Author Archives: detroitwriter1

Album Review: Arjen Anthony Lucassen – Strange Hobby

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by Eric Harabadian, Contributing Blogger

Album Review of Arjen Anthony Lucassen: Strange Hobby (Cherry Red Records)

Arjen Anthony Lucassen is a Dutch progressive rock singer-songwriter/multi-instrumentalist and producer who, among other things, fronts the band Ayreon. This long out of print solo album was originally recorded in 1996 as, more or less, a fluke. In Lucassen’s words, “Back in 1996 I had so much fun recording Strange Hobby! It was great to take a break from recording my complex, bombastic Ayreon prog-extravaganzas and blow off some steam blasting out these rocky cover versions of my favorite songs from the sixties.”

Arjen Anthony Luccassen: Strange Hobby

image courtesy of Glass Onyon PR

This is a “solo” album in the truest sense of that word. All vocals and sounds heard among the 22 tracks here were created by Lucassen. And, whether you grew up in the era of the ‘60s or not, this is just a really fun ride! This is a pretty comprehensive collection that spans the gamut from top hits by Pink Floyd, The Kinks, The Yardbirds, The Beatles, Status Quo, The Beach Boys, The Box Tops, Marc Bolan, etc. Lucassen’s take on opening tracks like Pink Floyd’s “Arnold Layne” or Simon & Garfunkel’s “I Am a Rock” not only display a deep knowledge of ‘60s culture, but it’s a testament to his immense skills as a producer and performer. His vocals are spot on and his ability to shift various textures and moods to suit each song is impressive. Also included are deep cuts like Bob Dylan’s “I Want You,” The Move’s “Flowers in the Rain,” and The Beatles’ “For No One.” Fans familiar with Lucassen’s prog rock work will probably be shocked as he does not take too many improvisational liberties and stays somewhat faithful to the original artist renditions. However, each track bears a strong 360 degree dimensional feel that really immerses the listener and draws you in. The vocals are enveloping and angelic and the guitars/keyboard effects are prominent and will saturate your senses.

You will find yourself singing along to each track and jamming air guitar for sure as well. Since Lucassen had such a blast creating this project, here’s hoping Strange Hobby, Vol. 2 might be a not too distant consideration!

Album Review: Lee Delray – Brand New Man

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Lee Delray - Brand New Man

image courtesy of Frank Roszak Promotions

by Eric Harabadian, Contributing Blogger

Album Review of Lee Delray: Brand New Man

NYC native Lee Delray wields a soulful voice and an even more soulful guitar approach. He unleashes his full blues rock onslaught on his latest effort, Brand New Man. He is also a very talented songwriter who is able to connect with audiences on a number of levels.

The album kicks off with a strong and spirited track, “Meet My Maker.” Delray lays down a steady I-IV-V pattern while stating his slide guitar prowess from the outset. This track establishes right away that this is, indeed, a young master at work. That is followed by a standard popularized by everyone from Albert King to Kenny Latimore called “I’ll Play the Blues for You.” This is smooth urban blues, with a jazzy feel and some nice conversational rap from the leader in the mid-section. Along these lines, Delray continues that rap/blues hybrid on “First-String Man.” His guitar establishes a Stevie Ray Vaughan-meets-Jimi Hendrix kind of vibe and pairs that with embellishments from the hip-hop team of Young Chizzy and Deejay NoGood. It’s an unlikely musical marriage, perhaps, but one that works and really pays off well.

Lee Delray

photo courtesy of Frank Roszak Promotions

Delray writes catchy hooks and really has a flair for melody and succinct thoughts and lyrics. This is most evident on the seemingly autobiographical “Blues Came Callin’.” He picks up the pace for the follow up “Love Line.” This is a funky number that features tasteful note choices delivered in a Carlos Santana/Coco Montoya manner. “Cookin’ in My Kitchen” is one of those typical love and suspicion kind of songs. It’s a shuffle, with a lot of attitude and spark. “Hollar” is just like the title sounds; blues with a raw exclamation point! It continues that rough and tumble shuffle style that really smokes. Delray unloads some wicked slide guitar work here, as well.

“Gotcha” follows and is pure Chicago-styled swing. Kudos go to the leader’s trusty rhythm section of bassist Scott Ward and drummer Ken Conklin, who really lay it down here. “Mine All Mine” is a very syncopated R&B-influenced track somewhat reminiscent of Robert Cray or Delbert McClinton; a strong funky underpinning that’s perfect for dancing or jamming. And that brings us to, not the least, but the last track, “Yesterday’s Tears.” This is a tune that could easily be a hit on country, pop or r&b charts. Mike “Sweetharp” Smith’s harmonica and Lenny Hayden’s acoustic guitar give this a very appealing back porch/Dobie Gray type feel.

Lee Delray is, simply, the complete package. He is extremely versatile, able to assess his audience and their needs. And he truly delivers, whether the song calls for rock, country, jazz, funk and, in the case of the aforementioned “First-String Man,” even hip-hop. He is an artist with a sense of adventure, yet he still has his finger on the pulse of appealing to his fan base. I’m sure he will generate a number of new fans too with his latest, Brand New Man.

Upcoming Live Gigs

Lee is scheduled to perform on December 9th at The Lakeside in Saylorsburg, PA; on January 28th at The Brown Pelican in New Bern, NC; on January 30th live on-air at the Raeford Morning Show in New Bern, NC; and at the All Day International Blues Challenge in Memphis, TN (January 31st through February 4th). Check his website for additional live dates as they are added.

Album Review: Mick Kolassa – Taylor Made Blues

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Mick Kolassa

photo courtesy of Frank Roszak Promotions

by Eric Harabadian, Contributing Blogger

Album Review of Mick Kolassa: Taylor Made Blues (Swing Suit Records)

Mick Kolassa is a bluesman for all seasons. First of all, he’s got a voice chock full of character, able to hit the high notes when required or talk in a low conversational manner. He’s also an insightful songwriter, with a wry wit and sense of adventure. Examples of this can be found throughout, from the laid back acoustic feel of “Baby Face Louise” and “Taylor Made Blues” to the lighthearted “I’m Getting Late” and the funky socio-political “In the Day.”

Mick Kolassa - Taylor Made Blues

image courtesy of Frank Roszak Promotions

Joining Kolassa on guitars, song arrangements and co-production is Jeff Jensen. He adds a certain spark to the proceedings and gives everything a rich sheen and ambiance. While this is primarily an original record, Kolassa has selected three choice covers that fit in very nicely with the overall program. Graham Nash’s “Prison Song,” Townes VanZandt’s “Lungs” and Norman Whitfield and Barrett Strong’s “Can’t Get Next to You” are brilliant adaptations and each given a unique spin.

Perhaps one of the key things about Kolassa is his ability to straddle that line between adhering to his traditional Southern blues roots while dipping his toes in the pools of rock, New Orleans-style funk, gospel and folk, as well. And he does it all with authenticity and conviction that really draws the listener in.

Mick Kolassa

photo courtesy of Frank Roszak Promotions

In addition to Kolassa and Jensen, the album features contributions from a laundry list of first-call session players and vocalists spotlighted in the gracious and thoughtful track “Friends Like Mine.” Kolassa is a very special artist, indeed, and all proceeds from album sales go to The Blues Foundation’s HART Fund and Generation Blues programs.

Upcoming Live Gigs

Mick currently has four upcoming shows listed on his website. On Monday, November 14th, he’ll be at the Bluesberry Cafe in Clarksdale, Mississippi. On Sunday, November 20th and Sunday, December 4th, he’ll be at the Rum Boogie Cafe on Beale Street in Memphis. And on Friday, February 3rd, 2017, he’ll be at fuBAR, upstairs from Rum Boogie, in Memphis. Be sure to watch for additions to Mick’s schedule on the “events” page of his website.

 

Album Review: Reverend Freakchild – Illogical Optimism

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Reverend Freakchild

photo courtesy of Frank Roszak Promotions

by Eric Harabadian, Contributing Blogger

Album Review of Reverend Freakchild: Illogical Optimism (Treated and Released Records)

This is the sixth album for this cosmic musical preacher and, perhaps, his most ambitious. It’s a three-disc set that is a quirky cross-section of some of the best psychedelic blues rock and acoustic country/folk this side of Detroit’s Howling Diablos or classic Country Joe and The Fish.

Reverend Freakchild - Illogical Optimism

image courtesy of Frank Roszak Promotions

You might say this is kind of a concept package in that each disc seems to have a central focus to it. Disc One is entitled “Odds, Ends and Other Amazingness” and is probably a pretty comprehensive representation of what Reverend Freakchild is all about. He does everything from John Lennon’s “Imagine” and Bob Dylan’s “All Along The Watchtower” to full-on gospel, with “I Still Have Joy” and “Cryin’ Holy Unto the Lord.” There are also more traditional slide guitar anthems too like “Shark Boogie” and “Yer Blues.” But one would be advised to use that term “traditional” rather cautiously when referencing the good reverend, as nothing he does is by rote. He’s got a keen ear for nuance and humor and can change up a familiar song arrangement and give it a whole new character and spin.

Reverend Freakchild

photo courtesy of Frank Roszak Promotions

Disc Two gets a little weirder and basically features a dozen variations on his song “All I Got is Now.” Each track renames the song a little bit and, with that, each is a different version, from funk to punk to reggae to acoustic. There are even versions sung in German and French. Remember when various ‘60s bands like The Beatles would do alternate takes of their hits in different languages in addition to English? But I digress! This is an intriguing concept, but a tad self indulgent at the same time. But then, maybe that’s the point!

Disc Three presents something that kind of references Disc One. It is called “Kairos” and is the works of an artist — apparently one that Reverend Freakchild admires —named Ramblin’ Jennings. There are eight songs here that can best be described by what appears on the CD itself: “It’s gospel blues, with declamatory vocals, wailing blues harmonica and slide boogie guitar.” It appears that Freakchild is a bit of a talent scout here and presents to the world an artist very much in his own likeness.

To be fair, it’s really hard to put a finger on what Reverend Freakchild does. He can play a mean Dobro, electric and acoustic guitar for sure and has a soulful voice to back it up. And his original writing and selection of material is interesting and progressive in a curious sort of way. He certainly does not fit the mold of a “traditional” bluesman (there’s that word again!), but it’s obvious he wouldn’t have it any other way.

Album Review: Screw – Hot Mess Express

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by Eric Harabadian, Contributing Blogger

EP Review of Screw: Hot Mess Express

This is the second release from Detroit punk rockers Screw. This follows in the footsteps of their debut Fight at a Funeral, which came out in 2014. The members of Screw include Tommy T. on lead vocals, Hot Rod Tusek on guitars, Stevie Silvers on bass, and Nik Savage on drums. In many ways they are the real deal, as members of this group paid their dues in formidable and influential Motor City bands like 60 Second Crush and The Cult Heroes. They bring that raw-yet-refined pedigree to the grooves here.

Screw - Hot Mess Express

image courtesy of Screw

Screw is a dynamic and thoroughly engaging live act. They bring the sweat, vitriol, humor, and musicianship and leave it all on the stage. Sometimes that integrity gets lost in the translation of the studio. But that’s not the case here. Right from the get-go you get swept up with the opening track “Government Fool.” This starts out with a fuzzed out guitar reminiscent of Dave Allan and the Arrows’ classic “Blues Theme.” It quickly develops into a scathing uptempo diatribe on the futility of the modern political climate. Tommy T. delivers words that really pack a punch, with an authenticity and clarity rarely heard in modern rock. The rhythm section is solid and airtight as Tusek’s controlled use of feedback and clean distortion is a delight.

“Lips” follows and is catchy in a Social Distortion-meets-Stooges kind of way. Tommy’s phrasing is right on point and dovetails well with Tusek’s short wah-wah inflected solos throughout. This is tight, tough, and in your face. “Much Too Much” seems to offer a cautionary tale about substance abuse, with the hook “don’t throw your life away.” It’s a short and sweet message, with solos that are equally succinct and hit you where you live.

The disc concludes with “Turn Away.” The guitars and bass mimic a strong rhythmic undertow that goes into double time later in the tune. This is a really energetic track that seems to draw from modern masters like Bad Religion and The Descendents or All.

Screw is a loud and proud tour de force that picks up where classic Motor City bands like The Stooges and Sponge have left off. As aforementioned, they are a killer live act, so be sure and catch them when you can.

Looking Ahead

Per Facebook, you can catch Screw today, Friday, October 14th at the Maidstone Theatre in Ypsilanti. According to ReverbNation, Screw has an upcoming concert scheduled at Tangent Gallery on Friday, November 25th. Watch Screw’s Facebook page and local concert listings for additional dates.

Album Review: Erik Norlander – Surreal

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Erik Norlander

photo courtesy of Serge Media Group

by Eric Harabadian, Contributing Blogger

Album Review of Erik Norlander: Surreal (Think Tank Media)

Erik Norlander - Surreal

image courtesy of Serge Media Group

Progressive keyboardist extraordinaire Erik Norlander has released a steady string of independently produced albums for well over twenty years. From collaborations with vocalist wife Lana Lane to works with his inventive group Rocket Scientists, Norlander has consistently bridged the gap where rock, classical, electronic and lyrical pop seamlessly meet.

On his latest solo release, Surreal, the California-based musician displays one of his most cohesive and well-crafted albums to date. This is his first solo disc of all new material since his Seas of Orion album in 2004. And, as they say, it was well worth the wait. By a lot of prog rock standards it’s a fairly lean record, time-wise, clocking total around 60 minutes. But, within that time frame, the six Norlander-penned compositions here are cogent, heartfelt and meticulously executed.

Erik Norlander

photo courtesy of Serge Media Group

The disc begins with the cleverly titled “The Party’s Overture.” It’s a somewhat somber and pensive introduction that blends dynamic symphonic textures and subtle guitar wails from axeman Alastair Greene with strong and steady rhythm work from drummer Nick LePar and bassist Mark Matthews. The body of this piece features Norlander’s ascending and descending melody lines coupled with expressive and soulful organ and synthesizer passages.

That segues into the spirited and uptempo “The Galaxy Collectors.” A driving beat and an impressive bank of electronic sounds set the pace for this sci-fi-tinged track. Again, guitarist Greene plays some scorching rock and fusion-based lines over a very open and inviting chord sequence. This tune also spotlights a nice dichotomy of subtle colors and softer sections that give it a unique character.

Erik Norlander

photo courtesy of Serge Media Group

“Suitcase and Umbrella” shifts gears entirely by quieting the mood and slowing the tempo. This is a piano showcase for Norlander and seems to call attention to his classical roots. One of the keyboardist’s strong suits is his ability to take simple-sounding melodies and motifs and tastefully build them into something extraordinary. That is certainly the case here, with a timeless flair that recalls something classic Dutch masters Focus might have recorded.

“Unearthly,” yet again, takes the listener to another place that explores world music and spacey sounds. Percussionist Greg Ellis truly shines on dumbek as Norlander establishes melodic themes based on Mediterranean and Mid Eastern modes.

Erik Norlander

photo courtesy of Serge Media Group

The title track “Surreal” is a really nice ballad sung by Lana Lane and is the only vocal piece on the album. The overall feel and delivery of the track recalls deep album cuts from the Alan Parsons Project; well-crafted orchestration, impeccable production and multi-octave singing.

The album concludes appropriately with “El Gran Final.” This piece kind of brings it all together by making brief references to what has come before. There are nice solo trade-offs between band members, and Norlander does a great job of giving a real human voice and passion to his leads and the textural elements.

There are, of course, a number of brilliant keyboard players active on the progressive rock and jazz scenes today. But few play with the heart and sheer love of the music Norlander does. He brings humanity and a visceral quality to his performances that, in many ways, are unparalleled. Here’s to more great music in the future!