Monthly Archives: June 2025

Single Review: Steve Geraci – “Voice in My Head”

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photo by Jennifer Geraci; photo courtesy of Knyvet

Single Review of Steve Geraci: “Voice in My Head”

Boston music scene veteran Steve Geraci, frontman of The Tear Downs, released his solo EP Coming From Your Blind Spot in April 2024. He followed it up with the alt-rock single “Voice in My Head” a little less than three months ago, in March. On this single, Geraci handles guitar, bass, and vocals; he is joined by Dave Westner on drums and piano.

cover photo by Jennifer Geraci; image courtesy of Knyvet

The song opens with blasts of guitar and light drums – sparse musically but still slightly abrupt and jarring, like old-school alt-rock but perhaps a little more polished than that. Geraci’s vocals are also kind of angular, spoken/not-quite-shouted-sung. Again, he’s got that edgy alt-rock thing goin’ on. There are a couple verses, though, where he sings more rough-edged tunefully atop some “ooh” backing vocals. Geraci’s voice is all his own, but the vocal delivery and song tempo are akin to something you might expect from David Byrne/early ’80s Talking Heads.

Indeed, I’m not the only one to make the Talking Heads reference. After finishing my first draft of the review, I noticed it’s in the press material, too. It almost makes me want to come up with something more original, but no, I wasn’t an early ’80s alt-rocker, so that chapter of my artist thesaurus isn’t very long – there’s not a better comp in my arsenal. Regardless, it’s a cool song. Light, fun, and a little alt-rock-ishly dissonant.

Lyrically, the song is fun and interesting, representing – as if you hadn’t guessed from the song title – those intrusive thoughts that creep into our brains. You know, that “voice in (our) head.” Be sure to mentally check off the ones that frequent your brain while you listen to the song.

Looking Ahead

There’s a “Voice in My Head” video, too. Here’s the link: https://youtu.be/pyBKLJDQnHU. It just dropped three days ago.

Album Review: Thundermother – Dirty & Divine

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Thundermother

photo courtesy of BJF Media

Album Review of Thundermother: Dirty & Divine (AFM Records)

Swedish hard rock band Thundermother delivers a 10-song melodic hard rock romp that’s a high-energy adrenaline ride from start to finish. It’s not even that the pace is super-fast as much as it’s relentless, without a break. The tempos vary a bit, too, so even though they’re all pretty hard-rocking, they avoid the trap of some fast-paced records, which can become monotonous after a few songs. In fact, every song, beginning to end, has something to like about it, though a few of them in particular snag me with their massive hooks.

The band opens with a sidewinding guitar and a steady rhythm on first track “So Close,” with vocals that are equal parts Janet Gardner (Vixen) and Doro – melodic but heavy. The recurring yin-yang of the “so close yet so far” lyrics combine with the guitar hook to carry this song into memorable territory.

Thundermother – Dirty & Divine album cover

image courtesy of BJF Media

After “Can’t Put Out the Fire,” a fun track with a party-song atmosphere, Thundermother follows with a big, memorable likely concert crowd favorite, “Speaking of the Devil.” No, it’s not at all Ozzy-esque, and it’s not a new twist on a Motley Crue classic. But the chorus, beginning with “Here we come, speaking of the devil,” has a catchy delivery, and the song features some impressive shredding, well-conceived tempo changes, and a change-of-pace “woah-oh-oh” segment. Probably a little too much packed in to be a radio hit, but they have those elsewhere on this disc. “Speaking of the Devil” is sure to be a live performance favorite!

“Feeling Alright” is a softer-touch, harmonious number that’s aligned with some mid-tempo ’80s guitar rock hits, maybe something you’d have heard from Starship. And, of course, there is one line that’ll get stuck in listeners’ heads, even though it’s not part of the chorus. Yes, about one-third of the way into the song, the band sneaks in the lyric “I want to be naked together.” You know, just in case you weren’t paying attention.

“Take the Power,” next opens with an almost “Wango Tango”-ish guitar riff, then cotninues an energetic power rock number.

Thundermother

photo courtesy of BJF Media

Next up is another of the potential big hits on Dirty & Divine, “I Left My License in the Future.” It starts off with a nifty guitar riff, holds a steady rhythm through the first verse, a Great White-ish seeming placeholder with barely noticeable, tiny flourishes that suggest patience, that something big is coming soon. Indeed it is, as the song then explodes into the super-catchy chorus, beginning “I left my license in the future, oh oh oh oh!” and ending with a guitar noodle, with the song carrying the elevated energy the rest of the way. Geez, this song’s got hops!

“Dead or Alive” is a straightforward rock number with a soft vocal bridge that leads to little echoey southwestern guitar noodling a little past the two-minute mark. “Can You Feel It” has a flirty dancing guitar line atop a steady rhythm and a straight-up anthemic-ish heavy rock approach.

Then the disc closes with a couple of additional hit-worthy numbers. The first, “Bright Eyes” has a neat bluesy hard rock guitar hook and singalongable chorus. Album closer, “American Adrenaline” is downright explosive. It’s a fast-paced, well… adrenaline ride. It’s a fun, full-throttle rollick with guitar, drums, and vocals all moving full-tilt but all with a bit of character. And it’ll leave you catching your breath after it’s over.

Beginning to end, Dirty & Divine is a fun listen. I was a little impressed with Thundermother’s previous album, Black & Gold, and it just barely missed my review list – if it hadn’t been a sparse year for my writing, it might have made the cut. Well, I know I’m writing a lot more this year, but there would have been no ignoring Dirty & Divine. Thundermother kicked it up a notch in the intervening couple of years. There’s simply no denying them now; they’re one of hard rock’s best!

My picks for oughta-be hits as standalone singles are “So Close,” “I Left My License in the Future,” “Bright Eyes,” and “American Adrenaline.” Probably also “Feeling Alright.” Yes, I know that’s half the album. And “Speaking of the Devil” is my pick for a big concert favorite. But the whole disc is great, with each song – even those I didn’t mention in this paragraph – adding something to the complete package. It’s a solid beginning-to-end listen, just like any kickass classic hard rock album.

Album Review: D.C. Anderson – Believe, Breathe and Sing

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D.C. Anderson – Believe, Breathe and Sing album cover

cover art by Alan M. Richards; image courtesy of D.C. Anderson

Album Review of D.C. Anderson: Believe, Breathe and Sing

I’ve reviewed D.C. Anderson a few times already here at the blog. In 2023, I reviewed his intimate-sounding album House Concert. About a year ago, I discussed Sharing the Night with Darkness, his collection that included a lot of heavy and/or personal life-issue oriented songs, often touching upon difficult subject matter. And just a couple months ago, I covered D.C.’s protest song, “No Kings Live Here,” one of a small series of protest singles he issued this spring. Now it’s time to take a look at D.C.’s October 2024 release, Believe, Breathe and Sing.

The songs on D.C.’s most recent full-length release, Believe, Breathe and Sing, cover a lot of ground, from melancholic and insightful to dark and heavy. Indeed, a whole lot of thoughtful and heavy. And, in a couple of instances, it’s joyful and silly. As I always note, D.C.’s presentation style on almost all of his songs is very stage-like, though not necessarily big-stage theatrical. Sometimes it’s small and intimate, as in a cozy theater where every breath can be heard. The amount of deep songs on this record make it a rewarding listen, but if you’re not at full emotional strength when you begin, it can be a bit overwhelming as D.C.’s voice is so effectively able to delve deeply into every strong emotion of every song, so many of which are weighty and introspective. Beyond that, it’s hard to sum up a 19-song record like this into an abbreviated yet thoughtful review, so I hope you don’t mind that I’ve decided share my thoughts as I go through it song by song.

The album opener – title song “Believe, Breathe and Sing,” is a perfect example of an intimate, soft-spoken (but clearly enunciated and dramatically phrased) song. In this case, the singing turns nearly spoken-word for emphasis. Quite effectively, I might add.

The Alan Schmuckler-penned “Sparrow,” next, is a melancholy number that D.C.’s voice emphasizes with well-placed cracks in the vocals, while the music is smooth. It’s one of the more memorable tracks on the record, exceptionally well-suited for D.C.’s delivery of this sort of soft, heartfelt song.

“Whiskey Blues” is a song from Jahn Sood’s folk opera The Disappearing Man, one of four tracks on this record from that musical. D.C.’s delivery of “Whiskey Blues” puts a solid, unique stamp on the original, taking a rougher-edged tack that, in this case, is very Simon Scardanelli-esque in many ways. Simon has long been a blog favorite, but I can’t recall ever before hearing another artist’s song that captures a similar tone, let alone also with a well-worn, bemused yet sincere delivery. For me, this is a standout track, though in part for that very specific reason.

“A Kiss” follows with some pleasant pianowork supporting D.C.’s subtly soft vocals. “Twenty Twenty Five,” next, is a nice – and, unfortunately, quite prescient – follow-up, as it supports similarly soft-touch vox with an acoustic guitar’s strum. Like the “Twenty Twenty Four” single I reviewed last year at the end of my the Sharing the Night with Darkness album review, “Twenty Twenty Five” is a D.C. Anderson co-write with Luke Wygodny.

Next, in the midst of such serious and/or heavy material, it’s nice when D.C. drops in a silly, playful number like “Fish Fry and Guava Pie,” with songwriter Ritt Henn’s consistent ukelele strum adding to the fun.

D.C. returns to weighty music with the softly-voiced, emotionally-wrought “Ethan and Emily,” then a song, “Love Song to a Friend,” that’s just as heavy but full of humanity and warmth, if still sadly so. And “The Worst Thing We Ever Did” follows with depth that revolves around religious contemplation, kind of tugging upon a thread that was buried in the previous number.

“Oh, My Diana” is a full-voiced, warmly-delivered rendition of the song penned by Matt Vinson and Matte O’Brien for a musical adaptation of Anne of Green Gables. There’s some important, supportive string work on this song. Digging through the credits, I assume this is the contribution of cellist Audrey Q. Snyder.

“Other Mother” is perhaps one of my favorites of the deeper songs on this record. It has a warm, pleasant humanity… and a more clear happy progression and ending than many of the other weighty songs on this album.

“Don’t Put My Baby Down” is slow and soft. It allows D.C.’s voice to soar briefly – but not too loudly – from time to time, as even its pleasantness feels a little ominous.

D.C. returns to The Disappearing Man the next track, this one “Old No. 22,” finally raising his voice to rich power for the first time in several songs. Then he pivots an energetic performance of Bryce Kulak‘s absurd – and absurdly fun – “Pelican,” with vocals, pianowork, and lyrics that are thoroughly entertaining, before returning to two more songs from The Disappearing Man. The first of those, “Sara,” is a rich, broadly-voiced number supported by a pleasant finger-picked guitar, which saddens toward the end. Then “Arms” is much more delicate, ending with “I will follow you as far as life is long,” a lyric D.C. sets down gently at the song ends.

“Funeral Blues” is, lyrically, the poem by W.H. Auden, with music written by Bryce Kulak. That’s some serious stylistic range for Bryce, too, when compared with “Pelican”! Kulak’s musical arrangement takes a much richer, darker tone on “Funeral Blues,” as does D.C.’s voice. David Robison‘s pianowork is a powerful backdrop, with the vocals employing the necessary power to equal the keys on the performance of this number.

“When the Angels Come to Call” features guitar, I believe, that’s picked almost as one would a harp, befitting this number that’s lighter, though no less serious, than much of the rest of the collection.

D.C. ends the record with an even lighter, quite pleasantly instrumented song, “For My Luck, I Suppose.” A song about the good people in D.C.’s life. As the lyricist, I suppose it’s his life, anyway: “Have I told you I love you? If I haven’t, it’s so. The best part of my luck is the people I know. My friends and my neighbors, the truest of hearts. Gentle, thoughtful and kind, equal parts.” And it’s the reason the memory of this album doesn’t seem so dark, when looking back, after completing each listen. In fact, I was a little surprised by its seriousness when I actually sat down to write the review in part because the closing number leaves the listener with a pleasant final thought, a warmth and reminiscence of all the good people in one’s life.

Of course, I love the light songs “Fish Fry and Guava Pie” and “Pelican.” These almost felt like Shakespearean comic relief, silliness to lighten the mood during a drama that’s otherwise full of tragedy. In this case, a lightness to serve as a pause from the album’s seriousness. My other personal favorites on this record include “Sparrow,” “Whiskey Blues,” “Other Mother,” and “Funeral Blues,” all very serious songs – that describes most of this record, after all.

A D.C. Anderson album is always a worthwhile listen. It’s often a journey, both within each song and throughout the record. And you always leave with a few new favorite songs. If you’re even remotely interested in folk music, theater music, or simply exceptionally well-performed songs with thoughtful lyrics, you’ll be glad you gave this album a listen.

More Recently

While I was writing and proofreading this review, D.C.’s new album, Song Stay Sung, was released – just a couple days ago, in fact, on June 6, 2025. I look forward to hearing D.C.’s new release.

Album Review: Bees Deluxe – Smash Hits

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image courtesy of Bees Deluxe

by Eric Harabadian, Contributing Blogger

Album Review of Bees Deluxe: Smash Hits

The term “acid blues” gets bandied about in the description of this fine Boston-based east coast act. However, I don’t know if that tells the whole story. While they do possess a quirky psychedelic playfulness in their approach to lyrics and some sonic experimentation, they can be pretty no-nonsense, straight-ahead players as well.

This somewhat faceless British-American amalgam lays down some classic slow and pensive blues on the opening Fenton Robinson standard “Somebody Loan Me a Dime.” This tune spotlights smoking guitar and a plaintive, heartfelt vocal that will tug at your soul. And they keep that vibe going a little longer on the lyrically cryptic “When is Yesterday.” Cool electric piano and screaming guitar is only trumped by a smooth harmonica fadeout. “King of Bad Luck” is a recommended radio track for its authentic blues demeanor and subtle use of space. Everyone enjoys a novelty song from time to time, and these guys are not ones to shy away from a little humor. Beer drinkers of the world unite and enjoy the lyrical sentiments of “Beer.” You’ve gotta love a line like “I want you, but I need a beer!” It’s a weird juxtaposition of lighthearted revelry and Robben Ford-like guitar prowess.

photo courtesy of Bees Deluxe

They slip some instrumentals in here, too, like “Blues for the Decline of Western Civilization.” There’s this jazzy Wes Montgomery-flavored octave thing happening that blends with a mid-section acoustic guitar lead. It’s a really tasteful and well-orchestrated musical departure from your standard blues fare. “Nitro” follows and is a cute little song, with the line, “You filled me up with nitroglycerin… You lit my fuse and blew me up!” It’s an odd and quirky premise supported by a reggae-like rhythm and lively horns in the chorus.

Another curiously titled piece is the piano-driven instrumental “How to Play 96 Tears.” It really has nothing remotely related to the Question Mark and the Mysterians classic, but it’s an intriguing roadside attraction to further throw convention out the window. “Bad Influence” boasts the line “you got ways to make me do what you want.” The Mark Knopfler/Dire Straits like finger-picking of the guitar fuels the coercive sentiment of this curious jam, requiring further scrutiny. A blues song that was popularized in the rock world back in the day was one done by the J. Geils Band called “Homework.” This Otis Rush classic is unearthed here, with open, inviting grooves and tight drum fills. It just feels really good, and the teen love angst expressed in the song comes off very well.

“Kidnap” is another weird and wonderful track that sounds like an outtake from Steely Dan’s Gaucho album. Its laid back syncopation and cool rubato drum fills are a startling surprise. “Crank Part Two” is some cool, somewhat experimental, funk, as “I Wouldn’t Treat a Dog” and “Gee Whiz” wind things down with equally pseudo-funky backbeats and loose open jams.

Bees Deluxe have been wowing crowds, as they say, from “Maine to Miami.” And critics have noted their Zappa-like wit, Steve Ray Vaughn-flavored passion and penchant for jazzy textures and engaging interplay. You can’t really put your finger on what they actually are, other than an unorthodox blues band that likes to have fun and slyly break the rules.

Live Review: Danielle Miraglia and Cheryl Arena at Sanctuary

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photo by Geoff Wilbur

Danielle Miraglia and Cheryl Arena

Sanctuary (Barside), Maynard, MA

June 5, 2025

As I noted when I reviewed Dennis Brennan’s Sanctuary gig a couple weeks ago, this is the show I expected to be the first to get my out to this Maynard nightspot. The first Thursday of every month at 5:30pm is a Danielle Miraglia “Drinks with Friends” performance, and I’ve had every first Thursday this year circled but only just finally got to one last night. Danielle is one of Boston’s best blues artists, regularly a finalist or winner at local and regional music awards, and she is joined each month by another top area musician. On this particular month, she was joined by Cheryl Arena, one of the best blues harmonica players you’ll ever hear. (I’ll let her bio do the bragging.)

Of course, you’ve read both of these artists here before. We’ve reviewed three of Danielle’s album and five – now six – live performances, though this is our first live review since my 2019 review. I’ve only covered Cheryl once before, when I caught her 2016 concert at The Backyard.

photo by Geoff Wilbur

Given the caliber of the evening’s performers, it’s no surprise the bar at Sanctuary was pretty full.

The first set covered a range of blues styles. I walked in during what I think was a Bob Dylan cover. It was followed a folky “advice” song, “Shave That Stubble Off.”

Danielle’s vocals can range from soft and introspective to booming and powerful, and she broke out her full-on powerful blues voice on her version of “C.C. Rider,” which appeared on Danielle’s Bright Shining Stars album. One thing, too, was apparent on this song, as it was throughout the night. Everything sounds better with Cheryl Arena on harmonica.

The two shifted lead vocal responsibilities back and forth this set and throughout the night. Cheryl’s vocals are a little more on the rougher-edged end of the blues. She led the way on “Temptation” and employed a very rough and ragged blues vocal on “Big Road.”

Danielle took the lead were a new original she tentatively calls “Mess in Your Room,” a song about the mess the next generation will inherit with the prominent vocal “Children don’t bother…”

photo by Geoff Wilbur

Danielle closed the first set with a Little Walter tune, “Can’t Hold Out Much Longer.”

After a break, Danielle and Cheryl continued to wow the crowd with a broad variety of mostly-blues. Cheryl took the lead with a cool rendition of “Can’t Let Go.” Danielle followed by belting out her original “Monster”, from her All My Heroes Are Ghosts album. For fans who don’t remember song titles, it’s the “make your own news” song, and it uses a majority of Danielle’s stylistic range while sporting a funky rhythm.

Cheryl took over the lead vocals again on the next song, an energetic “Con Man” that brought a bit more energy to the audience that I’d seen at any other point in the night. From a crowd-energy standpoint, it was probably the evening’s highlight.

Next up, Danielle turned to a Bruce Springsteen song. She gave a nice, tuneful delivery on an engaging acoustic rendition of “Hungry Heart,” with Cheryl adding an inspired guitar solo. When harmonies were called for, they were noticeably good, as well, and not just because Kevin So, who was in the audience and who will be Danielle’s “Drinks with Friends” guest at Sanctuary later this year, accepted Danielle’s invitation to step up to a microphone and join the duo.

The night’s two closing numbers were standouts, too. Danielle always makes her cover of Tom Waits’ “2:19” here own, and last night was no exception; as always, she delivered with that identifiable mostly-sincere-but-slightly-smirky vocal inflection that’s hers and hers alone.

And Cheryl took the lead on the evening final number, “Nobody Knows When You’re Down and Out,” a soulful, slow blues lament with a nifty harmonica part.

As is always the case when Sanctuary brings Boston’s best musicians out to this small bar space, the performance had an intimate feel you usually can’t find this far out in the burbs.

Single Review: Sunday Junkie – “Holy, Holy”

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cover art design by Tom Martin; image courtesy of Knyvet

Single Review of Sunday Junkie: “Holy, Holy”

Worcester’s Sunday Junkie is duo Tom Martin (vocals, guitars, bass, synth, lyrics) and Shawn Pelkey (drums, additional percussion). “Holy, Holy” was released in February in advance of the May release of Sunday Junkie’s self-titled debut album. It was the duo’s third single, following “Vultures” and “Haunted Head,” but it was my first introduction to Sunday Junkie.

“Holy, Holy” opens with echoey drum beats, instantly reminiscent of a specific brand of ’90s-era, synth-driven, not-particularly-mainstream alt-pop, the kind you might hear at subterranean nightclubs, though the more engaging songs of that style could break into broader danceclub playlists from time to time and, if the elements hit just right, into the broader music consciousness.

photo courtesy of Sunday Junkie via Knyvet

Following the echoey opening of “Holy Holy,” more ethereal sounds follow, providing an almost unearthly backdrop perfectly suited – perhaps blasphemously so – to a song entitled “Holy, Holy.” You can hear the anguish in the Martin’s vocals. As the song progresses, the music mix broadens, and particularly following a mid-song section that repeats the initial verses, the song amps up its energy. Much of the middle and end of the song are firmly in more mainstream alt-rock territory, potentially helping the track reach a broad audience. Yeah, the mix may be a little noisier than typical mainstream listeners are accustomed to during the song’s final minute, but not so much that an invested mainstream listener would be dislodged.

All in all, Sunday Junkie plays a style of music that’s hard to pin down and a little outside the mainstream, as the duo incorporates a variety of stylistic influences in an unique way, but from the cool opening drum beats and the mid-song rhythmic breakdown to the anguished vocals and the late-song build-up in intensity, “Holy, Holy” engages and maintains my attention. After a few listens, I looked forward to it coming up while listening through my review queue the last several weeks.

I had this single review already half-written before I even heard the whole album, so I decided to just review the single but mention the album. So what about the album? Well, if Sunday Junkie’s style is in your wheelhouse, you should go directly to the whole album via this link and listen to it beginning to end. If your tastes are more mainstream, I’d suggest starting with “Holy, Holy.” It’s the most likely song in Sunday Junkie’s repertoire to appeal to fans crossing over from other genres. Your next best bets might be my favorites on the full-length disc besides “Holy, Holy,” which are “Death Defier” and “Sister,” probably because they both sport a wall-of-noise melodic alt-rock vibe, and despite my love of variety and willingness to experiment musically, my taste in music still tends to center on the mainstream. Whether you dig the whole album or just a few songs, though, you ought to be able to find something you like from Sunday Junkie.

Album Review: Mama Said – Change in the Weather

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photo courtesy of Mama Said

by Eric Harabadian, Contributing Blogger

Album Review of Mama Said: Change in the Weather

Mama Said is a female fronted rock outfit from the San Francisco Bay/Napa Valley, California area. The core members are Jennifer Knight and Latifa Reeves on vocals and Derek Bromley on lead guitar. The studio musicians who assisted the band on the album were Steve Fekete (America), Marc Slutsky (Adam Ant), and Jim McGorman. For their burgeoning live schedule, their touring players include Darren Schauer (drums), Ben Guerard (rhythm guitar), and Nik Blankenship (bass).

image courtesy of Mama Said

They formed in 2019 and barely had their musical wheels in motion when 2020 and the pandemic shutdown brought everything to a screeching halt. However, you can’t keep a good band down, and that’s when they decided to dig their heels in and really hone in on their songwriting, playing, and production skills.

Change in the Weather brings a lot of influences and sonic textures to the table, with a late ‘70s/early ‘80s approach that is informed by ‘90s sensibilities, as well. Co-written and produced by multi-faceted singer-songwriter/collaborator Jim McGorman (The Goo Goo Dolls, Paul Stanley, Cher, David Lee Roth, Weezer, Avril Lavigne, etc.), Mama Said’s debut album is a collection of original songs packed with positive energy, uplifting lyrics, and a unified melodic focus.

photo courtesy of Mama Said

Every tune here connects as a single. They all work together as an album, but each song has a slightly different flavor and will appeal to various sensibilities of the audience in different ways. For instance, opening tracks like the title track and “The Needle” grab you from the outset, with crunchy guitars and heavily syncopated rhythms. “Diamonds & Cigarettes” really highlights the front-line harmonies and recalls the craftsmanship and oeuvre of The Motels or Pat Benatar. “My Kind of Crazy” features great pop hooks and a catchy feel.

There is also a tasteful use of dynamics and ambience in the execution of the guitar textures. “Gimme” is another sound once again, with a subtle funk-like feel underpinning the groove. “Itch” brings back a little more rock ‘n roll, as does the big pocket vibe of “Feel Good Revolution.”

photo by Mitchell Glotzer; photo courtesy of Mama Said

“Everybody” closes out the album with a rousing chorus of “Hang on until we get there!” It appears to be a song about inclusion and bringing folks together in some form of harmony. There is a cool breakdown here with percussion and vocals that further ignites the passion behind the song’s positive and inspirational intent.

Mama Said is a really strong act and has an impressive roster of live credits, including opening for – and performing at events featuring – The War & Treaty, Mike Campbell (Tom Petty, Fleetwood Mac), Lizzo, Duran Duran, Red Hot Chili Peppers, and Sheryl Crow. The band braintrust of Bromley, Reeves and Knight are a thrilling combo that is proudly carrying the torch of “real” rock ‘n roll into the modern age. While they draw from sonics of the past, they come by it honestly and embrace these songs with a vengeance and respect that can’t be denied.

Album Review: Juliet’s Not Dead – This World is Ours

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photo courtesy of BJF Media

Album Review: Juliet’s Not Dead – This World is Ours (TMR Records/Earache Digital Distribution)

My most recent full-on album recommendation for melodic hard rock fans is Juliet’s Not Dead‘s This World is Ours. Powerfully soaring vocals, aggressive guitar shredding, and heavy beats support a collection of well-written, hook-laden hard rock songs. The songs are classic hard rock-inspired but with a modern sound, mixing plenty of the soaringness found in new melodic power metal and the buzzy wall of sound typical of newer alt-metal, but steeped in a more timeless delivery style that is likely to appeal to both new metal and old metal/hard rock fans alike.

One of the modern touches in the band’s music is the aggressive drumming and bass thumping. In fact, the band uses this technique significantly on its first two tracks, “Sinner or Saint” and “Thrillseekers.” Drummer Jack Corbett and bass player Niall Whittaker deliver the supportive power that steeps the heavier songs, as well as the lighter ones, in metal street cred. Vocalist Stevie Stoker has voice that can cut through the loud music bed, all while it carries a variety of emotion in the verses and delivers the power in the choruses. Mix in the axework of Dan King, understated in places but capable of impressive shredding when solos are called for, and you have the complete hard rock/melodic metal package.

image courtesy of BJF Media

My first personal favorite on the album is the third song, “Open Fire,” in which both the guitar and drum dance around during the verses, then the power amps up leading to the chorus, and the main line, “take your aim and open fire,” actually pulls back a little from the rest of the chorus’ power. It has a really cool, impactful effect. The main hook here, though, I think is the relative brief musical pause right before the build up to the chorus, though it’s on as effective as it is because of the attention-grabbing softer-vocal effect in the chorus and the instrumental “dancing.” Regardless, it’s a lethal combo. You’ll remember this song!

Next up, “Battle Scarred” is a heavy rocker that starts off mellow, with the softer opening revealing a lyrical and musical vulnerability during the verses before the song builds up to greater power in the chorus. This is the record’s only song that seems to have an almost alt-rock soul and vibe, though it’s mainstreamed a bit by the “woa-oa-oah” harmonies. The lyric has depth that’ll connect with a lot of people: “I get lost sometimes. I’m still broke from that look in your eyes. Always stay true to my heart ’cause you left me battle scarred.” The song is accompanied by a cool music video, featuring actor Darren Morfitt (on a therapist’s couch, natch, given the lyrics), that mixes story scenes with live performance.

“Notorious” attracts me from the very beginning in part because the early-song twisting and turning, interest-maintaining guitar line strikes me as something one of my favorite pop-punk bands, Next Stop Atlanta (a band I reviewed in my blog-opening “Road Back to Music Journalism” series nearly ten years ago) might deploy in some of my favorite tracks of theirs. But, of course, that’s where the comparison ends, as the drums and vocals are much more metal-aggressive, driven as much by the heavy bass and drums as by the twisting and turning guitar line.

photo courtesy of BJF Media

Juliet’s Not Dead takes a bit of a departure on its sixth song, “Passing Ships.” On it, the guitar line is softer and the vocal style changes, reminding me a lot of the perennially underestimated David Cook (a mainstream rock favorite of mine). In fact, after hearing it on “Passing Ships,” I also notice that Cook-like tone to Stoker’s voice a bit elsewhere, at least when I listen for it. Interestingly, I never notice it if I’ve not played this album for a while until after playing this song. Some of the band’s harsher edges are absent in this song, so, while it’s still a power-rock song, it’s also probably the most likely to appeal to more mainstream pop-rock fans. In other words, if you’re trying to get a non-metal friend or family member into Juliet’s Not Dead, this is the “gateway drug.”

“Double Life,” next, is another power rock song. It has a little more edge than “Passing Ships” but is also mainstream-accessible. In a weird coincidence, this song reminds me a lot of a different singer from David Cook’s American Idol season. Particularly the way the title phrase is delivered, it always makes me think of the way Daughtry sings “it’s not over” in his hit song “It’s Not Over.” No, it doesn’t sound like “It’s Not Over,” but the song carries much of that energy, combined with healthy doses of modern heavy power-rock, of course.

“Last One Standing” is another Juliet’s Not Dead song that’ll grab you right from the beginning. It begins with a bit of energy, but as the music bed builds, the tempo begins to pick up. Still, if you pay close attention, the tempo actually seems a lot faster than it really is, an effect that might occur because the drumming isn’t as fast and frenetic as the rest of the instrumentation and vocals. In addition, the density and energy level of the music picks up during the chorus. It’s a cool total package.

“King and Queen,” the penultimate track, really is a faster-paced song, with a new-rock vocal edge and heavily-thumping, edgy instrumentation in the chorus before the instruments all join together to power through the chorus as a single unit. And guitar fans will dig the late song solo. Topically, the lyrics “we could be king and queen of the murder scene, what’s the fuss?” suggest a darker side to this song. The video suggests a Bonnie and Clyde-like couple behind the song’s story. I wonder if that’s what inspired this song, or if it’s something else; it seems like the sort of song that’d be inspired by “true crime,” new or old.

The album’s last song is an excellently-delivered power ballad, “Capsize.” This would’ve been a slow-dance favorite back when these sorts of slow songs ruled, back when we used to ignore power ballads’ uptempo guitar solo-driven bridges – which, on this particular song, is almost the song’s entire second half – and just dance right through it. And as much as the song is mostly dark, the final lyrics end gently: “You watched my capsize. I won’t watch you capsize.”

If I were to choose my three personal favorites on this disc, they’d be “Open Fire,” “Passing Ships,” and “Last One Standing.” But, like any favorite album, I dig the entire album experience, and on some days, one of the “other” songs is my favorite, depending on my mood. Anyway, if you’re an old-school rock or a modern hard rock/metal fan, if you’ve not yet heard Juliet’s Not Dead, give ’em a listen; they’ll likely become one of your new favorite bands.

EP Review: Derek Smith & The Cosmic Vultures – Temporary Circus: Act I

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photo by Gia Smith; photo courtesy of Knyvet

by Eric Harabadian, Contributing Blogger

EP Review of Derek Smith and The Cosmic Vultures: Temporary Circus: Act 1

Derek Smith is a prolific and award-winning singer-songwriter and guitarist from Boston that has recorded a startling number of album releases and singles as a solo artist as well as a member of The Cosmic Vultures. He is joined on this current EP release by Justin Lopes (piano/organ), Michael Strakus (guitars), Steve Constantino (bass), Dalton DeLima (drums) and Jonathan Chesko (orchestration/production).

This EP is a follow-up to the highly successful album Opus. This latest project is meant to be the first in a series, with proposed subsequent acts dealing with modern society, its challenges, and hopes for the future. In Smith’s estimation, life is a “temporary circus” and, despite all its hardships, this too will pass.

cover design by Derek Smith; image courtesy of Knyvet

The five songs contained here have a central acoustic-based focus that draws on a number of key influences – everything from jazz-pop and folk to world beat and psych elements. “Temporary Circus” has a distinctive, relaxed approach built on a bed of Latin rhythms. The acoustic flamenco-type leads lend themselves to classic pop like latter day Tommy James, The Rascals, and even Tommy Bolin’s solo work. “Strange Life” creates this aural imagery that is spacey and envelops the listener. The combination of acoustic guitar, percussion, and orchestral textures hints at a Moody Blues-like aesthetic. There is a slight shift in genre with the country feel of “The Puppets of Hypocrisy.” But it keeps up with the conceptual theme of the overall project. There are very clear notes of folk and pop here, as well. “Some Girls” speaks to the power of women in our society, which is driven home via exquisite harmonies and choral vocals. It’s also kind of new age-sounding, further exemplified by Lopes’ jazzy George Winston-like piano. “Indie Darling” could be almost auto-biographical and sounds like an amalgam of New Radicals, Todd Rundgren, America, Duncan Sheik, and even early Daryl Hall & John Oates.

For music fans who like their rock and pop with a tad more sophistication and depth, Derek Smith and The Cosmic Vultures are sure to satisfy and resonate with you for some time to come.

Album Review: Mark Muleman Massey – Been a Long, Long Time

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image courtesy of Frank Roszak Promotions

Album Review of Mark Muleman Massey: Been a Long, Long Time

Mark “Muleman” Massey has a soulful blues voice that’s broad enough to hit all the notes and is relatively smooth for the most part, but Massey adds a grainy, gravelly texture to the vox whenever the songs get emotionally charged. In other words, the ideal voice for a bluesman. Pair that with song selection that suits his strengths, and the result is a top-shelf blues record like Been a Long, Long Time. To top it off, the album was recorded and produced by Billy Lawson at the historic Wishbone Recording Studio in Muscle Shoals, Alabama.

Eight of the record’s eleven tracks are Massey-written originals, while the other three are well-chosen covers.

One of those originals is the title track, “Been a Long, Long Time,” the first song on the album. On my first listen, the opening harmonica part was encouraging; then when Massey’s gruff, perfectly-suited blues vocals came in, I knew I was going to like this record so much I’d review it. Now, I’ve been fooled on occasion, but this was definitely not one of those occasions. Mark Muleman Massey is an elite bluesman. I mean, this opening track is a wordsmithy ode to gettin’ some. After a long layoff, sure – I suppose that’s the “blues” part – but there’s nothing more blues than burying this topic in at least a tiny bit of nuance.

photo courtesy of Frank Roszak Promotions

Track two is a heartbroken ballad, “Baby’s Gone,” in which Massey’s voice displays the pain and gravitas to carry the raw emotion. Another ballad, “Give Me Your Love,” shows Massey’s skills tackling a more of a tender balladeering style.

The other Massey co-penned tracks cover a lot of ground. For example, there’s the the kind of seedy-sounding (matching the lyrics), blues-noirish “She’s Married to the Streets.” Also, “My Used to Be,” a mid-tempo number that’s neither smooth nor particularly energetic, rather sporting a more strolling and strutting rhythm. “Can’t Tell Me Nothing About the Blues” has a smooth rhythm, comparatively harsh vocal delivery, and nifty keys and guitar noodling, telling a true blues backstory.

The last couple tracks are also Massey’s own co-writes. “Going Back to Memphis” is a lively number extolling the virtue of being a bluesman on Beale Street, including the recurring lyric “I’m going back to Memphis, where the women know how to rock and roll.” That’s convincing enough for me. And the disc closes with “Your Good Stuff,” a song that’s not shy about kicking a complaining women to the curb with “Go on and leave, take your good stuff with you,” noting there’s a lot more where that came from, with lots of clever, fun NSFW turns of phrase.

In among all these originals are the three well-selected covers. The first is an energetically funky-blues update of Hank Williams’ “Hey Good Looking.” Next is an almost blues-gospel styled, powerful rendition of Tom T. Hall’s “That’s How I Got to Memphis,” with a big, open sound, well-deployed horns, and Massey’s emotive, insistent vocals pulling it all together. The third cover, of Bobby Womack/Wilson Pickett’s “I’m Sorry About That,” is one of the smoothest tracks on this record, a song that’ll have you swaying side to side, possibly with your eyes closed, as you feel every word.

Beginning to end, Been a Long, Long Time is a well-crafted collection that showcases the world-class bluesmanship of Mark “Muleman” Massey.