Author Archives: Geoff Wilbur

EP Review: Nate Perry & Ragged Company – The Otherside of Everything

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Nate Perry & Ragged Company press photo

photo by Shivohn Fleming; photo courtesy of Knyvet

EP Review of Nate Perry & Ragged Company: The Otherside of Everything

You’re gonna dig this record! Nate Perry & Ragged Company bring a big country sound and a little alt-rock energy to what’s primarily an energetic Americana style on The Otherside of Everything. Kind of R.E.M.-era Athens meets alternative country’s Nashville. It’s a brand of energetic Americana that seems to infect the standout Northeast Americana outfits much more than its does the best of the genre I hear from other parts of the country. Yeah, I know, regional stylistic variances can be weird that way.

The EP-opener, “Maria,” kicks things off with jangly electricity, a steady rhythm, and a full rich sound, delivering a song that sounds like you might hear it on the radio, approachable for a broad audience.

Nate Perry & Ragged Company – The Otherside of Everything cover art

image courtesy of Knyvet

“All I Need” is a lot more twangy, with a bit of a rockabilly flavor – or maybe that’s old-school country music I’m hearing. The energy level and pace are persistent and just a little uncomfortably fast, thumping along festively; you wonder how the band keeps its breath. So, yeah, maybe this song doesn’t have quite the same crossover appeal as “Maria,” but it’s more guaranteed to be a huge hit among fans of core style because, yowza! I mean, whew!

“Another Day” is another alt rock-meets-Americana number. A not-quite-anguished vocal wail punctuates the lyric “I woke up feeling good, but the feeling passed.” Ya gotta dig that lyric! Stylistically, what if John Mellencamp rocked along with the grainy, barely-constrained energy of a rollicking Bruce Springsteen song? Well, its sound might be something like this.

“Evergreens” slows things down a little. The style and pace of the song immediately make me think of what its music video might look like. I’m picturing a slightly faded film-like appearance, probably with very obvious black dots and scratches on the video, as if it’s old and slightly damaged. The view would be framed by the interior of an old pickup truck, looking out the window watching the countryside roll by. Well, think of that video, then imagine exactly the song that might be its soundtrack. The song itself is about looking back in time, imagining what was, reminiscing a bit but also wishing you could change some of what transpired. It’s a cool song.

Nate & Company wrap things up with “Preacher,” a bluesy complaint with wailing guitars to match the sorrowful vocals.

I’d slate “Maria” and “Another Day” as the songs that headline the most-likely-to-be-hits category, but what do I know? The whole EP is strong with enough stylistic variance – all offshoots of Nate Perry & Ragged Company’s core sound – that it’s one of those records where listeners’ favorite songs are likely to vary significantly. So check it out, choose your own favorites, and enjoy.

Single Review: Baby and the Nobodies – “Bombs Away”

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Baby and the Nobodies

photo courtesy of Head First Entertainment

Single Review of Baby and the Nobodies: “Bombs Away”

Seattle pop-punk rockers Baby and the Nobodies strike me as being a little closer to the punk side (and farther from the pop side) of pop-punk on “Bombs Away.” Yes, the song is infectiously catchy, but it also has some of the old-school punk rawness that’s absent from the poppier music that is more commonly identified with this fun, catchy genre. Of course, the nice thing about falling in that in-between space is that a hooky song like “Bombs Away” can appeal to both classic punk rockers and pop-punkers alike.

Baby and the Nobodies – "Bombs Away" cover art

image courtesy of Head First Entertainment

“Bombs Away,” in style and delivery, sounds a bit like something Blog favorite Amanda White might record. It starts with a raw guitar rock hook, quickly moving into a drumbeat-driven rhythmic thumping, with lyrics delivered as if semi-snarkily with a lot of that old-school punk attitude. Guitar rock fans will also appreciate that the first lyrics is a quick “Yow!” Or maybe that’s just me. Regardless, it’s a great entry for the vox.

The way the song powers forward, it’s almost surprising to see it clock in at just more than four minutes, through there’s a nifty guitar solo, and due to the heavily thumping rhythm section, the song’s tempo isn’t actually as fast as it feels.

There’s something catchy about “Bombs Away” that’ll grab you on the first listen, and by the third or fourth you’ll be fully hooked. And once you’re hooked, if you’re new to Baby and the Nobodies, like I am, there’s a back catalog you can explore while you enjoy “Bombs Away” and await the band’s next release.

Single Reviews: Lovina Falls – “Tragedy” and “Ellery Way”

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Lovina Falls

photo by Joan Hathaway; photo courtesy of Knyvet

Single Reviews of Lovina Falls: “Tragedy” and “Ellery Way”

Lovina Falls is dubbed in its promo material as art-rock. I can’t argue with that. The band’s overall sound, at least on this pair of singles, has that a bit of that floating ’80s new wave musical vibe – for some reason, I think of ABC a little. But I almost don’t want to mention them for fear of scaring off the most likely batch of fans because Lovina Falls’ music comes from a denser, heavier, more modern rock perspective and, aside from the floatiness, has a completely different sound.

Lovina Falls – "Tragedy" cover art

artwork by Valerie Forgione; image courtesy of Knyvet

Lovina Falls is the current project from ex-Mistle Thrush-er Valerie Forgione (vocals, multiple instruments and sounds). Forgione’s band on “Tragedy” is comprised of Todd Demma (drums), Scott Patalano (guitar), and David Minehan (guitar and bass), while on “Ellery Way” she is joined by Brenden Cobb (guitar), Matthew Klain (bass), and Todd Demma (drums), with David Minehan co-producing. These exceptional musical collaborations produce a rich, powerful sound.

“Tragedy” kicks off with that floating aura I referred to in the first paragraph but with a heavy beat and a buzzy soundbed before building into a decent-tempo thumping rock song. It’s not ’til nearly the song’s midpoint that its raw energy starts to take the lead, but after that it just seems to build. Talk about drawing a listener in! You’ve gotta believe this would be just as effective in a live performance. I can almost envision “Tragedy” being performed in a setting like the early ’90s Rat in Kenmore Square, though despite the electric, uniquely edgy energy, there are some sounds in “Tragedy” that are a bit too modern to have quite fit in that era.

Lovina Falls – "Ellery Way" cover art

image credit: Spencer Frost; image courtesy of Knyvet

“Ellery Way,” on the other hand, haunts from the beginning. You know somethin’ just ain’t right while listening to this song, but the music is too hypnotic to be able to focus on the lyrics enough to really follow them. And that’s probably a good thing, allowing you to avoid focusing on them unless you really want to. Musically, an electronic buzz combines with a steady rhythm and Forgione’s powerful, emotively edgy-yet-smooth vocal delivery to create an all-encompassing, atmospheric alt-rock-ish musical mural. And yes, you’ll find yourself singing along with “Ellery Way is just as different by day when I walk with you.”

These singles were follow-ups to Lovina Falls’ 2023 debut album Calculating the Angle of Our Descent. And, though I’ve not delved into that album, the two songs I’ve reviewed here are enough to convince me that a Lovina Falls live set is likely to be an enrapturing, fully immersive event. As hard as the music is to describe, it’s likely to appeal to fans of any flavor of rock music from straight-up rock to alt-rock to electronic rock, especially if you’re drawn to great songs.

 

Single Review: Preston Lydotes – “Wrong”

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Single Review of Preston Lydotes: “Wrong”

Preston Lydotes – "Wrong" cover art

image courtesy of Preston Lydotes

Boston-based singer-songwriter Preston Lydotes delivers a powerful and tuneful message in “Wrong.”

The song, a mea culpa for mistakes made, starts softly, confessionally, with simple acoustic guitar plucking and a vulnerable vocal that seems to crack a lot more than it really does – there’s really only one spot that goes beyond just a hint. That’s the sign of a talented vocalist.

As the song continues, the power builds along with the richness of the soundbed and the volume and fullness of the vocals, producing a solid emotional lump in the listener’s throat by the midpoint of the song.

Preston Lydotes

photo courtesy of Preston Lydotes

In total, this is an exceptional single, despite its relatively simple instrumentation – or perhaps because of it. If you don’t get emotional while listening to “Wrong,” you’re at least somewhat heartless. And yet, whether or not you enjoy getting all emotional, you’ll agree “Wrong” is a must-hear.

Before and After

“Wrong,” released this past fall, was the first release following Lydotes’ 2023 EP Is There Anyone? More recently, per his bandcamp page, the singer-songwriter has dropped “The Fallout” (December 2024), “The Critic in Me” (January 2025), and “5 to 9” (April 2025). Just a quick listen to some of those records, and you’ll realize Lydotes covers a lot of musical ground, often much more energetically than on the very emotional “Wrong.” I’ve seen him dubbed a folk/pop-rock singer-songwriter. I’d advise considering that to be inclusive of folk, pop, and rock rather than a specific sound mixing the genres. This dude’s got range!

Single Reviews: Lucas Horne – “Secret” and “When Did the Sun”

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Lucas Horne

photo courtesy of Groot PR

Single Reviews of Lucas Horne: “Secret” and “When Did the Sun”

“Secret” and “When Did the Sun,” the first two singles released in advance of Lucas Horne‘s 2024 album Seventeen, showcase an impressive range for big-sound pop-rock vocalist Horne.

“Secret” begins tunefully, with a straight-up pop storytelling delivery that continues through the verses. The bridge and the chorus, though, with the “hey, oh! oh! oh!” background vocal, ratchet up the energy level. Most people would likely just bop their head to the higher-energy beat and/or sing along, but I could see more energetic fans potentially pogoing to it at a live gig. Regardless, this is a very cool song that’ll get stuck in your head and live alongside much more famous pop anthems.

Lucas Horne

photo courtesy of Groot PR

On “When Did the Sun,” meanwhile, Horne slows things down a bit, displaying versatility. Equally pop-worthy, but this time a painfully heartfelt ballad. It’s smooth, emotional, and easy to listen to, atop a warm, rich soundbed, with nifty soft-pop/rock guitarwork from time to time, particularly in the closing fade-out.

Pop/rock and slower pop, both with enough of a rock edge to reach a broad audience but not so much as to scare aware more pure pop fans… Lucas has the range and the talent. And if you’ve not yet heard of him, these two songs are a great introduction.

More Recently

Since the release of Seventeen, the album that featured both “Secret” and “When Did the Sun,” Lucas has dropped several more singles, which you can find on his Spotify page. There are more than enough for another EP, so for those of you who like your music in multi-song bundles… well, I don’t know if there are plans to do that, but you can always bundle them yourself.

Album Review: Anthony Geraci – Tears in My Eyes

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Anthony Geraci promo photo

photo by Marilyn Stringer; photo courtesy of Anthony Geraci

Album Review of Anthony Geraci – Tears in My Eyes (Blue Heart Records)

I love a good blues piano player, and Anthony Geraci is one of the best. Tears in My Eyes is Geraci’s second release on Blue Heart Records. On this record, Geraci is joined by guitarist Barrett Anderson, bassist Paul Loranger, and drummers Marty Richards and Kurt Kalker. Vocals are most often handled by Sugar Ray Norcia. And Mario Perrett (saxophone), Drew Davies (saxophone), and Anne Harris (violin) all make appearances, rounding out Geraci’s all-star line-up.

Geraci’s rolling keywork and Norcia’s gruff, enthusiastically downtrodden, steady vocals drive album-opening “Broken Mirror, Broken Mirror,” a perfect introduction to this soulful blues record.

Peppy instrumental “Owl’s Nest” follows, with a groovy, hip rhythm supporting Geraci’s adept keywork and Davies’ prominent saxophone. It’s very likely my favorite instrumental on this album, feeling more jazzy than blue, as Tears in My Eyes showcases its musical breadth.

Anthony Geraci – Tears in My Eyes album cover

image courtesy of Blind Raccoon

The title track is up third on this record. Barrett Anderson handles the vocals on “Tears in My Eyes”; his tone blends well with Geraci’s energetic ivorywork and, in a couple of spots, with Anderson’s own small guitar runs. “Tears in My Eyes” is mainstream enough to fit well on adult contemporary radio alongside soft rock songs, perhaps alongside one of Chicago’s hits or even, with a nod to the guitar riffs, a softer classic rock number. I’d consider “Tears in My Eyes” to be the most likely multi-genre crossover song on this record.

The whole album is solid, and it’s a fun beginning-to-end listen, but I’ll stick to a few of my personal favorites the rest of the way. (Your favorites may differ.)

“Judge Oh Judge” is an interesting standout, with Norcia’s vocal delivery, plentiful saxophone fills, and old-school, traditional pianowork recalls the sort of music you might expect in a Prohibition-era speakeasy. Really cool stuff!

The piano-playing on instrumental “Oh No” reminds me a bit of Blog favorite Bob Malone, with saxophone offering some playful back-and-forths.

Though it’s not an instrumental, the pace and tempo of “Ooeee” is consistent throughout, offering opportunities for the musicians to show off, riffing off the steady rhythm line, and whenever the “ooeee” vocal appears, I could easily hear the audience singing along. It’s a cool song, and I bet it’s a big crowd favorite when performed live.

“Memphis Mist” stands out, as the addition of a violin adds a unique flavor to this instrumental that strolls along like a walk through a quiet cityscape. Perhaps, I guess, that city is supposed to be Memphis in the mist. (I’ve never been to Memphis, so in my mind’s eye I picture New York, walking alongside Central Park.)

After the rollicking, modest-tempoed blues rocker “Witchy Ways,” the album closes with a pair of mellow numbers, “Now What” and “Lonely Country Road Blues,” the latter fully instrumental, to set the listener down with a soft, blue landing.

The musicianship on this record, beginning to end, makes it an enjoyable, easy listen. Blues fans of any ilk should check it out. And, of course, keep an eye out for any opportunity to see Anthony Geraci perform live. From this record, I can tell that the breadth and depth of his pianowork would be mesmerizing in a performance setting.

Album Review: Viruette – Your Lacuna

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Viruette band photo

photo by Jimmy Del Ponte; photo courtesy of Viruette

Album Review of Viruette: Your Lacuna

Viruette is a Boston-based indie rock outfit with a very cool, uniquely original sound. I dug into Viruette’s off-kilter delivery last year in my review of the band’s EP Waylaid in Aspic. Well, Your Lacuna is thirteen tracks of offbeat alt-rock uniqueness, allowing Viruette to explore more song formats, vocal patterns, and stylistic influences. It’s a feast for the ears. And hellish to try to describe. (Yeah, um, thanks for that, guys.) Seriously, though, if anyone ever approaches this sound, now I’ll be able to say “well, they sound kind of like Viruette.” So who does Viruette sound like? A little bit of a lot of people but not a lot of anyone. Tuneful, lyric-driven, progressive/experimental alt rock, I suppose. I’m really just trying to avoid repeating what I wrote last year, but what the heck, Viruette’s music is, as I said in my Waylaid in Aspic review, “long form, loosely structured, tunefully-sung musical poetry with an edge.”

Viruette – Your Lacuna album cover

image courtesy of Viruette

Viruette is Harry Bee (vocals/guitar), George Heffernan (bass), and Andrew Ring (drums), with Harry the songwriter for most of the tracks on Your Lacuna, with George also writing a couple songs.

Like a baseball team giving their starters a night off, Viruette uses an opener, the 38-second, mildly floating table-setter “I Bloodied My Fingers,” to kick things off on Your Lacuna.

“You Are the Belletrist” brings on the first real dissonance and frantic vocal delivery, very clearly diving into Viruette’s trademark style, a bit frantic with tempo changes, unique musical interludes, and a raw, frenetic energy.

The first single from this album, “Big Fat Nothing,” one of several favorites in this collection, comes next, featuring one of my favorite lyrical runs, “I vomited twice at Euston and once in bed.” The song’s combination of topics and very-on-brand cadence-driven vocals in which thoughts, lyrical phrases, and vocal phrases are matched up at best randomly… well, that’s what you’ll come to expect and enjoy from Viruette. It makes the band unique and fun to listen to.

“Detach” combines Viruette’s style with a jazz lounge vibe. The press release says bossa nova, which is a great description, but one that escaped me until I read the promo material. I’m guessing this song has the most memorable lyric on Your Lacuna; namely, “You are the best ex-Soviet lesbian I ever met.” Top that!

Viruette band photo

photo by Jimmy Del Ponte; photo courtesy of Viruette

“Something for the Dread II” takes the mood down a bit, but “Faceblind” brings the energy right back up with a really fun mish-mash of lyrics that… well, I’m not gonna turn this review into a collection of my favorite lyrics. Just listen for the lyrics when you hear these songs.

Viruette continues through the rest of the record by altering tempos and moods, with experimental music arrangements and well-placed use of dissonance supporting its creative, lyric-heavy vocal delivery.

Several more favorites populate the back half of the record. For example, there’s the floaty, not quite dreamy “Capture,” which might have the best shot at crossover success with ’80s/’90s mainstream alt-rock fans.

The album’s second single, “Lamenter,” is airier and more jazzy than most songs on the disc but features cool subject matter and a word I actually had to look up. “Threnody.” So much cooler than “lament.” Plus it sort of rhymes with “remedies,” which made it the perfect choice for this song. (If “threnody” starts finding its way into my writing, now, Viruette, it’ll be all your fault!)

“Maimed” is another standout song, probably the one song on the record I sway along with. And I’m now singing along with the lyric “in a recursive way.” Yes, in falsetto, obviously. But the more obvious singalong lyric is “I’m getting maimed again.” Though not entirely standard, the song structure of “Maimed” may be the most straightforward on the record. I know I love Viruette’s uniqueness, but here they prove they could clearly excel at more standard alt-rock fare. (Keep in mind, this would be the least standard song on most of those bands’ records, so “normal” is a relative term.)

“Anhedonia” and “Wrecked Car” close the record, the final two of the thirteen unique songs, with Viruette’s original sound not quite like any other you’ve heard, yet not so far outside musical convention to make it truly alien. In fact, if you’re going to become a Viruette fan, it’s probably because you dig the band’s one-of-a-kind overall sound. It’s interesting from the start, then it grows on you. Plus, beyond just being a cool recorded listen, Viruette’s style suggests an exceptionally fun live show, particularly at a seedier-than-you-might-think college rock venue. Viruette’s Instagram account mentions a couple opportunities to see the band live in the near future. Check ’em out!

Album Review: Cryin’ Out Loud – Play Loud & Smoke Often

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Cryin' Out Loud – Play Loud & Smoke Often

image courtesy of Frank Roszak Promotions

Album Review of Cryin’ Out Loud: Play Loud & Smoke Often

This is a good ol’ rowdy, smoky barroom-era rockin’ blues (and bluesy rock) record. On Play Loud & Smoke Often, Cryin’ Out Loud, comprised of Ben Chute (guitar), Brandon Stallard (vocals, guitar), and Jim Fratini (bass, background vocals), welcomes guest appearances from Erik Lawrence (Little Feat), the late, great Paul Nelson (The Paul Nelson Band), and Brooks Milgate (Ana Popovic’s band).

The first three songs kicks things off with some raucous, playful, rockin’ blues energy, letting the listener know this band knows how to create (and enjoy) a good time. Right off the bat, vocalist/songwriter Stallard leaves no doubt about the band’s proclivity with the raucous, fun, rockin’ blues number “I Smoke Cigars and I Play the Blues.” The energy level remains high with “I’m Gonna Drink My Way to Memphis,” at least once the song amps up and gets groovin’. And a swingin’ opening provides a new nuance to the bands style while maintaining the fun energy, as “You Can Dance to the Blues” kicks into groove. Play Loud & Smoke Often, a great record throughout, is front-loaded with electric energy.

Finally, the band slows things down with the methodically thumpin’, slow blues wailer “If You’re Gonna Leave.” Personally, I like the lyric, “When you leave, honey, be sure and take your momma, too.” That’s some downhome blues.

The rest of the disc remains solid and varies a bit more. I won’t name every song to rest of the way; I’ll focus on a few personal favorites. “Unconditionally,” for example, is soft and heartfelt – the only song on this record that doesn’t seem to be at all blues, but rather more like a Southern folk number. However, you can see why it’s on the disc. It’s a sweet song about daddy missing his little girl that’ll put a lump in your throat. “Tell Her” is a blues-based rocker featuring very Bob Seger-styled vocals, with maybe a hint of The Boss, and sporting a pace of delivery that maybe a little Mellencampy. “Moonshine Love” is another cool departure, a more swingin’, ’50s rock-influenced blues number with an almost Joe Cocker-ish edge to the vocals.

Finally, “Time Away From You” closes things with a fun energy, opening with the nifty line “I need a drink. I need a smoke. I need to run around with a girl I don’t know. I need to laugh. I need to sing. I need time away from you, if you know what I mean.” Its moderately-fast tempo and bluesy lyrical snark are a great way to end this entertaining record.

Looking Ahead

The “Events” tab of Cryin’ Out Loud’s Facebook page lists numerous shows around Maine throughout the rest of the year. Mainers, this is good news for you. For the rest of us, especially here in New England, it might be worth a trip. I mean, a visit to Maine is always a great idea, but it might be worth wrapping the trip around a Cryin’ Out Loud gig.

Single Review: D.C. Anderson – “No Kings Live Here”

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D.C. Anderson – "No Kings Live Here" cover art

image courtesy of D.C. Anderson

Single Review of D.C. Anderson: “No Kings Live Here”

This timely single, D.C. Anderson‘s “No Kings Live Here,” was released on April 4, the day before the “Hands Off” protests occurred in 1,000 cities across the U.S. It would have made an ideal song for the events, if those in attendance knew about it. But it can serve as a reminder and a rallying cry for those who attended.

I’ve seen social media posts, like this one, asking where all the protest songs are. Well, this is one. D.C. notes that “No Kings Live Here” was inspired by the t-shirt U.S. Representative Maxwell Alejandro Frost wore at this year’s U.S. State of the Union address.

On this song, Gantt Kushner mans the guitar, while D.C. sings. D.C.’s delivery, as is his style, is very theatrical. You’d almost wonder if, in addition to being a singer-songwriter, maybe he’s also a highly-regarded stage and screen actor or something. “No Kings Live Here” is delivered enthusiastically, in such a way that it seems as if D.C. is leading a singalong. And that, my friends, is what makes it a good protest song.

Lyrically, the song is a little word-dense, and its storytelling style – really more of a combination of teaching and fact-proclaiming in addition to storytelling – is along the lines of Schoolhouse Rock. Remember the one about how a bill becomes a law? OK, maybe it doesn’t sound like that. But “No Kings Live Here” would still make an entertainingly educational soundtrack for a Schoolhouse Rock cartoon.

Lyrics in the song include “The man who would be king has put democracy on pause. The man who would be king thinks he’s above our U.S. laws” and various versions of the chorus such as “No kings live here. No tyranny, no fear. No kings live here. The Constitution’s clear.” And “No kings live here. We do not serve him whim. No kings live here. We will not bow to him!”

But hey, check it out for yourself. You can watch the lyric video here on Vimeo if you want to learn the song. It’s also handy if you want to sing along while listening. If you’ve been searching for a modern-day protest song, this might just be what you’re looking for.

Album Review: Dirtbag Republic – Bad Decisions

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Dirtbag Republic

photo courtesy of Dirtbag Republic

Album Review of Dirtbag Republic: Bad Decisions

On the heels of the instant classic Tear Down Your Idols, Dirtbag Republic returns with the band’s fourth studio album, Bad Decisions, a new collection of raw, rowdy, unrepentant rock ‘n roll songs pandering to fans of cleverly-phrased, energetic, filthy-catchy anthems. Recalling the early-eighties Sunset Strip bands whose gritty demos belied their mammoth hooks and blistering axework, Dirtbag Republic is energetically raucous, and this album is like a slow-moving virus. Slowly, as your battered brain begins to adept to the album’s fast pace and the music sheen of white noise, it discovers an album of soon-to-be favorites. If I had to pick a band to compare them to, Hanoi Rocks would come closest, but these guys are Dirtbag originals.

The album kicks off the a jangly dirty-glam rock guitar riff before Sandy Hazard’s inimitable voice – a tuneful, rough-hewn, does-he-gargle-razor-blades?-tinged classic rock wail – takes over, and by the end of the song you’re singing along with “I don’t care about nothin’.” And, like most of the disc, the music elicits the sound and feel of the sort of dark, sticky live music clubs that smell like flop sweat and desperation, places where all the best nights of your young life happened.

Dirtbag Republic – Bad Decisions album cover

image courtesy of Dirtbag Republic

One of the coolest things about these guys – and I’ve gotta go here in part because there are only so many ways to describe fun, raucous, guitar-driven rock songs – are the songs’ lyrics. Someone here is a songwriting savant. Sure, some song titles give it away – for example, you know you’ll soon be singing along with the title lyrics of turn-it-to-ten, energetic “Bipolar Rollercoaster” – and others sound interesting (“Streetlight Parasite”) while the memorable lyrics are thematically title-adjacent, but sometimes the coolest lyrics – and the ideal sonic and vocal deliveries – come in less obvious locations.

“I Fought Them All,” for example, amid its fast-driving tempo and relatively blistering, attention-grabbing, late-song axework, and what you think is going to be the singalong title lyric, “I fought them all, I fought them all,” sneaks in surprisingly clever elocutive riffs like “Beatdown a-comin’, don’t stop a-runnin’. It’s up to you, my friend. Bitchslap a-comin’ don’t stop a-runnin'” and the Mr. T-esque “you think you’re better than me, fool.” Yeah, I know. It’s not just the lyrics; it’s also the delivery.

And on dive-bar anthem “Bad Decisions,” the band paints a vivid picture with the lyrics “I’m warning you lady, I know you’re on a mission. Don’t come any closer, you smell like bad decisions” supported by the appropriate steady, thumping drum beat, jangly guitar riffs, and grizzly vocal tone. Again, the well-oiled, favorite dive-bar sound makes sense… and, in this case, scents. Well, OK, I guess mabye that one is title-adjacent.

Dirtbag Republic

photo courtesy of Dirtbag Republic

But I think my favorite lyric, certainly of the last year and quite possibly of the decade, comes in “Hard in the City.” Compared with the other songs here, there’s a bluesier, blues-rock edge right from the start. But the sneakiest favorite lyric is hiding in plain sight in the chorus: “Raining hard down in the city, washing away the piss and despair…” Yes, that’s right. Now try not thinking of that lyric whenever you’re in a city in the rain. Makes me think of Paris. Fondly.

Of course, it’s not all about the lyrics. Even without the clever wordsmithing, Bad Decisions would be a fun favorite record. And it’s not all an adrenaline ride. Dirtbag Republic can take it down a notch, too, though they rarely do. However, this disc contains one of those classic open-space songs – is that organ in there? – “Here I Am,” replete with a Billy Joel-ish late-song keys solo and some lyrical runs that remind me a little of Blog favorite rockabilly-ish alt-country singer Adam Lee.

The album’s penultimate track, “Cocaine Heart,” digs a little deeper and channels a little more ’70s classic rock energy. And it’s followed by energetic disc-ender, “Light Your Fuse,” with a tempo that’ll get your blood pumping.

So yeah, Bad Decisions is yet another instant-classic record from Dirtbag Republic. The production and delivery are a little rawer than I typically favor, which causes my listening habits to recall the first time I heard Dirtbag Republic. The music grows on me slowly, with the sneaky hooks slowly digging in, and by a few listens, I can’t imagine these catchy songs – so many of them new favorites at this point – being performed any other way. Give these guys a listen. You’ll probably love the whole album like I do. But for sure you’ll at least find a couple new favorite tunes.