Author Archives: Geoff Wilbur

Live Review: New England Americana Festival 2025

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New England Americana Festival (closing number); photo by Geoff Wilbur

New England Americana Festival

Bellforge Arts Center

Medfield, MA

June 29, 2025

I arrived at the Bellforge Arts Center when the eighth band was on-stage, just past the halfway point of the fourteen-artist docket for this year’s New England Americana Festival. With two stages side by side, the festival kept things moving with barely a moment of dead air.

Though I didn’t catch their sets, the first seven acts of the day obviously contributed to the lively atmosphere I saw as I arrived, as the joyousness was in full swing by the event’s midpoint. Those first seven performers, worth mentioning in acknowledgement of their contributions to the day, were Sam Reid & the Riot Act, Comanchero, FauxMenco, Jimmy Ryan’s Wooden Leg, Zion Rodman, Molly Pinto Madigan, and Sunfisher.

Damian & the Displayers; photo by Geoff Wilbur

Damian & the Displayers

Damian & the Displayers were the band on-stage when I arrived, stirring the crowd with an energetic brand of Americana. Of course, by the time I got settled in and started taking notes, the festival had moved on to the next act.

Elisa Smith; photo by Geoff Wilbur

Elisa Smith
Start with song-driven Americana, add a fiddle and the accordant bit of country (not bluegrass) flavor, and you have the central core of Elisa Smith’s musical style, at least during this performance. A couple notable songs from the set were the catchy “Daddy Hates These Red Boots” and “Nashville Won’t Forget Me,” which has a very ’70s countryish flavor. I also noted that Elisa’s music hints sonically at Patsy Cline, in spots. Such variety, from more modernly raucous genre-bending (at least as much as is possible in duo form of acoustic guitar and violin) to Opry-worthy classic country, this Elisa Smith set hints at an artist with the talents and variety of skills to keep things interesting. I look forward to exploring her recordings.

Nate Perry & Ragged Company; photo by Geoff Wilbur

Nate Perry & Ragged Company

The modern, explosive, rockin’ country sound of Nate Perry & Ragged Company caused a bit of excitement to ripple through the crowd as they took the stage. Or, rather, as they started to play. To be fair, as a full, electric band following a couple of acoustic duos, the stage was set for an energy uplift. However, this band delivered such a tight, powerful set that, even without the primed runway, it would have taken the crowd’s energy airborne.

The band performed most of the songs from The Otherside of Everything, the exceptional EP I reviewed a couple months ago. In addition, there was an energetic, heartfelt performance of “Between the Lines,” plus the band’s most recent two post-EP singles, “Count on You” and “Tonight.” Notably, the band closed its set with “Preacher,” one of the tracks from the EP, a bluesy song that comes across with a bit of a classic rock jam-band blues rocker live, ending the band’s performance with an electric wail befitting an arena show.

Wayward Vine; photo by Geoff Wilbur

Wayward Vine

Wayward Vine was up next. The band delivered a great set of more laid-back and folkier, song-driven Americana, supporting its performance with a rich full-band sound. Notable was album-opener, “Dancing on Your Basement Floor.” I also noted “The Fall” had a more distinctive piano flavor than the previous songs, giving it its own unique, sort-of-’80s-ish, tuneful soft rock vibe. And “History” stood out for what I initially noted as a “devil violin part,” though it was, in fact, probably more dark and ominous. Still, even if not entirely demonic, quite cool. The rest of the songs had their own unique angles, as the song seemed to move much faster than possible during the allotted time-slot. “Narcissist’s Disguise,” “Implode,” and “Hannah” were the remaining songs performed. No disrespect, as I recall “Hannah” in particular brought the set to a nifty close; but I don’t have any notes beyond the song titles, so check ’em out for yourselves.

Other Brother Darryl; photo by Geoff Wilbur

Other Brother Darryl

First of all, if you’re too young to recognize the reference in this band’s name, find a couple episodes of Newhart to watch and get back to me. With that out of the way, Other Brother Darryl is a band whose music is, largely, very Americana with a twang. An especially popular local act – winners of the Country Artist of the Year category at the Boston Music Awards in 2024 – this band brought the goods at this year’s festival. You might also describe the band’s sound as old-school Americana with gravelly vocals. My final note from OBD’s set was about the band’s third song, a jangly tune with somewhat psychedelic organ-work and a jam-bandish vibe, extending a truly groovy feeling to the early evening.

Dirt Road Souls; photo by Geoff Wilbur

Dirt Road Souls

Next up were Dirt Road Souls, a rockin’ Americana three-piece. The first stand-up bass I caught during my portion of the festival, which is mostly notable just to point out that, while the entire festival was Americana music, different instrumentation with the bands’ line-ups in addition to the artists’ varying influences afforded the event plenty of musical variety. This, of course, would be an example of different instrumentation.

I took notes about a few of the interesting songs during the band’s set. “Bright light white heat” thumps along like a dive bar hillbilly rock twanger. The band’s uptempo cover of Willie Nelson’s “Whiskey River” did a good job of keeping things moving. And “Roar” was an energetically twangy, very cool crowd pleaser.

Kier Byrnes & the Kettle Burners; photo by Geoff Wilbur

Kier Byrnes & the Kettle Burners

Kier Byrnes & the Kettle Burners closed the festival with their own uniquely original, raucous style of Americana, as I noted in my review of the band’s Before the Fall EP a few weeks ago. The band opened its set with big-time energy with the song “Gypsy Moon.” “Don’t Let Perfect” followed, with a little more finesse and a beat that kind of chunks along. Next up was the more intensely fun “Living By the Second Hand,” followed by “Ballad of Springfield, Massachusetts (Pictures on Her Cellphone),” introduced by Kier simply as “Pictures,” with a very raucous alt/college rock energy appended to an otherwise very country/Americana rocker. “Trains off the Rails,” from the Before the Fall EP, well… you just had to know this one would play well live with its very almost polka/oompah rhythm propelling a song that just accelerates. “Quarter Life Crisis” followed, with its blues soul and raucous college rock energy (You know, I’m not sure how I failed to note the blues vibe in my review of the recording a few weeks ago.) Finally, the band closed its set with its most insanely original tune, “White Russian,” churning through its cool, original energy, from the accordion style, the guitar tempo, and the wild, increasingly out of control (seemingly, at least) vocal delivery, and then, of course the Russian folk energy that makes you want to kick-dance. It was a crowd-pleasing end to the final band’s set.

Of course, the evening wasn’t quite over. Kier and band invited the day’s other performers to join them on the stage for a great, rockalong/singalong rendition of “The Weight,” a not-uncommon song for situations like this, bringing the day’s festivities to a fun close.

This year’s New England Americana Festival was a fun, well-attended event at a great outdoor venue. Here’s hoping this year’s successful event leads to another similarly fun gathering for the region’s Americana community next year, too.

Single Review: Jann Klose – “When I’m With You”

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photo by Mikiodo; photo courtesy of Glass Onyon PR

Single Review of Jann Klose: “When I’m With You”

Talented rock singer-songwriter Jann Klose is back with another pleasant, catchy single, “When I’m With You.”

I’ve reviewed Jann’s music several times at the blog. He has a smooth voice with a tone and delivery style that’s uniquely his own. In other words, although the sound is familiar and comfortable, you know quickly it’s a Jann Klose song you’re listening to. His songwriting and performance style are in the radio-friendly, mid-tempo rock category, so his songs can easily appeal to a broad range of listeners, as well as being well-suited for soundtrack placement. And I’ve seen him perform live several times, so I can confirm that his live performances are engaging and charismatic, though it’s a comfortable charisma, which comes through in his recordings, too.

photo by Mikiodo; photo courtesy of Glass Onyon PR

Anyway, Jann’s newest single, “When I’m With You” is an energetic, playful, bright, sunshiny pop-rock song. Jann’s voice is light and bright, delivering phrases like “I can say what I need to say. I can do what I wanna do. I can be me when I’m with you.” That is indeed the song’s theme, and the lyrics weave intricately around the theme. A little into the back half of the song, the melody fades away, the music and vocals hush, bringing a well-timed bridge to change the pace. Lyrically, it brings along the slightest modicum of worry before resolving back into the cheerful beat and lyrics.

Simply put, this is another exceptionally-assembled, hit-caliber pop-rock number from the accomplished Jann Klose. It will be a favorite for existing fans of his music, who know that this serious examination of emotions isn’t Jann’s only specialty, as he tackles more weighty, serious topics, as well. Alternately, “When I’m With You” can easily serve as a gateway song for those who aren’t yet addicted to Jann’s seriously addictive music.

 

Single Review: Stonetrip – “Fame”

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photo courtesy of BJF Media

Single Review of Stonetrip: “Fame” (Golden Robot Records)

Melbourne rockers Stonetrip are Mark Ritchie (vocals), Mick Malusa (guitars), Sebastian Barahona (bass), Simon Croft (guitars), and Brett Spicer (drums). The band’s latest hard-rocking single, “Fame,” just dropped a few weeks ago. And from its opening lyrics, you immediately know it’s not a song celebrating “Fame.” The song begins, “You don’t want for anything that doesn’t give you fashion or fame. You showed me your true colors when you tainted me with your stain.” Well!

image courtesy of BJF Media

Musically, you may notice just a hint of “Sweet Emotion” in the opening riff, but that’s the last you’ll think of Aerosmith, at least as a comparison, though stylistically Stonetrip would be a good tour pairing with just about any classic rock act. After the opening riff, the song quickly evolves into a raucous, slightly Southern rock-seasoned, guitar-driven, classic hard rock number. There’s a sidewinding bluesy element in the guitarwork atop a strong, though not exactly straight-ahead, drum beat. No the drumming’s a lot more interesting than that, even as the rhythm section relentlessly drives the song forward. It’s also worth noting a late-song guitar solo that’ll appeal to fans of nifty axework. Throughout, the vocals are rough-hewn, pure old-school rock vocals, with a tunefulness just barely tempers the intensity. In all, this is just a damn good classic rock/metal-influenced hard rock song with just enough of a hook in the guitarwork and vocals to make it memorable.

Hard-rockers, this is a song you should hear, particularly if your tastes favor classic rock and/or classic Southern rock influences.

Single Review: Lars Behrenroth – “Deep Ocean”

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image courtesy of Deeper Shades Recordings

Single Review of Lars Behrenroth: “Deep Ocean” (Deeper Shades Recordings)

Every so often, so house music comes across my desk that’s exceptionally cool. Something that can be appreciated beyond just core house music fandom because it has elements than can appeal to more traditional music fans, as well. Lars Behrenroth‘s “Deep Ocean” is a song like that. It’s something you might hear at a mainstream dance club because of its insanely danceable rhythm. In fact, it reminds me a little of the dance music I used to hear when I’d visit my friends in New York in the early ’90s. The New York part of that statement is probably less important, since those visits were the only times I’d go to this particular type of club. The early ’90s bit, though, may be more relevant, though “Deep Ocean” has a more modern house music veneer.

Again, I don’t often review house music, but this has some familiar elements and musical nuances that help it appeal to a broader crowd – including me, for example – so you don’t need to be a hardcore fan of the genre to enjoy the song; click through and check it out.

More Information

Since the release of “Deep Ocean” in April, per the Deeper Shades of House bandcamp page, Lars has released “10mL” and “Untrue.” (Though “Untrue” lists an August 7th official release date, the song is available for download now.)

You can explore Lars’ radio show here at this link. You can also find a bio here on this page, which also lists upcoming DJ gigs. He’ll be in Los Angeles on July 6th, in Long Beach on July 12th, and in Villajoyosa, Spain on September 26th. Of course, check back at his website for additional details and updates.

 

Single Review: Alex Lahey – “Don’t Wanna Know” b/w “Rock & Roll Queen”

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Photo by Rachel Bennett; photo courtesy of Murmuration Music

Single Review of Alex Lahey: “Don’t Wanna Know” b/w “Rock & Roll Queen”

Alex Lahey is an Australian alt-rock singer-songwriter who has achieved some success in her home country – her three albums have peaked at 55 or higher on the Australian charts, with debut record I Love You Like a Brother reaching number 15. With that in mind, I’m not in Australia, so I hadn’t heard her music until I stumbled upon “Don’t Wanna Know,” which is so damn cool I just had to share it with you.

“Don’t Wanna Know”/”Rock & Roll Queen” cover art

“Don’t Wanna Know” is a catchy modern pop-rock, suggesting an artist who might share a double-bill with Jimmy Eat World. There’s an enthusiastic pop attitude, a clear pop-punk energy in the verses, and a hookily memorable delivery of the song’s chorus “Don’t wanna know, don’t wanna know, don’t wanna listen anymore.” There’s even a nifty pop-alt-rock breakdown serving as a late song bridge, where the instrumentation mostly pulls back, leaving just the drumbeat and, well, whatever the other instrument is that softly noodles its way through the bridge. Lahey’s vocals are pleasant, expressive, and varied, bringing energy to the song, with smooth edges befitting an artist who could reach a broad listenership, eschewing the edginess that can limit some alt-rock singers’ audience reach. And yeah, I like that song-closing guitar riff. A very alt-rock-live-show thing to do.

photo by Pooneh Ghana; photo courtesy of Murmuration Music

The “B side” of the single is a cover of The Subway’s “Rock & Roll Queen,” and while Lahey delivers this song in an edgier fashion than she deployed on the “A side,” it’s still a cleaner vocal more likely to appeal to a broader audience. In other words, since I like a little cleaner sound, I’d probably prefer this cover to the original, but it’s still a version that sticks true enough to the original that The Subway’s fans are likely to dig it, too. And, like the original, Lahey has a cool, distorted, rockin’ guitar solo in the late-song bridge. It’s a great number to pair with “Don’t Wanna Know,” offering up a fun, pop-alt-rockin’ two-fer.

The recording, available exclusively through Lahey’s bandcamp page, was released on March 30th to fundraise for a cool cause. All proceeds from the song’s release through the end of April were slated to be donated to Trans Lifeline, which, per the liner note, is “a grassroots hotline and non-profit organization offering direct emotional and financial support to trans people in crisis.”

Two cool songs for a good cause from a talented artist. If, like me, you hadn’t heard of Alex Lahey before, be sure to check her music out. Start with “Don’t Wanna Know” because if you’re at all inclined to like Alex’s style of music, it’ll be an instant favorite. And if it’s any indication of her songwriting talent – and that’s certainly what her accolades suggest – you (and I) are gonna like what we hear when we explore her back catalog. Of course, if you’re already an Alex Lahey fan but hadn’t known about this release, well, go check it out!

Album Review: Willie Nile – The Great Yellow Light

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image courtesy of Howlin’ Wuelf Media

Album Review of Willie Nile: The Great Yellow Light

My introduction to Willie Nile‘s music was a fortuitous accident. I was in New York, traveling for work, in the City with one day free in 1998, and one of my favorite artists, Lisa St. Ann, who I had reviewed and interviewed for Geoff Wilbur’s Renegade Newsletter, was playing at The Mercury Lounge. The other artist on the bill for the late afternoon show was Willie Nile. (I have always loved that you can catch amazing music from before dinner until early morning in the City. There is only one New York!) I mean, he’s Willie Nile – I’ve discovered what that means in the subsequent years – so obviously it was a great concert. A great double-bill. Interestingly, in part because I rarely seek out music because so much more is sent to me than I can possibly review, I haven’t had an opportunity to write about Willie again since wrote a short blurb of that show for GWRN… until now! And it’s been far too long. Before I share some more of my own words about Willie Nile, I’ll share one quote that I was able to find thanks to his promo material – New Yorker called Willie Nile “one of the most brilliant singer-songwriters of the past 30 years.” Well, they’re not wrong.

Willie’s newest album, The Great Yellow Light, his 21st long-playing (LP) recording, is brand spankin’ new – it was just released on June 20, 2025. No, I didn’t turn the review around this quickly. I’m always at least a couple months behind. In this case, I had an advance copy, so I’ve become very familiar with this record over dozens of listens, just as is generally the case with almost everything I review. I am, however, completely psyched to tell you how great this album is, and why you’ve gotta hear it! I know, that’s not exactly a spoiler alert, since I only review my favorite few percent of the music I receive (plus music some I proactively seek out) and, as a result, every review at the Blog is a recommendation.

Every song on this record is unique and original, so I’ll just share this thought – Willie Nile is a meticulous, versatile singer-songwriter and dynamic performer, and this shows throughout his latest album. So many of the songs on this record are energetic, catchy, guitar rock-era potential hits that’ll get you out of your seat. Now, let’s dive in; I’ll share my thoughts on my personal favorites.

photo by Cristina Arrigoni; photo courtesy of Howlin’ Wuelf Media

The record begins with “Wild Wild World,” an energetically raucous, fun rock ‘n roll number. Clever lyrics hint at social awareness, but Willie doesn’t go as deeply into the details as he does elsewhere on the record. Instead, it’s an entertaining song built upon a ’50s and ’60s style pre-psychedelic rock ‘n roll style but with more modern guitar rock energy and hint of lyrical nihilism.

“We Are, We Are” follows, with a Queen-reminiscent guitar opening that becomes an anthem with a singalongable chorus: “We’re young and strong – we are, we are! We’re righting wrongs – we are, we are!” This is the record’s “we can do it!” song, an important motivational listen for those wanting to tackles the social issues Nile mentions elsewhere on the album.

Mostly, though, this is simply a rock ‘n roll album with the occasional issue-driven song. For example, next up, “Electrify Me” is a straight-ahead raucous rocker that plugs a punk rock energy into a fun lyrics-and-guitars rock ‘n roll singer-songwriter song package, replete with a catchy rhythm and thumping beat.

“An Irish Goodbye” is a fun change-of-pace, obviously channeling a good Irish pub song stylistically a bit, but chock full of clever lyrical turns of phrase, channel phrases like “here’s fire in your whiskey, here’s mud in your eye” throughout the song. You’ll find yourself swaying along to the song, trying to memorize the words, and singing along with the parts you remember. Obviously, since the chorus repeats a few times, that’s what you learn first. The whole friggin’ song is fun, though. Also notable, it was recently dubbed “Coolest Song in the World This Week” per Little Steven’s Underground Garage. How cool is that?

You almost feel like the Irish swagger carries over into the vocal delivery on the title track, the steady, straight-ahead rock song “The Great Yellow Light.”

Willie picks up the energy again on rhythmic, almost hoedown-styled, bar-rocker “Tryin’ to Make a Livin’ in the U.S.A.” You know what you’re in for from the lyrics that kick off the first verse: “There’s nothing wrong with a hit record wouldn’t cure. The blues and the clap, yeah, they all can reoccur. But a song on the charts can do a lot of good. Why, I’d run buck-naked through my neighborhood.” It’s a fun romp about the difficulty of making a living as an artist – with some perhaps-exaggerated benefits of writing that elusive hit – that’ll be a quick favorite and leave a smile on your face.

“Fall On Me” is another straight-up mid-tempo rock song emotionally delivered that’ll connect with listeners going through rough times. The album then trends toward the hopeful – at least, that’s the way it plays for me – on “What Color Is Love,” a song that’ll leave a lump in your throat as you listen to Willie’s grizzled vocals, wondering if love will be recognizable.

The big protest song on the record is next, and it’s catchy as all. “Wake Up America” starts a little edgy, with a nervous tempo, including lyrics like “Wake up America. Red, white, and blue. You used to be great. What happened to you?” When the song reaches the first chorus, the music becomes richer and louder. Stylistically, it has a Mellencamp-ish feel. Or maybe, though stylistically quite different, it gives off that old Coca-Cola commercial vibe, with everyone holding hands singing “I’d like to teach the world to sing.” The song intensifies on the back half, with lyrics like “Wake up America. Do you know who I am? I’m one of the millions. Do you even give a damn. I’m the son of immigrants, I’m a daughter of slaves. I’m Native indigenous, stop digging my grave.” It’s a really hopeful song with a positive energy, despite lyrics that sometimes point out faults. The closing lyrics of “open your eyes, open your eyes” pleadingly offer the solution.

The song closes with a soaring, flowing number, “Washington’s Day,” that also touches upon social issues but stylistically feels uplifting, leaving the listener with a good, warm feeling after a listen to the complete record. And it’s a helluva record! An instant rock ‘n roll classic from longtime critically acclaimed rock troubadour Willie Nile.

I can’t believe it’s taken me this long into my writing career to review a Willie Nile record. Well, if you’re not familiar with him – or if you know of him but don’t yet own one of his records – The Great Yellow Light would be a great place to start. It’s a helluva disc! And if you’re already familiar with Willie Nile – which, I’m pretty sure, includes everyone within a 100 mile radius of New York, plus a whole lot of lucky people elsewhere – you just need to know this: Willie has a new album out. If you haven’t yet, be sure to get a copy of The Great Yellow Light. It won’t surprise you at all that this record kicks ass!

Looking Ahead

I feel lucky to have caught Willie Nile live once, but that was back in the 20th century, so I probably need to see him perform again. The “Shows” page of his website lists a smattering of shows on the east coast, in the middle of the country (MO, OK, TX), and one in Vancouver, BC, but nothing particularly close to me. I’ll keep an eye out for additions. And if you don’t spot anything near you at the moment, I’d suggest checking back periodically, too.

EP Review: Falsely Accused – Unbroken

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photo courtesy of Falsely Accused via Knyvet

EP Review of Falsely Accused: Unbroken

Unbroken is Falsely Accused‘s follow-up to 2021’s Compression, a sequel long in the making for Matt Tavano (lead vocals, bass), Mark Young (guitar, backup vocals), and Mike Azzolino (drums, percussion, backup vocals). Says Tavano, “It’s been three years since our last record and to say we’re excited to get our new music out into the world would be an understatement. We worked hard tocreate a record with new ideas, new sounds and concepts, not just rehashing the same sound from Compression. As we evolve, so must the music.”

Now, I haven’t listened to Compression, but on Unbroken, Falsely Accused’s music is distorted, guitar-driven, heavy rock with a wall of noise well-suited to fill medium-sized barrooms and small clubs with an electric energy, the kind that leaves gig attendees buzzing for hours afterward, looking forward to the next live performance.

artwork by Matt Tavano; image courtesy of Falsely Accused via Knyvet

Opening cut “A Drink Before the War” was the first single, released last fall in advance of the EP, and it’s the track with the biggest hook, most likely to be radio fodder on an alt-leaning hard rock station – or a heavy-leaning alt-rock station. If listeners are going to choose just one song to add to a multi-genre playlist, this is probably the song with the broadest appeal. With varied vocals and chord progressions that lead the listener from point to point, it’s a well-constructed, memorable number.

For a little variety, there’s kind of a western vibe – open-spaces, though not country – in the tone of song number four, “Drifting.” It’s a little bit of a jam-band type of song, so the structure may not carry the mainstream appeal that the sound does. However, if you’re attending a gig with someone who’s not as into heavy music, “Drifting” is about song for which they’re most likely to comment, “Oh, I like this one.”

The remaining three songs on the EP are less likely to be singled out by casual listeners but are probably more important to establishing Falsely Accused’s heavy, distorted, wall-of-sound persona, the type that provides the overall vibe of a beginning-to-end listen and the aura of a memorable, cohesive live performance.

“Castaway” has a heavy, rhythmic, steady but slow, foreboding, heavy rock tempo and a little ragged, near-psychedelic late-song guitar bridge. This is a song perfectly-suited to an electric, audience-enthralling live performance, particularly the new-rock axe noodling that closes the song.

“Witches” is a dense, heavy number that recalls ’70s classic heavy metal, though again some of the axework, while referencing that time period, utilizes somewhat more modern garage rock riff patterns.

And EP-closing song “Soul Crush” is a seven-plus minute, long-form epic rock ‘n roll number that is perhaps the most ’70s-recollecting AOR song on the EP, structurally, at least, and perhaps also in the distorted elements of the guitarwork. While the guitar runs are timeless, some of the rhythms deployed that hold the song together are more modern heavy rock-flavored. Still, black light posters and lava lamps wouldn’t be entirely out of place when listening to the collection’s closing number, particularly if you’re sitting in a bean bag. It’s a cool, updated, ode to rock history, while still fitting well into the staticky wall-of-noise aura Falsely Accused has cultivated on Unbroken.

Looking Ahead

In case you hadn’t noticed, in addition to “check out this EP,” my other recommendation is “get thee to a live show”! Well, the “Shows” page of the band’s website doesn’t list any upcoming performances, but I’m gonna keep checking back. I’ll also follow the band’s socials to remain abreast of upcoming events. You’ll find all of those links – and others – on the band’s linktree.

Single Review: Skipping Stone – “Grace”

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image courtesy of Spaur Music PR

Single Review of Skipping Stone: “Grace”

Louisville-based Skipping Stone delivers a memorable soaring, heavy alt-rock tune in “Grace.” The power is evident, even if it’s mostly restrained – barely, at times – remaining largely-controlled in deference to the song’s steady, almost inevitable/unstoppable beat.

photo courtesy of Spaur Music PR

The band’s lineup for this song is Chris Bindner (vocals, keys), Joshay Wright (drums), Thomas Hicks (guitar, vocals), and Kelly Hood (guitar), with Jordan Bailey (bass) making a guest appearance.

Back to the song, though, something about the opening of “Grace” recalls for me “Billowy and Broken,” a powerful Lucid Fly rock song. However, while Lucid Fly bends its dark, foreboding tone toward heavy-prog, Skipping Stone’s “Grace” branches out from its contemplative, steady, dark beat toward the heavy rock anthem direction. “Grace”‘s slow tempo allows it to slowly build to power, as it most certainly does, extending the build for most of the song’s five-plus minutes of runtime. As the song reaches its final stages, a little heavy metal-ish growl creeps into the vocals, adding to the power structure in the final ramp-up of “Grace.” Beginning to end, the song has an arena rock feel, big enough to fill a stadium… with angst, I suppose, but it’d be a stadium full of angst.

If you like powerful, slow-build metal (or power rock), you need to hear Skipping Stone’s “Grace.”

 

Album Review: Greg Nagy – The Real You

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photo by Marilyn Stringer; photo courtesy of Greg Nagy

Album Review of Greg Nagy: The Real You

If you’ve been reading this blog for a long while – or if you live in Michigan – you know Greg Nagy is one of Michigan’s best bluesmen. (I reviewed his album Stranded in 2016.) Well, I hate to spoil the suspense in the first paragraph, but he’s only getting better, if that’s possible.

Greg Nagy’s voice and guitarwork form a style that’s uniquely his own. It’s a familiar mix of old-school blues, soul, smoother R&B, and even at times a hint of a modern big band-inspired pop sound, all in an identifiably unique combination. You know, probably a lot of that is the vocals – smooth but not too smooth, rich but not particularly deep, deploying phrasing that can be emotionally piercing, and a just slightly uniquely original tone. Sure, at his musical core, Nagy’s a bluesman’s bluesman, but the other elements in his music open it up to potentially appeal to a broad audience, obviously on some songs more than others.

The Real You is Nagy’s fourth album. It contains a mix of blues classics, Nagy originals, and inspired covers with arrangements and delivery styles that help Nagy make them all his own.

image courtesy of Greg Nagy

The album kicks off with a Nagy original, the title track, a smooth, soft blues ballad. Or near-ballad, at least. The horns, which add both depth and emphasis, are sometimes more enthusiastic than in a typical ballad, though they’re also responsible for moments in this song that hint at a big band influence – very cool. But yeah, you can slow dance to it, so it’s a ballad. Maybe at a wedding reception, for example, with lyrics like “I want to know the real you. I want to share the real me, too,” and especially with the uplifting vocal delivery Nagy employs on the song.

Track number two is one of the two old-school blues covers on the record. For “Mississippi Blues,” a modestly-paced number, Nagy relies on the grittier edge of his vocal range, pulling the anguish out of the lyric. He’s joined on this song by Ray Goodman on dobro and Peter Mudcat Ruth on harmonica. Indeed, the harp plays an important part in the feel of the song, particularly riffing off of the vocal line.

Jumping ahead to track five, the other old-school blues cover – and actually, it’s an old-school soul number – is “Come to Poppa.” Most familiar to those of us with Michigan roots as a Bob Seger tune, I investigated the song’s variants and discovered that Nagy’s rendition is a much closer match to Ann Peebles’ original recording of it, “Come to Mama.” Of course, Nagy’s rendition is more modernized, and the bass beat thumps a bit more as a good blues-rock number naturally would, though the pace is more that of a mid-tempo blues crooner.

Another cover worth noting is the very theater stage-styled, slow-blues-drenched rendition of the Beatles’ “Something.” It’s performed as a duet with Detroit’s Queen of the Blues, Thornetta Davis (whose Honest Woman album was reviewed here at the Blog by Detroit-based contributor Eric Harabadian, back in 2018). Before I return to Nagy’s originals, I want to comment on the two remaining covers, “Crazy” and “The Joke.”

Personally, while I absolutely love the Gnarls Barkley original, I think Nagy’s version of “Crazy” is an upgrade, at least for those of us with a particular fondness for mainstream-leaning blues and blues-rock. With a warm vocal tone in the verses, pleading vocal edge in the chorus, and varied phrasing, punching the right syllables while delivering some of the lighter lyrics wryly, Nagy pitches a perfect game with his vocals. Meanwhile, the music bed is rich and full, almost orchestral at times, with organ carrying some of its bridges and verses, delivering a memorable blues-infused, soft-rocking result that’s my pick for most likely to appeal to mainstream radio listeners.

photo by Wahwah Whitus; photo courtesy of Greg Nagy

If I’m wrong about that statement, it’s because the closing number on the record, “The Joke,” has broad appeal, too. It’s a brave and welcome choice for Nagy, putting his own spin on the Brandi Carlisle number that represents those who don’t fit the molds of modern society. It’s a song for the marginalized, the misfits, the underrepresented. The arrangement is rich and powerful, getting fuller and fueled by guitarwork that builds to power in key emotional sections. The arrangement – and Nagy’s vocal – will give you chills and leave a lump in your throat when he reaches the climactic vocal, “I have been to the movie. I’ve seen how it ends. The joke’s on them.” I’d still suggest “Crazy” as the more likely radio hit because “The Joke” is 5-and-a-half minutes long, and the opening is a little slow – effectively so, but we’re talking radio-friendliness here, not just quality. This is, however, almost certainly the most powerful song on this record. A great way to end the album.

However, if you’re a blues fan, you’re maybe more likely to like one of Nagy’s originals. In particular, “You Were Never Mine,” featuring top-shelf bluesman Larry McCray on guitar. And there are some filthy guitar riffs, indeed, on this tune, at times wailing in accompaniment with the smoothly-sung pain in Nagy’s vocals, particularly during the title lyric.

“What Took Your Love” comes later in the disc but has a mid-tempo blues-rock vibe, perhaps a touch more blues-rock than blues when compared with “You Were Never Mine,” at least in the guitar riffs.

“Where Do We,” with Bobby Murray handling the lead axework, is a straight-ahead, modestly-tempoed, thump-along, rockin’ blues number, for which Nagy utilizes his deeper, rougher-hewn, lean-into-the-blues vocal style.

Ballad “All I Need (Is You)” is lightly-instrumented, with a raw, live, man-and-his-guitar singer-songwriter feel, giving it an emotional honesty. It’s actually the record’s penultimate track, with its uncomplicated production flowing nicely into the soft, emotional opening of “The Joke.”

Finally, if you dig instrumental blues, as I do – it’s always nice to have one really good one on a blues record – “Cornell Ala King” is a nifty vocal-less entry. I found a recording of this song from 2010 on YouTube, so Nagy has been playing (and perfecting) this song for a while, and it shows! Guitar, organ, and horns all get their own opportunities to drive the song forward, resulting in an entertaining number with structured dynamics that would have made vocals unnecessary and redundant. Just kick back and enjoy, though the song isn’t particularly long, so it’s over almost before you know it.

In total, The Real You is an instant classic from the reliably exceptional Greg Nagy. It contains five potential crossover hits for mainstream music fans – two of the record’s five covers (“Crazy” and “The Joke”) and three of its six originals (“The Real You,” “You Were Never Mine,” and “What Took Your Love From Me”). At the same time, edging beyond the mainstream, “Where Do We” is likely to be a new favorite among blues and blues-rock fans. And the rest of the disc is a great listen, as well, even if I’m not predicting strong radio interest in the remaining tracks; they’re excellent songs that are ideal fits for the album. If you’re a blues fan, you should be waiting in line outside the record store on the release date (metaphorically) for each new Greg Nagy release. Rock and mainstream music fans, also, though, should give this record a listen, as there’s something here for everyone.

Looking Ahead

Greg has plenty of upcoming shows listed on the “Gigs” page of his website. All of his listed dates at the moment are from coast to coast in Michigan, except for one. On July 5th, my California readers can catch the Greg Nagy Band at the Sebastiani Theater in Sonoma. This is a rare opportunity, so get yourselves to wine country and don’t miss it!

Single Review: Michela Musolino – “Lina Lina”

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image courtesy of Dog Ranch Music PR

Single Review of Michela Musolino: “Lina Lina”

Sicilian-American Singer Michela Musolino, along with Sicily Folk Orchestra, a “concept band” of Sicilian folk artists I Beddi, released this recording of an ancient Mediterranean folk song. “Lina Lina” is an ancient chant tuna fisherman sung while hauling in their nets during the spring tuna slaughter, called the mattanza.

Of course, I’m not familiar with Sicilian folk music (except for the tiny bit I’ve just learned today), but the accordion that provides the rhythm for the full 3 minutes and 15 seconds is joyful and will get you bouncing and swaying in your seat. Musolino’s voice is tuneful and piercing, as she seems to specialize in traditional music. The supporting band provides excellent harmonies and echoing vocals. I know I don’t often write about non-English-language traditional-based folk music, but I wanted to share this song because it’s fun and catchy. I’ve heard enough traditional folk music from around the world to know this performance is exceptional.

If you’re a fan of traditional European folk-inspired music, this is a well-performed and produced song from top-flight musicians that’ll likely appeal to you. I’m also enough of a fan of mainstream pop-rock and surrounding music style to know when something from outside that mainstream might be an appeal to fans of mainstream music. If you’re a pop/rock/English-language mainstream folk music fan and want to add something different to your playlist for variety, this recording of “Lina Lina” is likely to be a great fit for you, too.