Author Archives: Geoff Wilbur

Album Review: “Les Paul’s” (The Paul’s) – A Mile Until Dawn

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"Les Paul's" (The Paul's)

photo courtesy of Paul Robert Thomas

Album Review of “Les Paul’s” (The Paul’s): A Mile Until Dawn

As you may recall from when I reviewed their Night Worker album last summer, “Les Paul’s” (The Paul’s) are Paul Odiase and Paul Robert Thomas. The Pauls. That album, Night Worker, was an overt homage to David Bowie. A Mile Until Dawn is another mid-tempo, seventies rock-influenced disc, with a little broader range of influences. Still, though, my first comparison would be to Bowie, as the disc’s somewhat hauntingly stretched vocal and guitar lines clearly have their roots in that same ’70s prog rock neighborhood.

An inviting guitar intro kicks off the disc, providing the opening riffs to the medium-hard-driving “There’s Nothing New Under the Sun.” With a hooky riff, pop-inspired synth elements, and an engaging tempo, it provides a catchy kickoff of A Mile Until Dawn. The following track, “You Just Kiss and Tell,” continues along a similarly rockin’ pace, adding a little vocal, lyrical, and musical conflict to the mix.

"Les Paul's" (The Paul's) - A Mile Until Dawn

image courtesy of Paul Robert Thomas

Like any artistic envelope-pushing progressive rock disc, though, A Mile Until Dawn isn’t just a straightforward rocker. “A Thousand Eyes” adds an ethereal element with guitars dancing in the distant mist, or so it seems.

“Anna Frank,” meanwhile, takes a more foreboding tone, suited to its subject matter, as “Les Paul’s” (The Paul’s) prove again they’re willing to tackle heavy issues in their musical collections.

Personally, I’m a bit fond of the faster-tempoed numbers on this disc like the two album-openers and “I Knew You Once,” a bit danceable and rather memorable. Also, I’m struck by a couple tracks that show a bit of New Wave influence: “Don’t Kick Me When I’m Down,” which also sports a rather punk attitude, and ’80s synth-y “No Use Crying Over Spilt Milk,” which suggests to me something that might spring from a collaboration between David Bowie and A Flock of Seagulls. Both of these tracks have grown into personal favorites.

The two final songs, “You Screwed Me Up” and “You F-cked Me Up” are two versions of the same repetitive-heavy-beat-driven song, presumably one a more radio-friendly version of the other. This heavy-rhythm-driven, combatively low-to-mid-tempo power rocker pounds along beginning to end, a bit of a progressive jam-rock number that’ll have listeners banging their heads and mock-drumming as the album draws to a close.

As with the previous album of theirs I reviewed, “Les Paul’s” (The Paul’s) have delivered another disc of artistically progressive, classic rock-influenced rock ‘n roll, simultaneously familiar and envelope-pushing.

Live Review: Martin and Kelly at Chopps

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Martin and Kelly

photo by Geoff Wilbur

Martin and Kelly

Chopps American Bar and Grill, Burlington, MA

May 23, 2017

Jilly Martin and Ryan Brooks Kelly are a local country duo with a good pedigree as is apparent from the list of big names they’ve shared the stage with. Also, more importantly to those of us who care about such things, they’re outstanding musicians and performers. When sampling their music in advance of this evening, the song that convinced me they were a must-see was their catchy, fun original “Young, Broke, and Beautiful.” Both have strong country voices – Jilly’s is a sweet, high voice well-suited to classic country, while Ryan’s is a modern country voice with a bit of an edge, with the added ability of throwing in a good twang when called for. Together, their voices blend exceptionally well, so it’s a real treat to hear them sing harmonies, and they find a way to work to their own vocal strengths in their originals.

Martin and Kelly

photo by Geoff Wilbur

The performance space at Chopps is in the bar area of the restaurant, adjacent to the lobby of the Marriott Hotel in which it’s located. As a result, the musical performances tend to be a little subdued. On this particular night, Martin and Kelly delivered a performance well-suited to a toned-down environment like Chopps, with patrons enjoying their music both actively and passively. I stayed for the first half of their 3-hour time slot and thoroughly enjoyed myself; I always love the food, service, and setting at this restaurant, so when there’s good live music here, I’m an “easy sell.” I do, however, look forward to catching Martin and Kelly in a livelier environment one of these days to see more of their energetic side.

Martin and Kelly

photo by Geoff Wilbur

The duo opened with their rendition of Thompson Square’s “I Got You,” with their vocals blending solidly when they harmonized. Next up, Jilly got to show off her vocal chops on Sugar Land’s “Something More.”

Jilly’s high and soft-but-strong vocals were particularly well-suited to Kasey Musgraves’ “Merry Go Round,” while Ryan’s voice displayed an emotional edge on Scotty McCreery’s “Carolina Moon.”

There were other noteworthy covers I caught during the evening’s performance. For example, there was a rendition of “Make You Feel My Love” that was sung sweetly by Jilly, somewhat like a lullaby. Thomas Rhett & Tori Kelly’s “Die a Happy Man” offered them an opportunity to showcase their sweet harmonies in a nicely blended duet. And Willie Nelson’s “Always On My Mind” afforded Ryan a chance to put his sweet crooning skills on display, while Jilly picked up the second verse strong, and the song lent itself to some classic harmonies, too; certainly, this is one of the duo’s strongest covers.

Martin and Kelly

photo by Geoff Wilbur

Also notable was Martin and Kelly’s rendition of Joey + Rory’s “Cheater, Cheater.” Jilly channeled Johnny Cash, it seemed, for some of the low notes on this picker and grinner, while Ryan’s guitar did its best banjo impression. And the duo delivered a fun country version of Avicii’s “Wake Me Up,” with Jilly and Ryan taking on Aloe Blacc’s vocal line by swapping the vocals back and forth, adding an interesting texture to the song.

Later in the first set, Jilly sported a bluesy country edge to her vocals on her rendition of Reba McEntire’s “Why Haven’t I Heard From You” – perhaps her strongest cover vocal of the evening, and certainly the one that showed the most range. And early in the second set, Ryan’s vocal was at its most half-growly during Eric Church’s “Hell On the Heart.”

But, again, this duo shines the brightest during Martin and Kelly originals. The original they performed during their first set was “I’m Gonna Kiss You,” on which both singers seemed to play to their strengths.

Martin and Kelly

photo by Geoff Wilbur

And, of course, just as the clock hit my personally previously-determined exit time, three songs into their second set, the duo cranked up “Young, Broke, and Beautiful.” So I stayed for one extra song. Simply wow. It’s an energetically fun original with well-crafted vocal harmonies, Jilly and Ryan’s individual vocal parts each residing within their own personal sweet spots and blending perfectly together, augmented by a nice supporting guitar line and subtle hooks. This one’s radio-ready and hit-caliber. And a great time for me to call it a night, to end on a high note, at the conclusion of my own personal favorite Martin and Kelly original… though I’m sure I’d’ve enjoyed the remaining 90 minutes of the band’s program if I hadn’t wanted to get home.

Looking Ahead

Martin and Kelly’s upcoming concert schedule has them crisscrossing New England, with many shows in Massachusetts, Connecticut, and New Hampshire. plus the odd Rhode Island gig and a few shows in Verona, NY. Check the “Shows” page on their website for upcoming dates on a schedule that’s already packed until the fall and starting to fill in beyond, as well. According to Martin and Kelly’s website, their next few shows are… tonight, May 24th, at Sylvan Street Grille in Salisbury, MA with 101.7 The Bull; Friday, May 26th at World of Beer in West Hartford, CT; Saturday, May 27th at the Tin Rooster at the Turningstone Casino in Verona, NY; Tuesday, May 30th at a WOKQ event in Seabrook, NH; Thursday, June 1st at the Boston Harbor Hotel in Boston, MA; Friday, June 2nd at Station Eight in Marshfield, MA; and Saturday, June 3rd at the Whiskey Barrel in Haverhill, MA.

EP Review: Lillet Blanc – Lillet Blanc

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Lillet Blanc

photo courtesy of Lillet Blanc

The Backstory

I discovered Lillet Blanc’s music while checking club listings (and sampling bands) to decide which live show to catch while in New York a few months ago. My final decision from among those I liked was based on time slot and neighborhood, so I went to a different gig that night. But Lillet Blanc’s EP was a free download, so I grabbed it, gave it some more listens, and decided it needed to be reviewed.

EP Review of Lillet Blanc: Lillet Blanc

Dream pop. Lillet Blanc’s Facebook page says “Lillet Blanc is the dream pop project of Emily Rawlings and Sean Camargo.” It’s jangly pop music with a floating, cloudy, dreamy film serving as a musical fog machine, residing in the same musical zip code as bands like Mazzy Star or Widowspeak but with Lillet Blanc’s offerings trending more out-of-focus and blurry, to the extent it’s possible for a kaleidoscope in or out of focus.

Lillet Blanc EP cover

image courtesy of Lillet Blanc

The first track of this eponymous 3-song EP (and, as I’ve written before, music journalists love reviewing self-titled collections because we get to use the word “eponymous”), “Foul Play” jumps right into the jangle, with the clean but slightly distorted guitar line reminding me a little of some of Amy & the Engine’s music. Even the breathy, kinda-squeaky (but not really), half-whispered vocal hints at a kinship, as if they might well share a stage. But Amy’s music is pure, catchy, mainstream pop-rock, while Lillet Blanc’s brand of pop is a bit much more ambient and “artsy.” Lillet Blanc’s entire style gives “Foul Play” a feeling of introspectiveness stronger than its lyrics warrant. In all, it’s a fun meander – I can’t call it a romp – through a well-performed song in an interesting, too-cool-for-it-all style.

Lillet Blanc

photo courtesy of Lillet Blanc

“Drenched” follows, a bit more atmospheric in nature. Or at least more dominantly atmospheric, much like the ethereal, eponymous 2013 EP of a now-defunct UK band I liked, Trophy Wife. “Drenched” seems to meander a little more drunkenly that the other two songs, its sound and vocal tone ever-so-slightly (though clearly intentionally) off-kilter. It serves as a nice midpoint in the collection.

The disc closes with a movement back toward the awakened side of dream-pop, with a couple catchy, subtle guitar hooks carrying the load during “Now and Yours.” There’s almost a hint of The Police’s early work in rhythms that occasionally bubble to the surface. Of the EP’s three tracks, this might reach most beyond the band’s core audience, serving as a good introduction to attract fans who might not otherwise typically sample their music. It caps off a solid collection of songs, an intriguing introduction to Lillet Blanc. I’ll be curious to see how this group’s sound and songwriting evolve from here.

Looking Ahead

Lillet Blanc will be performing Wednesday, May 24th at The Gateway in Brooklyn. Follow Lillet Blanc’s Facebook page to be alerted to future performances.

 

Live Review: Mary Fahl at Club Passim

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Mary Fahl

Club Passim, Cambridge, MA

May 20, 2017

A few months ago, you saw my review of Mary’s latest studio album, Love & Gravity. As impressed as I was by that record, it was a real treat for me to get to hear her perform in concert. Originally known for her work as a member of the chamber pop group October Project, Mary’s solo work relies on the same powerful, soaring vocal abilities that brought her such early notoriety, but her solo style has perhaps a slightly stronger folk element. I can’t help being reminded of a folk-Americana CD I’m currently spinning in my car, the new one from Amilia K Spicer that I’ll be reviewing in the coming weeks, as they both share the same ethereal vocal element and some folk influence, while from there the two take their music in different directions with extraordinarily different voices.

Mary Fahl

photo by Geoff Wilbur

On this night at Club Passim, Mary performed with cellist Monique Citro, whose contribution added warmth and depth to the songs in support of Mary’s singing and guitar-playing. Many in the crowd had seen Mary perform multiple times over the years, and during many songs there were several concert-goers mouthing along to the words. They were also aware of Mary’s penchant for between-song storytelling, typically related to the songs she was about to sing, and the combination of stories and songs rather quickly turned the concert ambiance into that of a roomful of friends… one of whom, of course, wielded her amazing voice.

Mary opened the evening with a couple October Project songs. First, “Take Me Down,” showcasing her powerful voice that cut through the warmth of the cello accompaniment, both blending well with her strumming guitar. But, of course, the focus of the evening was always on Mary’s amazing voice.

Next came an emotionally powerful rendition of “Return to Me.” And she followed that with a great rendition of “Wild is the Wind” – as she noted before the song, the Bowie version of the Nina Simone song.

Then she performed “Gravity (Move Mountains, Turn Rivers Around)” from her latest album, Love & Gravity, a song she penned for her husband. There’s a serious Irish folk song vibe to “Gravity,” and Mary, as expected, sang the heck out of it.

photo by Geoff Wilbur

Almost every song stood out in its own way, though I’ll not touch upon all of them. “Song for the Sirens” featured some acoustic picking as an added dimension, while the strong vocals and warbles were genuinely spine-tinglingly beautiful. Mary’s rendition of “Both Sides Now” is both a truly original version, as it appears on Love & Gravity, while also feeling ever-faithful to the original; as exceptionally good as this song was on the recording, its live performance carries so much more emotion! And her performance of October Project’s big hit, “Bury My Lovely,” was both booming and catchy; it’s obvious why it was a hit.

Mary closed her set with a song she recorded for her album re-imagining of The Dark Side of the Moon, a rendition of “Brain Damage” that seemed as if Mary had blended her voice with Roger Waters’ – maybe proportionally 70/30 in favor of her voice. Such versatility. Such variety. And what a way to end a set!

The two-song encore opened with Mary’s “Going Home,” from the Gods and Generals soundtrack, a tune with a sweet melody, in many ways like a folk-song lullaby. And Mary closed the night with an opera aria from her folk-classical EP. Because she can. Or, rather, for those who speak “hashtag,” simply #BecauseMaryFahl.

In all, it was a tremendous, intimate night of soul-touching music and stories-among-friends from Mary Fahl, featuring her amazingly rich, powerful voice. I can see why so many in the audience return to see her again and again… and again. I look forward to her next visit to the area.

Looking Ahead

If you can possibly make it, you should get out to hear Mary perform in person. Per the tour date page on her website, Mary’s next performances will be Friday, July 14th in Northampton, MA and Saturday, July 15th in Saratoga Springs, NY. The other dates currently listed are Sellersville, PA on July 29th; Ann Arbor, MI on August 11th; Pittsburgh, PA on August 13th; Denver, CO on August 26th; New York on October 5th; Wilkes-Barre, PA on October 6th; Geneseo, NY on October 14th; Wilmington, DE on November 4th; and Old Saybrook, CT on January 27th, 2018. Again, check Mary’s website for additional information on those shows and for other dates as they’re added.

 

 

 

Album Review: Matt North – Above Ground Fools

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Matt North

photo by Angelina Castillo; photo courtesy of Howlin’ Wuelf Media

Album Review of Matt North: Above Ground Fools (Round Badge Records)

Old-school. Or timeless. Probably more of the latter, as Matt North‘s music has a modern alt-rock attitude rooted in folky, songwriting-focused music styles of the past. Above Ground Fools won’t be mistaken for a “new country” album or a “cutting-edge rock” album. Rather, there is simply plenty of catchy, memorable, fun music on this disc that should appeal to anyone who enjoys a good song that’s well-delivered.

Indeed, Matt knows his way around song, drawing in the listener by telling bits of stories, filling them musically with rich, lush sound and, of course, a driving, engaging rhythm – he is a drummer, after all – and topping them off with a rough-edged voice equal parts outlaw country and gritty rock ‘n roll with a quirky streak. On honky-tonk-ish, rollicking “Seventeen Days,” that quirk sounds a bit David Byrne-esque, while it can add earnestness to a swaying, more serious-feeling, introspective, nostalgic crooner like “Cronkite and Cosell.”

Matt North - Above Ground Fools

image courtesy of Howlin’ Wuelf Media

But the catchiness – the sense that you, as a listener, have stumbled across something you’re really going to enjoy – starts at the very beginning with the musically unique intro to “A Good Day in Nashville.” The song itself is an up-tempo mover-and-shaker that chronicles the adjusted vision of what passes for ordinary in Nashville. A fun romp, musically and lyrically, from a man who’s familiar with the topic, simply telling it like it is.

Truth be told, I sing along to most of the songs on this album now; there’s nary a weak spot. I howl along to “No Hard Feelings.” I shimmy along with the frenetic energy and clever lyrical rhymes of “Miss Communication.” And I feign a little rock ‘n roll strut as I sign along with the slight staccato and harsh vocal edges in “I Sold It All.” The album is one cohesive country-tinged rock ‘n roll styled canvas but is painted with broad-stroked songwriting variety. That’s how Matt has crafted Above Ground Fools to be an album with staying power.

The record closes with a couple of my favorite tunes, the eminently playful “Badgering the Witness” and the ’90s loud-yet-jangly pop-rock styled “Come Here Go Away.”

After a couple dozen listens to Above Ground Fools, it’s clear Matt North is your surprisingly cool neighbor who’s mostly normal but sports a hidden quirky streak. You’re not quite sure if it’s snark or sarcasm, but you’re pretty sure he’s not serious. You think. And he makes a damn good record.

Live Review: Mark Wilkinson house concert

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Mark Wilkinson

photo by Geoff Wilbur

Mark Wilkinson

House concert in Hudson, MA

May 13, 2017

The Backstory

Mark Wilkinson

photo by Geoff Wilbur

For weeks, I had planned to head to Boston for the Springtime Spectacular at the Lawn on D on May 13th to see Analog Heart, whose last album I reviewed last spring but who I haven’t seen perform live since before I launched the Blog. Mother Nature, however, had different plans, as rain was forecast to begin around the time of the band’s set, and even if it wasn’t heavy during the set, I was virtually guaranteed to be driving home in a torrential downpour, with an inch or more of rainfall in the forecast. So I turned to “plan B.” Lori Diamond and Fred Abatelli were performing in Arlington, MA. I plan to try to get out to see them perform sometime this year; I really enjoyed the show I reviewed last year. I figured I plan to get out to at least one of their sets this year, anyway, so this would be as good a time as any. But I’d still have to drive home in a heavy rainstorm, so I checked more local listings, looking for shows closer to home and listening to clips of the artists to help me decide if I should abandon “plan B,” as well.

The choice was quickly made when I came across the listing for Mark Wilkinson’s gig out here in the far western suburbs of Boston, much closer to home. And upon finding one of his YouTube clips, within the song’s first few seconds, I knew this dude with the special voice was someone I wanted to see perform, and since he’s on tour (and based in Australia), there would not soon be other opportunities to see him. To cap it off, my wife had the same initial reaction to Mark’s songs, so we caught his house concert together (a nice change from my usual solo live-gig adventures).

Mark Wilkinson

photo by Geoff Wilbur

The Concert

Located in an apartment in Hudson, tonight’s venue was ideal, its great room serving as a large, open concert space with high ceilings and terrific acoustics, sufficiently large yet intimate for a house concert. And well-suited to Mark’s incredible voice, soaring and full of emotion.

Mark’s voice has been compared to James Blunt’s (“You’re Beautiful”). I also hear some Alex Band (The Calling) in there. And his tempo and style have also earned him comparisons to Tracy Chapman. I’d add Lisa Loeb and Sixpence None the Richer to that list. I’d probably even throw some Jim Croce and Gordon Lightfoot into the mix, too, for their warm, emotional vocal styles capable of connecting emotionally with listeners. I suppose what I’m trying to say is that Mark Wilkinson’s voice and performance style is timeless, powerful and emotional, and seems capable of touching that nerve that reaches directly to your heart and soul, connecting personally and profoundly with his audience; on this evening, an intimate collection of about 25 people. What I had sensed from Mark’s recordings came through in spades at his live show: This guy is special.

Mark Wilkinson

photo by Geoff Wilbur

The set consisted of 13 songs, and he was encouraged to follow it with a 3-song encore. He opened the set with such a powerful song I forgot to jot down its title, as his voice and strumming boomed warmly and envelopingly through the room, enhanced by its great acoustics. He followed that with “Chasing Rainbows,” a sad, sensitive, but still full-voiced and insistent tune whose tone was simultaneously melancholy and defiant.

Mark went a bit poppier with his next song, “Everything to Me,” with a more hit-friendly tempo and strum and a songwriting rhythm with just a hint of a slightly more celebratory flavor. There’s a nice, catchy mix of musical style and lyrics that, of course, still feature his voice, a voice a listener could get lost in and lose all track of time and place.

Mark Wilkinson

photo by Geoff Wilbur

Other songs stood out during the evening, as well. Of note, “Middle Ground” showcased sensitivity and strength, as the lyrics meandered through the story. This, Mark noted (for those of us unaware here in the States), ended up in a coffee commercial in Australia, so it’s his most well-known song back home as a result.

“Hey Baby” stood out, as well, as it served as the well-chosen singalong/audience participation song of the evening. It was followed by “Benny’s On the Rooftop,” a song that sports a nice, faster tempo and proves memorable – perhaps a favorite even – though the lyrical content isn’t so happy, to put it lightly.

The one cover in his set was of Bruce Springsteen’s “I’m On Fire.” As with any great cover, of course, Mark makes it own, adding his personal vocal flair to The Boss’ brooding classic. But he didn’t leave the room’s energy down, following it with the playful “Please Don’t Tempt Me,” in which he employs a relatively edgy rock vocal. Great song to mix things up with.

Mark Wilkinson

photo by Geoff Wilbur

The song “Don’t Say It” displayed such emotion, sensitive with an interesting guitar-picking pattern adding additional character and movement to the song. It was followed by “All I Ever Wanted,” a faster-tempoed song with an uplifting feeling, which served as a great set-ending number.

Oh, but he was greeted by a standing ovation and obliged with a 3-song encore, kicking it off with a suggestion from the audience, an older song of his entitled “Baptism By Fire.” And, true to the lyrics, there was some fire in Mark’s always-rich vocals accompanied by emphatic strumming. He followed that with “When the Armies Arrive,” driven by his echoing, booming voice full of emotion.

And he closed the evening with “Still Got My Baby,” whose interesting, peppy energy and playful tempo, driven by a little funky syncopation, provided a pleasant, cheerful ending to the evening. Excellent selection to send people home with a smile on their faces.

Mark Wilkinson

photo by Geoff Wilbur

But, of course, as with many house concerts, not everyone goes home, as the evening concluded with additional conversation, many of us enjoying nice chats with the artist and the others in attendance. Nights like this are an occasional fortunate happenstance, stumbling across a great talent who isn’t nearly as well-known in the U.S. as he should be… yet (we hope).

Looking Ahead

There are still several more stops on Mark’s house concert tour. (And I’d recommend going if you can; this is a special tour during which he’s eschewing traditional venues.) His dates in Sea Girt, NJ, Dublin, OH, and two of his three gigs in Ontario are already sold out, as is one of his UK stops. However, you can still gets seats at his performances in Montclair, NJ (May 18th), Charleston, SC (May 23rd), Potosi, MO (May 27th), Nashville, TN (May 28th), McGregor, MN (June 2nd), Milwaukee, WI (June 3rd), Elmwood Park, IL (June 4th), and Ottawa, ON (June 10th), plus six of his seven shows in the UK from June 28th through July 6th. Check the tour page of Mark’s website for more details and to reserve your tickets.

Album Review: Alissa Musto – What We Saw From the Piano Bar

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Alissa Musto

photo courtesy of Alissa Musto

Album Review of Alissa Musto: What We Saw From the Piano Bar

Alissa Musto is an impressive singer, songwriter, and pianist, a rising star whose music appeals to those with tastes ranging from jazz to pop to singer-songwriter fare. I first encountered Alissa back in January, and I reviewed one of her gigs here. But that performance was tailored specifically to the space in which she was performing. An album provides an artist the opportunity to paint with a broader brush than in a venue-targeted set list, to cover more ground. While still a cohesive whole, it’s able shine a light on a performer’s talent from many angles. And, indeed, that’s what Alissa’s What We Saw From the Piano Bar does. It spotlights her singing talent – the many shades of her gravel-driven, emotional vocals. It showcases her songwriting talent – her ability to choose precisely appropriate lyrics to paint images. It highlights Alissa’s sophisticated, thoughtful approach to the album’s youthful subject matter appropriate to the college-age period during which the songs were written and recorded. And it highlights her musicianship – the ivory-tickling skills that allow her to infuse a jazz foundation into an original popular music album that should appeal to music fans while impressing musicians.

Alissa Musto - What We Saw from the Piano Bar

image courtesy of Alissa Musto

Right from the start, Alissa hits you with a tuneful melody and full, gravelly vocal passion on the attention-grabbing “Black Flak.” The emotional intensity of this song draws you in, relaxes a bit to let you breathe, and then reels you back in. And, of course, the lyrics and song title require, for those of us unaware but with a bit of intellectual curiosity, a Google search that yields the poem that inspired the lyrics. It’s the ideal album-starter, since it’s a serious, powerful song that immediately establishes Alissa’s musical street-cred, affording her the latitude to easily mix in a little more fun in some of the subsequent songs. And it’s a catchy song that’s single material, too, likely to become some listeners’ favorite.

My personal favorites rotate among at least a half of this collection, as I’ve given this disc dozens of listens, and they vary by my mood. Seemingly autobiographical, Alissa’s tunes clearly draw upon personal experiences, and like any good singer-songwriter, she delivers them with such emotion it’s hard to tell where real-life experience gives way to creative license.

Alissa Musto

photo courtesy of Alissa Musto

Besides “Black Flak,” my other immediate favorite was “Brovada,” a swingy, swanky, attitude-filled, energetic piano bar-styled ditty that stylistically recalls for me just a hint of Piano Man-era Billy Joel. Just a hint, though. This song is all Alissa Musto. A modern combination of swagger, sophistication, and humility.

“Palace,” meanwhile, rises and falls, soaring with power and crashing like an ocean. It’s a terrific example of Alissa’s utilization of gravelly vocals to emotional effect. The subtly song-driving piano line, smooth strings (those are strings, right?), and Alissa’s engaging vocals on songs like “Palace,” though, can cause you to forget to listen to the lyrics. But, at least sometimes, try to remember to listen to the words because, whether reminiscent, thought-provoking, or something in-between, the lyrics are always worth listening to.

Though it seems like the entire album is softer paced, as the disc has a pleasant, warm feel, appropriate for an evening of contemplation in front of a roaring fire, there are ample tempo and energy changes. Following “Palace” with “Kids at the Bar” is one such energy spike. “Kids” is a fun, energetic tale of being young, ambitious… and out for a night at the bar. Though specifically written to Alissa’s own circumstance (or a creatively-adjusted version thereof), the theme should ring true across ambition, gender, and (unless you’ve given up on life altogether) age.

Alissa Musto

photo by Geoff Wilbur

Other songs draw upon different influences or offer new spins on some of the same. “Pictures” has a rich vocal jazz flavor and a lyric line that engages beginning-to-end, while “Freedom” showcases some more drawn-out, richer vocals mixed in with Alissa’s immediately-identifiable gravelly voice, and it’s highlighted by such a soaring power that you’d have to be detached if you don’t simultaneously feel life’s struggles and a surge of patriotism as Alissa explores co-existing forms of “freedom” in her lyrics.

Finally, of note, the album closes with “Temporary Dreams,” another of my favorites. It’s a bit mellow in spite of its interesting keywork and emotional vocals, guiding the album down musically for a pleasant, soft landing.

In the end, it’s clear after a few (dozen) listens to What We Saw From the Piano Bar that Alissa Musto is a young performer you absolutely owe it to yourself to get to know. She has a unique mix of talent and persona, a certain je ne sais quoi that makes her stand out in a musical crowd, and I’d love to one day see her command the audience while headlining a concert hall or arena tour.

Alissa Musto

photo courtesy of Alissa Musto

For now, though, take this opportunity discover her music, check out her latest album, and relish the ability to see her perform in the smaller, more intimate settings she’s currently playing. So yes, check her out initially because you’re curious about what the current, reigning Miss Massachusetts sounds like, if that’s what it takes to get your attention. Or because you wonder what became of New England’s homegrown America’s Most Talented Kids pianist this many years later if you caught Alissa’s age-nine TV performance “back in the day.” Really, regardless of why you give her that first listen, you’ll keep listening to this exceptional singer-songwriter-pianist.

At just the beginning of her career, I can only imagine how her sound will evolve. I am confident her songwriting and performing will evolve, as all talented, ambitious artists do throughout their careers. In any case, I look forward to enjoying hearing that evolution. And getting out to another live gig sometime soon.

If you’re in New England, be sure to find your way to one of Alissa’s performances. As noted on her website, she performs Thursdays 6:00-8:00 PM at the Renaissance Hotel Patriot Place in Foxboro, MA, Fridays 6:30-10:00 PM at Tavolo in Providence, RI, and Saturdays 8:00 PM-midnight at Jacob Wirth in Boston.

Postscript

I’d also urge you to learn about Alissa’s charity, Changing Keys, which helps provide pianos to schools and community centers.

Album Review: The Sweetest Condition – We Defy Oblivion

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The Sweetest Condition

photo courtesy of The Sweetest Condition

Album Review of The Sweetest Condition: We Defy Oblivion

I don’t have a lot of industrial synth-pop in my collection, but I’m not oblivious to originality and talent. Last spring, I reviewed The Sweetest Condition’s Edge of the World, gushing over its tight songwriting, tunefulness, power, and crossover appeal. Well, with We Defy Oblivion, Leslie Irene Benson and Jason Reed Milner have done it again.

The Sweetest Condition - We Defy Oblivion

image courtesy of The Sweetest Condition

There’s an interesting progression between albums. We Defy Oblivion, definitely dwells in a heavier neighborhood, with fewer forays toward the pop edge of The Sweetest Condition’s range. Again, though, the duo finds the monster hook in otherwise industrial pop. Leslie’s voice remains expressive and booming, when necessary, while tightly adhering to the songs’ requirements, resulting in genre-adhering music that can easily reach ears beyond its usual core audience.

Leslie Irene Benson

Jason Reed Milner; photo courtesy of The Sweetest Condition

In “Knock Us Down,” for example, the vocals are exceptionally staccato but their warmth keeps them from sounding inhuman, as can be the risk in this sort of musical cocktail. That particular song also sports a hypnotic synth rhythm and well-placed, not-too-simple drumbeat. The attention to detail includes thicker-and-thinner variations to the wall-of-synth theme buoyed by well-patterned song progressions. “Knock Us Down” is a microcosm of what The Sweetest Condition does best, which is why I mention it first, and it’s a catchy track, but it’s not necessarily even one of my favorites.

Leslie Irene Benson

Leslie Irene Benson; photo courtesy of The Sweetest Condition

For pure industrial synth, the album opens strong with “Deconstructing,” with a recurring pop rhythm (which usefully moves between different positions on the keys) before the song bursts forth into its chorus. This song, in its chorus, is one of the few locations on We Defy Oblivion in which I can draw the Madonna comparison to Leslie’s vocals; it was more common on the previous album. Again, not necessarily a typical vocal capability among industrial synth-pop singers, but it speaks to the breadth of The Sweetest Condition’s musical toolbox.

The Sweetest Condition

photo courtesy of The Sweetest Condition

Ah, but I promised you favorites. And the two cuts that reach farthest into my crossover-enjoying brain are “Faithless” and “Vices.” “Faithless” supports a hypnotically straightforward yet occasionally emotional vocal – and it’s the emotional infrequency that allows it to stand out so much – with a steady, catchy synth sequence.

“Vices,” meanwhile, utilizes another ear-catching, yet different, primary key sequence during the verses that explodes into the chorus. The music seems a bit edgy at times, building tension in the verses that releases powerfully during the chorus. It’s tied together with more emotional vocals, following the same pattern of tension and release. In this well-written, hooky song, the music itself is more suggestive than the lyrics.

The Sweetest Condition

photo courtesy of The Sweetest Condition

The most all-out energy on this album likely comes in “Keep Turning Me On,” a full-on, fast-tempo, potential dance club-pleaser that will leave the listener breathless after a single listen. I can only imagine the dance-floor carnage. The song before it, “Knock Us Down,” for which TSC has a video, is just as relentless, but insists at a more manageable medium-fast tempo.

Perhaps the poppiest, most mainstream track on We Defy Oblivion is “Depths Of Hell,” not that the lyrics would suggest a softening.

The Sweetest Condition

photo courtesy of The Sweetest Condition

A bit rougher but also memorable is the song “Nein Nein Nein.” The English-language verses suggest a rather rough evening to begin with, while the chorus implores “Ich will mehr, aber du sagst nein.” It’s supported by a stripped-down, rough-edged music bed befitting the lyrics.

Disc-ender “Unforgiven,” meanwhile, attempts to return the listener to a stable state. It’s a solid number, steadier than its immediate predecessor, and more traditionally, purely emotionally dark.

Once again, The Sweetest Condition delivers a solid collection of songs, a disc that will undoubtedly contain a few new favorites, if this is your genre. And an album that might surprise you if this isn’t. Personally, after how impressed I had been by Edge of the World, the bar for its follow-up was set exceptionally high, but with We Defy Oblivion Jason and Leslie have delivered an album that meets my unreasonably high expectations. It’s a helluva disc. I feel almost greedy for wondering what comes next.

Live Review: Ali Handal and Billy Crockett at Fox Run Concerts

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Ali Handal and Billy Crockett

Fox Run Concerts, Sudbury, MA

April 29, 2017

The Backstory

I was introduced to Ali Handal’s music more than two years ago by some mutual musician friends in Los Angeles. Since then, I’ve tried catch her Boston area live performances but have heretofore failed in that endeavor. Last night, however, she opened a double-bill that fit my preferred time and location – an early time slot in an outer western Boston suburb – so I was finally able to make it happen. Better yet, it was a house concert; these more intimate performances in front of smaller audiences are one of the great new(ish) trends in independent music that I’ve really enjoyed since returning to music journalism.

Last night, she opened for Billy Crockett, who, after reading his bio, seems like someone I should have already known about. He is a respected artist who has been around the music industry for years, but our paths had not yet previously crossed. With a quick listen to some of Billy’s YouTube clips in preparation for the event, I knew I could expect a stellar evening.

Ali Handal

Ali Handal; photo by Geoff Wilbur

The Opening Act: Ali Handal

Ali Handal opened her six-song set with strength. Granted, that’s no surprise, but her initial song of the evening, “You Get What You Settle For,” showcases the element of her voice I can best describe as an expressive roar. There’s perhaps a bit of a bluesy edge to the song, as well, with some cool funky guitar effects.

What’s so intriguing about Ali, though, is her range. In addition to an arena rock-worthy roar, strong and smooth enough yet artfully restrained befitting an acoustic singer-songwriter event like last night’s, she has a crisp, sweet, high end to her vocals as well, which she’s able to weave seamlessly into her songs, allowing them to showcase both power and sensitivity.

Halfway through her set, in fact, she displayed that sensitivity particularly well on “Distance,” with the sweeter vocal augmented by an interesting guitar-picking style. It’s that mix of power and sensitivity that make Ali a unique talent – well, that and the fact that her guitar skills are capable of providing varying soundbeds beneath her strong voice.

And there’s also her engaging stage presence, intimate but with a sense of humor, that draws her audience in. She closed her set, in fact, showcasing that sense of humor with “Thank God for Birth Control,” the prototypical anti-parenthood song, if there ever was one. And I’m not sure there ever was.

In all, it was a fun set by an exceptional talent. I’m glad I finally found a chance to see Ali Handal live, and I look forward to seeing her perform as a headliner, perhaps, sometime down the road. (Also in a club or arena setting where she can better unleash her rock chops, perhaps allowing me to hear her perform my current favorite Ali Handal tune, the more raucous, rawkin’ “But I Do,” live.)

Billy Crockett

Billy Crockett; photo by Geoff Wilbur

The Headliner: Billy Crockett

Billy Crockett’s music has been labeled folk/Americana, and I suppose it is, but there’s more to it than that. Rather than pigeonholing it, I hear music with the potential for significant crossover appeal beyond a single genre, one well-placed hit away from making Billy a household name. I hear a sort of timeless singer-songwriter vibe in Billy’s songs. It’s the sort of music you’d hear at festivals and occasionally on pop radio in the ’60s/’70s. Rich, storytelling songs driven by Billy’s powerful, emotionally expressive vocals.

In a house concert setting, Billy’s personability and storytelling ability carries over into his between-song banter, and, as a result, this evening at Fox Run Concerts had that sort of intimate, gathering-of-friends feeling. Of course, the on-stage “friend” on this evening was an exceptionally talented troubadour. And during his songs, the intensity with which Billy feels his music is written on his face, carried in his voice, and driven home by his full immersion in his performance.

Billy followed Ali’s set with his own short set before intermission, then returned for a longer set to close the evening. He kicked things off with “Feel It,” an emotion-driven acoustic singer-songwriter number. He followed it with the engaging “That’s Something,” displaying the richness and versatility of his strong voice, supporting the vocals with a ’60s/’70s folk-influenced strumming.

Over the course of the evening, my mind kept circling back, comparing Billy’s music to that you might find on a soundtrack. More precisely, a Broadway soundtrack. I’m not talking about those big production numbers. Rather, the emotion in his voice and progression of each song’s music and content are more akin to songs (and portions thereof) that share important plot points, in which an individual character tells backstory, explains his emotions about something, or moves the story forward. This past winter, I (finally) caught a production of Cabaret in Boston, and I think Billy’s songs, particularly the more haunting, introspective ones, remind me of some segments of that evening’s performance. Not exactly, though. The pace and tempo of Billy’s songs and distinct enunciation remind me a bit of Randy Newman, best known by the general public for his movie soundtrack work, though I wouldn’t compare Billy’s rich, distinctly original voice to Randy’s beyond that. More appropriately, I’d call them musical neighbors.

Billy continued with songs like “Record Player,” which appealed to the audience’s nostalgia, and “On Your Way,” a storytelling song with a bit of a dark tension to it, before intermission.

After the break, Billy returned for a full set. Highlights of the second set included “Ghosts,” a song whose warm, rich guitar song adds gravitas to the vocal; “Meant That,” with all its soulfulness; and the engaging, somewhat twisted tale of “Rabbit Hole.”

Billy closed his set with “Mavis,” his tribute to Mavis Staples, augmenting his trademark vocals with some dancing guitar strumming, and an archetypal storytelling singer-songwriter song, “Already Perfect,” recalling for me hints of Joshua Kadison or Bob Halligan, though with a Billy Crockett spin.

For his encore, Billy led a singalong of James Taylor’s “Sweet Baby James,” followed by his cover of “Native Boy,” dropping the curtain on an evening of warmth, camaraderie and song, wrapping up a double-bill perfectly suited to a house concert.

Billy Crockett and Ali Handal, of course, are clearly artists whose power and skill can (and often do) engage thousands as easily as dozens. Singers of that caliber in an intimate house concert can deliver a special evening, and, indeed, they did.

Looking Ahead

Though Ali doesn’t have any more gigs left on her latest East Coast swing, she does have a Saturday, May 20th house concert (with limited seating) scheduled in Reseda, California. For more information about this show and for future concert information as it is announced, see this link to her website.

Billy does have a few shows left on his East Coast tour. Per his website, you can see him at Club Passim in Cambridge, MA on Wednesday, May 3rd and at Rockwood Music Hall in New York on Monday, May 8th. Then he’ll be back in Texas, performing on the main stage at the Kerrville Folk Festival on Thursday, May 25th. Check this page for more information about those gigs and upcoming performances, as they’re added.

As for more detailed reviews of Ali and Billy – since live reviews tend to be more hastily written than album reviews, based on my notes from a single evening rather than dozens of listens – watch for my review of Billy’s current album Rabbit Hole in the coming months. Likewise, Ali will soon be releasing a new record soon; when that’s available, rest assured I’ll reach out to “her people” for a review copy.

Album Review: Odds Lane – Last Night on Cherokee

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Odds Lane

photo courtesy of Bongo Boy Records

Album Review of Odds Lane: Last Night on Cherokee (Bongo Boy Records)

Odds Lane delivers blues rock that leans heavily on the blues while mixing it with a raucous, rocking rawness. What keeps the songs interesting, though, is the infusion of other influences into the music, suggesting the musical palette of Doug Byrkit and Brian Zielie reaches well beyond the St. Louis-based duo’s stylistic base.

Whether it’s the slapping boogie rhythm of incessantly catchy “Falling Down” or the chunky beat driving “Take It Slow,” Odds Lane’s style feels old and familiar, like you’ve heard it before. For a reason. Because this is what the good stuff sounds like. Last Night on Cherokee is an album full of textbook oozing-the-blues blues-rock numbers. And it’s clearly the result of a pair of talented musicians/songwriters.

Odds Lane - Last Night on Cherokee

image courtesy of Bongo Boy Records

Last Night on Cherokee starts strong with the thumping, pulsing blues rocker “This is What It’s Like.” A perfect introduction. An ideal first single. Straight-ahead blues rock. Part George Thorogood, party Fabulous Thunderbirds. And maybe an alt-rock tinged jangle for additional character. Great way to kick off the disc.

There are catchy numbers throughout the album, but three have made it onto my oft-sampled (and shared via Twitter) phone-on-shuffle playlist. In addition to “This is What It’s Like” and “Take It Slow,” my other favorite from this disc is the traveling-song tempoed “Red & Yellow Clowns.” It’s catchy…  until you listen to the lyrics. Then it’s catchy and kind of creepy. Just don’t listen to it for the first time while walking somewhere dark and deserted. Trust me. But with the creative lyrics and song-long transition from Americana flavored laid-back number to jangly rhythmic tune to, finally, almost-frenetic blues rocker with crunchy guitar, it’s quite possibly my favorite song in this collection.

That’s not to suggest the rest of the disc isn’t solid. It’s a great listen beginning-to-end, touching all the blues-rock bases with style and substance. There’s a booming, thumping rhythm on “Dust to Dust” that’ll rattle the windows, the strong reggae influence behind “100 Miles,” a fair bit of psychedelic influence in “Too Close to the Sun” and “End of the Line,” the jangly rock core of “Bottom of the Sea,” and amazing, classic blues guitar riffs propelling solos that, while relatively brief, are the driving forces in the progression of songs like “Strange Love” and “The Lonely.” This is a blues rock – or, perhaps more appropriately, a rockin’ blues – album you’ll be glad to have in your collection for years to come, a disc that continues to get better across multiple listens as you discover its nuances. Often, they’re in-your-face nuances, but they’re nuances nonetheless.

I’m fully aboard Odds Lane’s rough-edged, broadly-influenced blues bandwagon. Don’t let it ramble too far down the road before you join me for a ride.

Looking Ahead

Check out the “shows” page of Odds Lane’s website to see where you can catch them live. They’ll be performing twice on Tuesday, April 18th at Firecracker in St. Louis – first at 11:00 AM, then again at 8:30 PM. They have May dates listed in St. Louis (May 4th and 10th), Clayton (May 5th), and New Offenberg (May 6th), Missouri and in Springfield, Illinois (May 18th). Again, check out the band’s website for more details on those and other upcoming gigs.