyboards), Rocco Popielarski (bass), Todd Glass (drums), Tina Howell (backing vocals), and Ashley Stevenson (backing vocals). This is, primarily, the studio group that Smillie has been using the past few years, and they certainly have risen to the occasion here.

Perhaps the first thing you glean, a few notes in, is Smillie’s sincerity and innate ability to spin a yarn. He’s a master storyteller and will stop you in your tracks with his authentic points of view. It’s a tight, radio-ready single that harkens back to the days of AM radio superstations like Windsor-Detroit’s CKLW. Smillie has all the vocal command and bluster of Bob Seger, Rod Stewart, and Frankie Miller combined. And the sweet sustained sounds of Ford’s slide work blended with Grisa’s Floyd Cramer-like piano trills set all the emotions of Smillie’s lyrics ablaze.

Pat Smillie and company are the future of Detroit music and carry the torch led by all those classic Motown artists, past and present, that have come before.

Album Review: Jennifer Tefft and the Strange – Strange Beginnings

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Jennifer Tefft and the Strange band photo

photo by John Parrillo; photo courtesy of Knyvet

Album Review of Jennifer Tefft and the Strange: Strange Beginnings (Rock Garden Records)

Strange Beginnings, the 2024 album released by Jennifer Tefft and the Strange, won Album of the Year at the 2024 New England Music Awards. And deservedly so! This is a tight, varied collection of kickass rock ‘n roll, ranging from soft songs to hard rockers. You can hear elements of a broad range of rockers in Tefft’s delivery, from Blondie to Pat Benatar, from Joan Jett to the more rockin’ edge of the Go-Gos. I know I’ve refenced a fair bit of classic rock, but this album is really more timeless rock. In musical listings, I tend to see Jennifer Tefft and the Strange labeled as alternative rock, and I can see the comparison, but they’re certainly at the more polished end of the alternative rock spectrum, and I spot a lot of classic and mainstream rock influences, even if the band does like to take it to the edgier ends of those rock categories.

Quite a while back, I reviewed “Love and War,” one of the pre-release singles from this album, and it has aged well. It remains one of the disc’s strongest hard-rockin’ tracks, even after dozens more listens. On this record, it’s joined by several more new favorites, too.

Jennifer Tefft and the Strange – Strange Beginnings album cover

image courtesy of Knyvet

“Caffeine,” another of the pre-release singles, was a great selection to get things started. The album-opener kicks things off with a gritty guitar lick – with axeman John Parillo making a statement that yeah, this album is gonna rock – before the song builds into a steady rock rhythm. The song is tuneful despite a jangly wall-of-noise backdrop and Tefft’s howling wails, guided by drumwork that’s steady even while feeling not-so, thanks to a creatively varied beat and some interesting fill choices. Then there’s that helicopter-ish ending. The band could go completely limp from this point on and you’d still think you’d listened to a rockin’ album. Fortunately, while the music is varied throughout the disc, it still always obviously rocks… and is never limp.

I really dig the imagery in “Paper Cut,” from the edginess of the vocals and guitar runs occasionally drizzling through the background of this heavy-sounding slow song. The imagery? Cool lyrics like “You’re a switchblade, paper-thin. You’re a paper cut on smooth white skin.” Ouch; I can feel that. And a fade-out ending. Remember when rock bands used to do this? Well, Jennifer Tefft and the Strange still do.

Throughout the rest of the disc you’ll find more alt rock-meets-punk-meets-classic rock tracks like “Shoulda Known Better,” which is one of those songs that feels a lot faster than it is because the delivery is so raucous, creating an illusion of speed despite its moderate tempo.

That moderate tempo is relatively common on this album, as is the case with “Lullaby,” and it is partly responsible for the album’s heavy feel, though drummer Chris Georgenes’ powerful skin-striking plays a role, too. Stephen “Sharky” Beccia’s thumping bassline also rises in the mix in certain tracks. Like “Lullaby,” for example, where I notice myself mentally thumping along with the bass toward the song’s close.

“Second Chance,” next up, stands out as a potential hit. It has a cool lyric you’ll get to know: “Drawn to the flame, we burn our wings, but we crave the fire and the pain it brings. Now we’re picking through the ashes for a second chance Drawn to the fire, we fly too close where we burn the things we love the most. Now we’re picking through the ashes for a second chance, a second chance to burn.” Is that badass, or what? Tefft’s vocals range from edgy to soaringly smooth supported by smooth guitarwork and heavy rhythms.

“Down On My Knees” brings some punk attitude and a straight-ahead musical attack punctuated in a few spots with a neat southwestern distorted riff that just hints at that Chris Isaak “Wicked Game” sound. (You can hear it now, can’t you?) But you hear it just briefly when it pops in, like just the right amount of flair, nowhere the amount of flair a Chotchkie’s manager would recommend.

“Going Out” is a fun rocker sung from the point of view of a past-her-clubbing-days woman preparing to completely overdo it on a rare night out. Irreverent, fun music for not-so-young adults.

And the album closes with power, the previously-reviewed “Love & War.”

Eight songs probably isn’t enough, but better to leave the audience wanting more, I guess. If my descriptions haven’t clinched the deal for you yet, the record was produced by Grammy-winning producer Bob St. John (Collective Soul, Duran Duran, Extreme, etc.), so you can count on top-shelf production value. And, of course, in this case, a kickass rock band delivering the goods.

Album Review: Roberto Magris – Freedom is Peace

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Roberto Magris

Roberto Magris; photo by Rosario Pino Varsaica; photo courtesy of Roberto Magris

by Eric Harabadian, Contributing Blogger

Album Review of Roberto Magris: Freedom is Peace (JMood Records)

World-renowned Italian jazz pianist Roberto Magris is reunited after 20 years with his globally-recognized Europlane ensemble. He is joined on this recording by an international roster of stellar players, including Hungarian tenor saxophonist Tony Lakatos, German bassist Rudi Engel, Slovakian trumpeter Lukas Oravec, Slovenian drummer Gasper Bertoncelj and Austrian alto and baritone saxophonist Florian Brambock.

Roberto Magris – Freedom is Peace album cover

cover photo by Herbert Hoepfl; image courtesy of Roberto Magris

Recorded live in Bad Goisern, Austria in April of last year for the European Capital of Culture 2024 event, this band was itching to play, and they came out swinging! This is the initial handiwork of Magris, who was commissioned by a promoter, Emilian Tantana, to resurrect this classic European jazz group for this special event. This recording serves as a world premiere of Magris’ new original compositions and arrangements. While this set of compositions was embraced by the entire ensemble, putting it all together was especially heartfelt for Magris, as the experience reflected not only his attempt to recreate the sound of the original Europlane group but also the evolution of his career, over the past 20 years, as a solo artist and sideman.

Rudi Engel

Rudi Engel; photo by Herbert Hoepfl; photo courtesy of Roberto Magris

Poised before a very appreciative and enthusiastic audience, the Magris-led group delivered the goods… and then some. There is a tertiary subtext of social consciousness that runs through this live eight track set, beginning with Magris’ “Freedom is Peace.” Musically, the piece unfolds in a strident and bold manner, with heavy McCoy Tyner/Horace Silver-like left hand piano action and a powerful front line melodic statement. The impetus behind the tune comes from Magris who says: “This new composition of mine comes from the pressing need to now stand for peace, freedom, friendship, brotherhood and positive values… ‘Freedom is Peace’ is a call to stand for peace and beauty as a counterpart to the ugly feelings that are more and more surrounding us. Music, and especially jazz, is energy. And in this period we need positive energy.”

Lukas Oravec

Lukas Oravec; photo by Herbert Hoepfl; photo courtesy of Roberto Magris

“The Island of Nowhere” slows things down a bit to a light swing, with shadings of cool noir. There is a meticulously orchestrated Oliver Nelson/Claus Ogerman vibe at play. The rhythms leisurely glide along, providing a platform that inspires great solos from everyone. The horns are strong, with an exceptional bass spotlight from Engel that seems to summarize the piece.

Florian Bramböck

Florian Bramböck; photo by Herbert Hoepfl; photo courtesy of Roberto Magris

“Malay Tone Poem” is a tune written by South African pianist Hotep Idris Galeta. This displays the diverse virtuosity of the band, exemplifying  their collective use of space and eerie alternate modes. There is a strong anchor from the bass and drums that allows the piano and horns to venture into seemingly unknown territory. In particular, Magris’ solo is inventive and playful.

Another cover that is a favorite of the composer-arranger is Andrew Hill’s “Laverne.” Magris has played this beautiful ballad with various bands for years and brings that familiarity and richness to this ensemble. It features intricate uncommon harmonies, with a soft, lilting feel that will cast you into a romantic or alternate state. Lakatos’ wonderful soprano sax work here really soars.

Tony Lakatos

Tony Lakatos; photo by Herbert Hoepfl; photo courtesy of Roberto Magris

Another significant message to his European countrymen and women is the piece “Something to Save from EU (You)” by Magris. It begins with a rubato piano and bass intro which leads into a bouncy and upbeat ensemble feel. Overall, there is a positive vibe to the piece, with tasteful brush work by drummer Bertoncelj during the mid-section. At over 12 minutes, the tune has time to fully blossom and breathe. This allows the opportunities for stellar solos. Again, Magris comments on goings on in Europe and our society at large. He says: “Many people are wondering if the European Union was and is still a good idea. Personally, I think it was and is. But now we need to change completely and move from financial priorities to social and cultural priorities. Apart from politics, the European culture needs to be saved. We need to save culture and we need to save art.  We need to save music (classical, pop, jazz, rock, folk, etc.). And above all, we need to save melody.” You definitely get that urgency from this group in the message.

Gasper Bertoncelj

Gasper Bertoncelj; photo by Herbert Hoepfl; photo courtesy of Roberto Magris

“When You Touch Me” was written by an Israeli musician Boaz Sharabi. In Magris’ travels throughout the world he found Israel to have a lot of positive atmosphere and connected with some great jazz people there. May this act as a healing salve to what the Israeli and Palestinian people have endured during the strife and human tragedy experienced in the last year or so. Magris took this old Israeli pop song and restructured it, with a slight Latin approach. The delicate group harmonies and Lakatos’ lithe soprano work stands out.

“Loose Fit” is a Magris composition that sounds just like the title. It’s a cool and funky number that rocks out. When it unfolds into swing mode it just feels so good. The ascending and descending melody has a cascading effect. And all the band’s solos drift effortlessly atop a driving beat. The drum break toward the end was unexpected, but gives it a nice kick.

Roberto Magris

Roberto Magris; photo by Radivoj Mosetti; photo courtesy of Roberto Magris

“Hip! For the Conference” is an older tune by Europlane ensemble that was rearranged and modernized for this event by Magris. It starts with a capella horns and then comes in swinging. I guarantee you’ll be humming this melody all day! Notable solos erupt from everyone as this hard bop gem brings the house down.

The Europlane ensemble led by Roberto Magris might not be familiar to American audiences, per se, but, regardless, they are one of the finest modern jazz groups you are ever gonna hear! Make a note and put this on your essential listening docket now!

Single Review: Rokita – “Just Wanna Be With You”

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Rokita – "Just Wanna Be With You" single cover

image courtesy of Mighty Achilles

by Eric Harabadian, Contributing Blogger

Single Review of Rokita: “Just Wanna Be With You”

Chris Rokita is a Frankenmuth, Michigan singer-songwriter with a spirited and heartfelt song dedicated to his late mother Marian. It’s a big bombastic love letter to his past and how his mother served as mentor, muse and inspiration.

Rokita press photo

photo by Yazmin Rokita; photo courtesy of Mighty Achilles

Here’s a sample verse: “You were my life; always there for me. Never going back now, just the way it has to be. Nothing’s the same; there’s no one to blame. Fate played its game. Wishing you were here with me.” Rokita sings all the vocals and plays guitars and bass, accompanied by the ubiquitous legend Kenny Aronoff on drums.

Melodic layered guitars are arpeggiated and strummed during the intro, with Rokita’s distinctive tenor voice taking command. But when Aronoff’s unmistakable drums kick in, the song goes into overdrive.

frame from Rokita's "Just Wanna Be With You" music video

photo courtesy of Mighty Achilles

Essentially, the tune has that Midwestern, early John “Cougar” Mellencamp vibe, with a drive and bravado that is honest and forthright. The combination of Rokita’s emotive voice and melodic sense also conjures up big ‘80s hit makers like The Outfield or Big Country.

“Just Wanna Be With You” is a cool and uplifting anthem that finds solace in the sadness. And we could all use something like that right about now.

Album Review: David Udell – It’s Worth It

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David Udell – It's Worth It album cover

image courtesy of Rock Rose Music

by Eric Harabadian, Contributing Blogger

Album Review of David Udell: It’s Worth It

This is David Udell’s second solo album and employs a lot of the sounds and textures he’s used in the past as a burgeoning guitarist and keyboardist with St. Louis-based avant-prog group Wax Theatricks and synth-pop instrumentalists Delay Tactics.

Working in a solo context, Udell creates a unique landscape of sound that encompasses elements of pure pop, Americana, prog, ambient, and straight up rock ‘n roll. His satirical lyrics combine with tuneful melodies, while the record’s multi-layered production rides that wave reserved for artists as vast as King Crimson, The Cars, Duran Duran, Phil Manzanera, R.E.M., Steve Hackett, The Beatles, and Can.

Udell is all over the map, in a seat-of-the-pants sort of way, starting with “Watching the Freak Parade.” He bursts out of the shoot, with a spirited rocker that has a clear and clever sense of irony and humor. “It’s Beginning to Look Like Rain” shifts gears down to a spacious, serene kind of vibe. This is an acoustic-flavored tune that spotlights Udell’s keen use of melodic hooks.

promo photo of David Udell

photo courtesy of Rock Rose Music

“Slow Song” features his fellow guitar and composer buddy from his mid-’80s Delay Tactics days, Carl Weingarten. The multi-tracked vocals and various echoed guitars give this a strong psychedelic feel.

“The Motion Song” is a composition from Udell’s early ’80s catalog and is a quick and light experiment in natural rhythms and toy percussion. “Our River” has a real Americana vibe, with a psyche component that sets the vocals in a swirling motion like streams down a river. “Solid Ground” has a folk-like early British feel that is accentuated by Margaret Bianchetta’s golden flute passages.

“Made My Peace” sounds like an outtake from The Beatles’ Sgt. Pepper’s album or something. It’s got a cool arrangement, with back masking and all these little sonic buzzers and bells happening underneath the action.

Udell asks the question “Is it Worth It?” And before he answers it at the end of the album, he cleverly goes through a litany of questions directed at mankind’s inhumanity and lust for control. It’s an existential ride that features some sizzling guitar in the mid-section.

“Unexplored Expanses” goes back to his roots as an electronic adventurer. It’s a short interlude that blends ambience and a Can/Holger Czukay-type of unorthodoxy. The title song and answer to the previous track, “It’s Worth It” kind of sums up the album. It’s somewhat of a hopeful song, with some tasteful Robert Fripp/Steve Hackett-like sustained guitars. It’s an appropriate finale that really builds in a semi-symphonic, almost Baroque-infused manner.

David Udell is a talented and multi-faceted artist, firmly rooted in art and progressive rock, but with a strong melodic crossover appeal.

Album Review: Rory Block – Positively 4th Street

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Rory Block – Positively 4th Street album cover

image courtesy of Mark Pucci Media

by Eric Harabadian, Contributing Blogger

Album Review of Rory Block: Positively 4th Street (Stony Plain Records)

Rory Block is a singer-songwriter and guitarist who was on the ground floor of the folk and blues movement in the burgeoning ‘60s Greenwich Village scene. Both her mother and father were musicians, and her family ran in the same circles as musical icons like Pete Seeger, Maria Muldaur, John Sebastian, Joan Baez, and Bob Dylan.

Block’s father owned a sandal shop in the Village and a lot of the evolving folk and blues greats would frequent his establishment. Dylan, in particular, hit it off with Block’s family, and young Rory was smitten by Dylan’s poetry and emphasis on maintaining his love of music and artistic integrity.

Rory Block promo photo

photo by Sergio Kurhajec; photo courtesy of Mark Pucci Media

As a young teenager Block studied classical guitar and taught herself Delta blues styles. She became so enamored with traditional blues that she left home at 15 to seek out the fathers of Delta blues like Mississippi John Hurt, Son House and Reverend Gary Davis. She eventually wound up in Berkley, California, where she honed her craft in clubs and coffeehouses.

Bob Dylan is America’s poet laureate who, for an amazing sixty-plus years, has been part of the musical zeitgeist and artistic fabric of our society. And, with the addition of the multiple Oscar-nominated bio-pic A Complete Unknown out now, Dylan’s legacy and social impact is as relevant as ever.

The timing to release a Bob Dylan tribute album could not be more perfect. But, again, Block is someone who was there. She witnessed and was a part of the folk incubator that was the ‘60s-era Greenwich Village. This album is as much a love letter to the folk movement as anything else.

Rory Block promo photo

photo by David Gahr; photo courtesy of Mark Pucci Media

The very youthful-looking and slender Block is the real deal. And she has chosen nine tracks from the Dylan catalog that blend the big hits with the deeper, more ponderous cuts. A case in point is the very bluesy opening track “Everything is Broken.” Her somewhat smooth, world-weary voice is laced with a touch of humor. She sings the ironic and clever lyrics accompanied by her adept slide guitar work. “Ring Them Bells” follows, done in an original folk-blues style.

Block plays all guitars and drums on the album and the mild groove serves this song well. Everyone knows “Like a Rolling Stone,” and she delivers a reading of it that is pretty spot-on with the original. Another deep cut, “Not Dark Yet,” is significant for its slow and reflective tone. She hangs onto each word where you hear the pathos and raw emotion in her voice.

“Mr. Tambourine Man” has been done by so many artists. Block’s is probably one of the best in terms of really getting back to Dylan’s initial intent. The title track “Positively 4th Street” spotlights some fine slide guitar and rudimentary drums. She really captures the essence and mood of Dylan’s words. “A Hard Rain’s A-Gonna Fall” and “Mother of Muses” are nice back-to-back mixes of Block’s ability to run the emotional gamut from somewhat upbeat to a haunting lullaby.

The finale “Murder Most Foul” is a 20-plus minute treatise on the turbulent ‘60s-era and beyond. It addresses, in many ways, the cracks in our society, particularly in the United States. It’s kind of a combination of rap and monologue that Block conveys in a starkly hypnotic style. Powerful stuff!