Author Archives: detroitwriter1

EP Review: Jimmy Lee Morris – Campervan

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Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

by Eric Harabadian, Contributing Blogger

EP Review of Jimmy Lee Morris: Campervan (Automix Records)

Jimmy Lee Morris - Campervan

image courtesy of Jimmy Lee Morris

UK-based singer-songwriter Jimmy Lee Morris is a talented artist with no pretense. He writes songs that define the term “folk.” In other words, they are down to earth, and about people and relationships, with resonant melodies and memorable hooks. This four song EP Campervan is Morris’ latest and follows the 2016 album Wilderness Wood.

Jimmy Lee Morris has been crafting songs since the ‘80s, fronting bands such as Mojo Filter and The Collaborators. He’s worked with Pink Floyd producer Ron Geesin and has toured extensively throughout the UK and Denmark.

Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

With this current effort, Morris provides a lean and economical window into his creativity. “Campervan Song” opens the EP in a pleasant and forthright manner. This bears a well-thought-out melody with lyrics that address escape and the open road. It’s all about being self-reliant and throwing caution to the wind. Simply, the song states: “And here’s to the camper that never breaks down, and here’s to the journey it takes us upon, and wave to the others as we go along, it’s just you and me on the road.” And you get this traveling troubadour kind of feel too via Javier Forero’s driving percussion and Clare Lees’ light and billowy flute.

Bethan Lees

Bethan Lees; photo courtesy of Jimmy Lee Morris

Although Morris wrote all the material here no one could accuse him of being dictatorial or autocratic. Bethan Lees is a young and very special vocal chanteuse, and Morris is more than happy to place her in the spotlight on his beautiful tune “Amor Compartido (A Love We Share).” Bethan has an angelic and lilting soprano that sends this lovely song into stratospheric trajectory. It’s entirely sung in Spanish, and the rhythm section of Morris on acoustic guitar, along with Richard Leney’s lithe bass, Javier Forero’s percolating drums and producer Simon Scardanelli’s tasty lead guitar give this a brilliant salsa feel.

Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

“When I’m Gone” is a bluesy-flavored number with a classic Beatles-meets-Jim Croce kind of vibe. It’s a song about love and longing. Anyone that has ever been separated from their significant other or main squeeze for any length of time will certainly appreciate this. Phillipe Guyard chimes in with a wailing sax solo that really kicks.

The final selection in this brief, but fine, collection is another rootsy kind of tune called “Temptation.” As is Morris’ style, he is direct and to the point in the communication department. In this he sings: “I’m holding you, you’re holding me, I’m loving you and you’re loving me. We don’t need no complication, just give in to your temptation, stay with me.” This has a real down home feel courtesy of Morris’ mandolin and Duncan Campbell’s countrified Dobro.

 

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!?

Album Review: Robb Roy – Well, There You Have It

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Robb Roy

photo by Kim Simms; photo courtesy of Robb Roy

by Eric Harabadian, Contributing Blogger

Album Review of Robb Roy: Well, There You Have It (Pure Recordings)

Robb Roy - Well, There You Have It

cover photo by Hillary Nash; image courtesy of Robb Roy

This is the fifth studio release by Detroit area alternative rockers Robb Roy. After an extended hiatus, to say it has been highly anticipated would be somewhat of an understatement. This dynamic and well-versed quartet always maintained a fervent fan base, and this new release should certainly satiate the faithful. This album features six new songs and four previously unreleased ones from their heralded past. While it is one of their strongest efforts to date, it was produced with a heavy heart in light of the passing of long-time guitarist Michael Kudreiko in 2016. But, make no mistake, Mike’s presence is all over this record, and it is a shining swansong by him, as well as a fitting tribute, indeed!

Robb Roy

photo by Kim Simms; photo courtesy of Robb Roy

At the helm for well over 30 years, lead vocalist and frontman Graham Strachan is in fine voice and partners most ably with fellow RR regulars John Cottos on bass, additional guitars, and backup vocals as well as the mighty Duane Huff on drums.

The album begins with what sounds like the crackle of a turntable needle on a phonograph record. Strachan has all the charisma and poise of a rock ‘n roll preacher as he spins a tale of “The Cure”’s musical baptism and salvation. “I can’t be saved till I’m cured,” he sings and, with that, begins a new chapter in the storied Robb Roy saga. That’s followed by a rousing tribute to a musician’s life, with “Stayin’ Up All Night.” This has a rough and tumble blues feel that kind of recalls early Peter Green-influenced Fleetwood Mac mixed with a smattering of Bad Company.

Robb Roy

photo by Kim Simms; photo courtesy of Robb Roy

The songwriting is diverse and multi-layered and this is never more evident than on the lovely “Let Love Show You the Way Home.” Strachan is joined by guest vocalist Gia Warner, and their interplay is magical. There is a great sing-along chorus that will resonate with you for a long time.

“Safety” is a song that had been sitting on the shelf for a while and was revived with new lyrics by Strachan and production assistance from veteran producer Chuck Alkazian. It is a ballad dedicated to Kudreiko’s family and features a sense of poetry and emotion rarely touched on in contemporary pop anymore.

“Half of a Broken Heart” is atmospheric and epic in sound and substance. It’s a great tale by Strachan about true love and connection—romantic or otherwise. “Hopelessly With Her” is yet another love song for grownups. Strachan challenges the various games people play in the ways in which they deal with each other. Questioning their ulterior motives he asks “If this is love then why do we make each other cry? If this is love shouldn’t we be happier?” Warner again joins in and makes this song a standout.

Robb Roy

photo by Kim Simms; photo courtesy of Robb Roy

“Song 86” follows and is a rally cry in the spirit of classic bands like The Alarm or Big Country, and “Brand New Day” keeps that up tempo vibe going, with an urge to making changes and adopting new ideas.

With, perhaps, a page from the U2 play book, Strachan crafts a like-minded anthem in “Never Change.” It is dynamic, with Huff’s metronomic precision underpinning a plea to hold onto innocence, civility, and, it appears, a sense of the past. The album concludes on an odd and mysterious note, with a track called “Skunk Hollow.” This is kind of a strange and surreal trip chock full of voodoo energy and ominous visions.

Robb Roy

photo by Kim Simms; photo courtesy of Robb Roy

In addition to the core members of Robb Roy, producer Alkazian plays keyboards as do Kid Rock’s piano man Jimmie Bones and organist Pat Brennan. Ultimately, Robb Roy is a band that has weathered many changes and challenges in its 30-plus year existence. From the richness and articulation of Strachan’s delivery to the impeccable playing and sterling production, this is a veteran band that proves, despite some hard knocks, they still remain steadfast and committed to their values and collective vision. Well… there you have it!

 

Album Review: Eliza Neals – 10,000 Feet Below

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Eliza Neals

photo by Jane Cassisi; photo courtesy of Frank Roszak Promotions

by Eric Harabadian, Contributing Blogger

Album Review of Eliza Neals: 10,000 Feet Below (E-H Records)

The “Detroit Diva” returns with this strong follow up to her critically-acclaimed album Breaking and Entering. That previous release made a bold transition from her bluesy soul and R&B rep to more of a harder blues/rock style. With 10,000 Feet Below, Eliza Neals continues on that path by honing an even more defined vision of her craft. She is aided by frequent collaborator and award-winning guitarist Howard Glazer. But really she’s got some of the best musicians from Detroit, New Jersey and Nashville throwing down on this no holds barred collection of original Neals-penned gems.

Eliza Neals - 10,000 Feet Below

image courtesy of Frank Roszak Promotions

The album begins with an ode to a slick street-smart hustler named “Cleotus.” Right away, Neals and Glazer establish homage to the acoustic blues tradition with a simple but powerful pairing of soulful vocals and searing Dobro slide guitar. Neals delivers a tale that is compelling and chilling. “Another Lifetime” is currently blowing up on Sirius XM radio and for good reason. It’s a slow smoldering kind of blues that spins a yarn of lost love, again ignited by Glazer’s sensitive guitar licks. “Burn the Tent Down” is an incendiary mid-tempo rocker that has single written all over it. It’s a good time tune about southern barbecues and kicking that party vibe loose. Here Neals employs some of her considerable vocal skills as her multiple backups weave in and out in a most effective way. The title track “10,000 Feet Below” begins with Neals bellowing “Just got back from hell.” And then it’s all fire and brimstone from there! She has a way of really connecting words and feelings. You really feel her passion, which is further supported by her subtle piano stylings and Glazer’s tasteful electric fills. “You Ain’t My Dog No More” is kind of gimmicky but works in a novel sort of way. It’s just a fun Muddy Waters-like romp where Neals scolds her man for not treating her right; “No more treats”… indeed!

Eliza Neals

photo by Jane Cassisi; photo courtesy of Frank Roszak Promotions

At this juncture the “Detroit Diva” takes a break and delves into ballad territory with a sweet tune called “Cold Cold Night.” This features Paul Nelson on lead acoustic guitar. The song has a Stevie Nicks/Ellen McIllwaine sensibility to it. Neals can do a lot of amazing things with her voice, and this tune is a prime example of her melodic depth and range. That’s followed by the album’s sole cover tune in Skip James’ haunting “Hard Killing Floor.” The trio of Neals on keyboards, Glazer’s howling fills and drummer Demarcus Sumter’s spare accompaniment is meditative and riveting. “Call Me Moonshine” is another traditional sounding I-IV-V blues shaker that creeps along via Glazer’s sly turnarounds and Neal’s velvety Hammond B3 work. “Downhill on a Rocket” follows and is kind of a dark minor piece. The swampy New Orleans feel is further proffered by Neals’ line “Voodoo woman with a cross in her hand.” When she sings stuff like that it’s not just some line-reading off a corny script. She means business! The album concludes with another straight-ahead country blues track, “Merle Dixon,” and an atmospheric duet with legendary guitarist Billy Davis called “At the Crossroads.” Davis cut his teeth with classic artists like Jackie Wilson and Hank Ballard and the Midnighters. He brings that veteran Motor City poise and mojo for a performance that appropriately puts the cap on this essential set of tunes.

Eliza Neals and her various musical co-horts she affectionately dubs “The Narcotics” (duly named because “they are dope!”) have done it again. Her hot and sultry brand of blues is for real, with enough radio-ready punch and songwriting savvy to break through modern media platforms in a big way. Look out!

 

EP Review: Erin Pellnat – Dream in Color

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Erin Pellnat

photo courtesy of Erin Pellnat

by Eric Harabadian, Contributing Blogger

EP Review of Erin Pellnat: Dream in Color

Erin Pellnat - Dream in Color

image courtesy of Erin Pellnat

Dream in Color is a four-song EP by Brooklyn, NY-based singer-songwriter Erin Pellnat that blends superior compositional craftsmanship, with insightful lyrics and tasteful musicianship. This talented young musician also currently fronts the NYC-based band Caretaker, with all instruments played, and the recording produced, by her father and co-writer Christopher Pellnat.

“Blue Skies and Happiness” opens the album where a jazzy samba-like rhythmic undercurrent sets the stage for a tale of love gone wrong. Based on Irving Berlin’s 1926 standard “Blue Skies,” Pellnat’s song reveals a touch of gray, with the opening lines: “Blues skies and happiness/Those were your promises/But it’s been raining for days and I’m so sad/Why does it have to be so bad?” This bossa nova-flavored  track kind of has an Eliane Elias meets Jobim quality to it.

Erin Pellnat

photo courtesy of Erin Pellnat

The title track “Dream in Color” is another slice from the songwriter’s collective pie. It’s kind of psychedelic folk, with a “glass half-full” perspective. Pellnat urges the listener to consider accentuating the positive aspects of life, with these opening lines: “Think fast, faster than you can haul ass/Away from your deep and dark past/Silence the voices and ask/Why don’t you dream in color?” She sings it with such laconic and self-assured conviction, how can you refuse?

“Stay” spotlights another interesting song construction that features lilting Beatles-esque verses paired with a waltz-like chorus. The spirit of this piece is ethereally poetic, with a subtle British folk rock quality to it. The violin and accordion are nice touches and add to the song’s allure and mystique.

Erin Pellnat

photo courtesy of Erin Pellnat

“Forever Kisses” finds Pellnat ever the hopeless romantic again, with the lines: “No love is lost in the end/Whether a lover or friend.” The tender folk song is driven by an odd-metered snare drum and atypical chord changes. This all adds to the eclectic and unique nature of the tune. She concludes the piece and this superb set of songs with words that are as prophetic as they are profound: “Why can’t we stay the same?/Young and beautiful again?”

With this being a debut release for the versatile and erudite singer, there is nowhere to go but up, as they say. Consider, if you will, some thoughtful and sophisticated pop that elevates the genre. It takes you, the listener, on a wonderful path that is least travelled and well worth the journey.

Album Review: Gretchen Peters – The Essential Gretchen Peters

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Gretchen Peters

photo by Gina Binkley; photo courtesy of Gretchen Peters Management

by Eric Harabadian, Contributing Blogger

Album Review of Gretchen Peters: The Essential Gretchen Peters (Scarlet Letter Records)

Gretchen Peters has been on the national music scene since 1996. She is a singer-songwriter who has plied her trade recording nearly a dozen albums and has written hits for Martina McBride, Etta James, Trisha Yearwood, Patty Loveless, George Strait, Anne Murray, Shania Twain, and Neil Diamond and has co-written with Bryan Adams. So, this album – a collection of demos, live tracks, alternate takes and album cuts – has been a long time coming.

Gretchen Peters - The Essential Gretchen Peters

cover photo by Gina Binkley; image courtesy of Gretchen Peters Management

When you’ve got such a prolific composer and performer as Peters, there is a wealth of material to draw from. Perhaps the greatest takeaway from experiencing Peters’ music is that there is a timeless quality to it. A classic song has staying power and can really speak to the heart and soul of the listener. That’s the kind of gift Peters has. You can hear it in the barroom banter of friends trying to define their purpose in “The Meaning of Life” or dealing with life’s futile struggles in “When All You Got is a Hammer.” There are also beautiful love songs that span the human condition from the longing of “On a Bus to St. Cloud” to her duet with Bryan Adams, “When You Love Someone.”

Gretchen Peters

photo by Gina Binkley; photo courtesy of Gretchen Peters Management

What’s really remarkable is that many of the songs on this two-disc package have been major and minor hits for many other people. But it’s nothing like hearing a master storyteller like Peters deliver them with her own inimitable candor and poise. She knows how to wrap an emotion around a lyric and make it come alive. She has a sincerity in her voice that’s not unlike Dolly Parton or Bonnie Raitt, sweet but with a knowing world-weariness to it. And it is that very sincerity that informs the self-reflective “Five Minutes” and the personally empowered “Woman on the Wheel,” with just the right amount of gusto and grit to get the message across.

To paraphrase a video interview seen a few years ago, she could be sitting at home writing songs and collecting hefty royalty checks for them. But thankfully she has always stayed true to her muse to be a performer as well as a writer. Hence, she writes from a place of experience and is compelled to complete the circle by going out there and playing those songs for people. With The Essential you have the Gretchen Peters story… so far. Here’s to her continuing that musical journey for many years to come.

 

 

Album Review: Circuline – Counterpoint

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Circuline

photo by Rob Shannon of http://fotopic.com/; photo courtesy of Circuline

by Eric Harabadian, Contributing Blogger

Album Review of Circuline: Counterpoint (Inner Nova Music)

Circuline is a NYC-based progressive rock band that blends theatrical vocals with a very vivid and cinematic fusion-esque approach. The personnel includes keyboardist Andrew Colyer, drummer/keyboardist Darin Brannon, lead vocalist Natalie Brown, lead vocalist/guitarist William “Billy” Spillane, bassist Paul Ranieri, and guitarist Beledo. What’s nice is that they augment the ten tracks here with a series of special guest guitarists from some of the finest progressive sources on the planet. And, to the band’s credit, those guest artists add something extra and unique to each track.

Circuline - Counterpoint

image courtesy of Circuline

“New Day” opens the disc, with a sound collage of musical snippets and taped speaking voices. Atop that is a cacophony of multi-layered guitars courtesy of Beledo and Randy McStine of the band Lo-Fi Resistance.

Guest guitarist Doug Ott, of the band Enchant, and Fright Pig’s Alek Darson trade off solos and ornamental riffs on the personally reflective track “Who I Am.” This cut kind of sets the pace for the inventive and eclectic pace of this disc.

Circuline

photo by Rob Shannon of http://fotopic.com/; photo courtesy of Circuline

“Hollow” is a standout track that not only features great vocal harmonies from Brown and company but puts a spotlight on Colyer’s Keith Jarrett-like melodic fluidity. The lyrics are quite insightful, as well, and could be applied to what’s going on in society at the moment: “Rest your head… no one said it would be easy to change the ways of the land… casting your lines from sinking sand. I don’t want to follow you. I don’t want your hollow view.”

Circuline

photo by Rob Shannon of http://fotopic.com/; photo courtesy of Circuline

“Stay (Peter Frankenstan)” is another highlight that features guest guitarist Stanley Whitaker of Oblivion Sun and Happy the Man fame. This track has a very Pat Metheny/Jeff Beck kind of quality to it atop jungle-induced rhythms. In it, the futility and fragility of life is discussed, with dynamic vocals from Brown that reach the stratospheric range.

Just like the movie, their song “Inception” is abstract in content and execution, with crazy drums and a trance-like mid-tempo feel. Glass Hammer’s guitarist Alan Shikoh adds tasteful depth to Beledo’s lead guitar riffs.

Circuline

photo by Rob Shannon of http://fotopic.com/; photo courtesy of Circuline

“Summit” closes the disc with a smooth, mid-tempo, swinging groove. Colyer’s creative comping behind Sound of Contact guest guitarist Matt Dorsey is textbook in how it’s done.

Counterpoint is an album that works well on a number of fronts: as a collection of individual songs, as a compendium of some of the best and brightest in progressive music today, and as a soundtrack to your adventurous musical and spiritual soul.

Album Review: Richard Palmer-James – Takeaway

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by Eric Harabadian, Contributing Blogger

Album Review of Richard Palmer-James: Takeaway (Primary Purpose Records)

Musician Richard Palmer-James may not be that proverbial “household name” one thinks of in recording artist circles, but he has quite a colorful pedigree. He was a founding member of Supertramp and probably had some of his greatest international success as a lyricist working with British band King Crimson on three of their key albums. The singer-songwriter collaborated with long-time associate bassist John Wetton on the King Crimson releases Larks’ Tongues in Aspic, Starless and Bible Black, and Red.

Richard Palmer-James: Takeaway

image courtesy of Glass Onyon PR

According to Palmer-James himself, “ Having spent the last few decades writing words for other people to sing, and thus being obliged to comply with the ambitions and sensibilities of others, I wanted to present a collection of songs that are uncompromisingly my own.” And on his latest solo effort Takeaway, that’s exactly what he’s done. Armed with his trusty arsenal of guitars, mandolin, and words, Palmer-James gets back to his roots. Vivid storytelling draped in flourishes of blues and folk-oriented rock is the order of the day. This is music for grown-ups; sophisticated, yet never snobby or pretentious.

Takeaway is a collection of songs that seem very cinematic and stand alone as little “movies” in and of themselves. The lead track “Aerodrome” depicts a dichotomy of past wartime versus modern time where an aircraft hangar, which once housed fighter planes, now serves as a venue for trance or rave parties. In it Palmer-James sings, “Sad to say the world we knew went down in flames… you’ll understand it’s hard to understand your fun and games.” In two lines he summarizes a generational divide to a T. The next tune, “A Very Bad Girl,” is a rousing blues-tinged rocker with a wry and clever lyrical twist. Here he takes the position of initially criticizing this “bad” girl’s behavior but actually has more in common with her than first realized. There are also songs like “Dance for Me” which, on the surface, seems like an innocuous folk song about cutting loose but appears to have a deeper side that deals with persevering in the face of adversity.

Palmer-James is joined on this album by a crack unit of, primarily, German musicians from Munich, where the British singer-songwriter has resided for many years. Co-producer Evert van der Wal does a great job of capturing his mellow honey-dripped tenor voice to perfection. As a result, his vocals add a tinge of vulnerability and world-weariness to many of the subjects in his songs. It’s a performance style he’s obviously crafted after years of singing in pubs, taverns, and intimate spaces. And, perhaps, that is exactly Richard Palmer-James’ appeal, that you will listen to his words and delivery and feel like you’re connecting and sharing a drink with a very dear friend.

 

Album Review: GunHill – Nightheat/One Over the Eight

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by Eric Harabadian, Contributing Blogger

Album Review of GunHill: Nightheat/One Over the Eight (JLB Media)

Here is a “two-fer” of some ’90s rock that may have slipped by your musical radar completely. Fronted by ex-Uriah Heep and long-time Lucifer’s Friend vocalist John Lawton, these rare slices of British vinyl are presented here for the first time as a double CD. One Over the Eight was released in 1995 and the out-of-print Nightheat came out in 1997. Both albums reflect the times in terms of production and song styles but received a modern up-to-date sheen that gives each a very relevant and radio-ready sound.

Gunhill: Nightheat & One Over the Eight

image courtesy of Glass Onyon PR

One Over the Eight is a nice overview of originals and covers that define classic rock and soul. Lawton is a singer’s singer and draws a line in the sand from the get-go with a deep cut by Whitesnake called “Walking in the Shadow of the Blues.” That’s followed by a passable, yet effective take on Lennon/McCartney’s “Eleanor Rigby.” The covers keep on coming strong, with a soulful showcase for Lawton’s voice on Bill Wither’s “Aint’ No Sunshine.” Guitarist Riki Robyns’ slightly metallic tone digs deep into cuts like “Better By You, Better Than Me” and Rainbow’s “Stone Cold.” They also write some fairly strong ballads as well on tracks like the ethereal “Angel.” All in all, this particular release comes off like a band that cut its teeth on the pub rather than arena or concert circuit.

Nightheat bumps things up a notch or two, with more effective production as well as songwriting. The band kicks this one off appropriately with an up-tempo rocker by Lawton called “Don’t Stop Believing.” Bad Company’s “Ready for Love” follows and is certainly in their wheelhouse of moody and hook-filled classic rock. “Nobody Loves You the Way I Do” is dramatic in a John Waite/Paul Rodgers/David Coverdale kind of way. Rousing rockers like “Don’t Look Back” and “Any Day Now” are nice blends of heavy rock and hook-filled soul. Also, one would be remiss not to mention Lawton’s brilliant and heart-wrenching take on the perennial “When a Man Loves a Woman.” He sings the you-know-what out of that song!

If you’re looking for real rock and roll that delivers a good balance of strong originals and quality covers, you would be well-served to check out this two album compilation. Understandably, GunHill may be a name that, for decades, has been only familiar to European audiences, but now everyone can enjoy these gems of really fine British rock that still resonate and hold up under modern digital scrutiny.

Album Review: Lucifer’s Friend – Too Late to Hate

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by Eric Harabadian, Contributing Blogger

Album Review of Lucifer’s Friend: Too Late to Hate (Lucifer’s Records)

Many music fans worldwide will be happy with the release of this new studio album by German/British band Lucifer’s Friend. This is, perhaps, “breaking news,” as they say, because it’s been 36 years since the band’s last release Mean Machine in 1981. Lucifer’s Friend began in 1970 and has gone through a number of stylistic and personnel changes. But original core members vocalist John Lawton, guitarist/keyboardist Peter Hesslein, and bassist Dieter Horns are back at the helm to deliver an album packed with raw rock and roll dynamite.

Lucifer’s Friend: Too Late to Hate

image courtesy of Glass Onyon PR

Now when a number of “classic” bands of the past decides to reform it seems like they’ve returned to the scene for a major payday or some ulterior motive. Often there may be only one original member from the band’s “glory” days, and an album or series of live performances is just an excuse to cash in on a retread of the “hits.” Well, that is certainly not the case here! These veteran musicians came to play and have released an album of totally new and original material that is strong and truly makes a statement. Lucifer’s Friend is one of the original hard rock and progressive bands from the ’70s and brings that ample volume of experience and expertise to the proceedings here. Right out of the gate, “Demolition Man” revs on all cylinders, with a driving force and uptempo vibe that won’t be denied. The spirit of Deep Purple and Whitesnake combined fuel the following track, “Jokers and Fools.” They lay off the accelerator a tad for the ballad “When Children Cry” but pick the pace right back up for the heavy-hitting “Straight for the Heart.” A little down the list, “Don’t Talk to Strangers” features a well-constructed chorus and huge guitar riffs by Hesslein. And when you have such a charismatic and brilliantly melodic singer as Lawton in the mix, blues rockers like “This Time” and “Sea of Promises” just flow like butter.

This is contemporary hard rock that may have eluded your radar screen in the past. But if you’re looking for something fresh on the music scene, you can’t go wrong here.