Author Archives: Geoff Wilbur

Live Review: Lindsey Luff and Milow at The Mercury Lounge

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Lindsey Luff and Milow

The Mercury Lounge, New York, NY

November 9, 2016

I didn’t get out to a live show on Tuesday night. Instead, I spent the evening with some of the publicists I’ve known since the very beginning of my writing career. But I was back out at the clubs again last night for the early show at The Mercury Lounge, where Brooklyn-based Lindsey Luff opened for LA-based Belgian singer Milow.

It was my first visit to The Mercury Lounge in 18 years; in 1998, I made it to a Lisa St. Ann–Willie Nile performance there. (Not that I’ve been avoiding this great venue; I’ve only been to a few shows in New York since then.) In any case, the room feels as welcoming as it did nearly two decades ago.

Lindsey Luff

photo by Geoff Wilbur

The Opener: Lindsey Luff

I was impressed immediately as singer-songwriter Lindsey Luff kicked things off in a slow rockin’ Americana-ish number featuring a vocal that’s more accurately described as a power wail which, in this case, seems to carry a bit of Irish folk song anguish. In the second song of the night, in fact, her plea of “run away with me” is very convincing.

Lindsey Luff

photo by Geoff Wilbur

Lindsey’s songs throughout her set were very consistent, with her haunting, insistent, often plaintive voice maintaining enough edge (with perhaps a hint of gravellyness) to set that energetically relaxed tone that keeps the audience engaged.

“What I Wouldn’t Do” pairs Lindsey’s convincing vocals with a wicked-catchy simple bass hook, while “Anything At All” sports a more brooding vocal supplying the soft power.

Lindsey Luff

photo by Geoff Wilbur

Lindsey’s edgy crooning vocal is featured on the mellow “Wishing,” a great song to get the audience swaying. “Remind Me” is worth noting, too, with guitar, vocals and, notably, drums building to power; here, also, was particularly effective use of emotional, cracking vocals.

Lindsey closed the set with a rousing, arena-swaying audience singalong number, sporting determination in her vocals and featuring a nice atmospheric guitar solo. Perfect way to leave the audience wanting more.

Milow

photo by Geoff Wilbur

The Headliner: Milow

As Milow’s set time approached, the crowd noticeably built, as an enthusiastic chunk of New York’s Belgian community came out in force to show its support.

Milow’s rich, full, emotional, deep vocals provide his catchy songs a smooth vibe. I guess he’d be best described as a singer-songwriter, and he spices his music up with a playful streak. In fact, I often found myself thinking his songs were a bit of James Taylor-meets-Barenaked Ladies, if you can imagine that. And that carries over into his stage presence, as he’s great at connecting with the crowd during his between-song bits. By the end of the first song, even, it was obvious Milow is a headliner-quality performer.

His second song made a connection with a good chunk of this New York crowd on this given night, “(Gonna Move to) Canada.” Of course, in the song “Canada,” he’s off to meet Neil Young. The track features great keyboard work and guitar strumming and, wow, what a voice! Plus, by the end of the song, it’s the first introduction to the playfulness in some of Milow’s lyrics, not unlike that band I mentioned earlier, whose sound I hear a bit of in this (in part due to tempo and phrasing) and who he could, in fact, meet in Canada, Barenaked Ladies.

Milow

photo by Geoff Wilbur

With so many good songs during Milow’s set, it’s hard to know what to highlihgt. “No No No” would probably be one of my favorites; I love the way the power builds in spots.

Cheerful “Happiness” proved to be a crowd favorite. It’s a rather odd, unusual love song, quite silly, with a twisted sense of humor shared broadly by his audience.

I was very fond of “The Fast Lane,” a hit single-quality song that impressed me with its mellow, smooth, and rich vocal. “We Must Be Crazy,” meanwhile, is one of his many lyrically-interesting tunes, as he doesn’t always make the most obvious choices in his lyrics, and that’s a good thing.

“Swimming Against the Tide” again displayed his hit songwriting skills, as this catchy number again caused me to invoke a combo of Taylor and the Ladies for comparison.

A cover of “Blue Skies” showcased Milow’s phrasing skills, as he really drew out some syllables so they could pop, making a very old song new again.

Milow

photo by Geoff Wilbur

“You Don’t Know,” with its cool, energetic medium tempo, proved another crowd singalong favorite.

Milow promised he’d bring the mood back up after “You’re Still Alive in My Head,” a sensitive, Simon and Garfunkel-ish number with a notably cool guitar-pickin’ bridge.

He delivered with “Howling at the Moon.” This uptempo, fun song about traveling and the changing seasons is perhaps my favorite of Milow’s singalong songs, as it offers those who sing along a chance to, in fact, howl along. And everyone needs a good howl.

For his encore, Milow sang his cover of “Starboy,” which he just Shazammed. Dude really made it his own. It was a terrific end to a great concert.

Milow is quite obviously a headlining performer. And I had a terrific time; it’s always fun to discover a new artist at a show alongside a throng of his enthusiastic, adoring fans.

Looking Ahead

Well, I plan to be in Brooklyn tonight, catching New Myths at Brooklyn Bazaar. It’s one of the two dates I had placed on my calendar “in ink” when originally planning this New York jaunt; I look forward to hearing them live.

Lindsey Luff doesn’t have any upcoming gigs listed on her website, but keep an eye out on her “shows” page for them.

Milow is heading to Canada for three shows this week. You can catch him tonight, November 10, at Imperial Bell in Quebec City; tomorrow, Friday, November 11, at the Corona Theatre in Montreal; and Saturday, November 12, at the Drake Hotel in Toronto. He’ll be on tour in Europe soon, too, kicking off in Luxembourg on November 30th and wrapping up in Leuven, Belgium, on December 18th. In between, he’ll perform in Groningen, Diest, Cologne, Utrecht, Hanover, Wagrain, Vienna, Prague, Lausanne, Nijmegin, and Antwerpen. See his “tour” page for dates and times of these shows, plus for other future tour dates in the future.

Live Review: Jess Labus at Rockwood Music Hall

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Jess Labus

photo by Geoff Wilbur

Jess Labus

Rockwood Music Hall, New York, NY

November 7, 2016

The Backstory

Yes, I’m in New York this week. On Sunday night, my wife and I saw an exceptional show on Broadway, Cirque du Soleil: Paramour. And last night, I was on the Lower East Side catching some great, local live music, the first of several sets I’ll be seeing — and reviewing — this week. In this case, I spent a bit of time sifting through performers on Monday’s night’s docket around the City, so I was not at all surprised to be entertained by Jess Labus. [Ed. Note: Since this review posted, Jess is now Jes Justice.]

I arrived just a few minutes before the set time, so I only heard one song of the previous artist, whose name I didn’t seek out, but who sang a stirring rendition of Simon & Garfunkel’s “America.” And then it was time for Jess to take the stage.

Jess Labus

photo by Geoff Wilbur

The Concert

Jess Labus delivered a strong vocal performance at Rockwood Music Hall’s Stage 2 last night. Her individual songs called heavily upon a wide variety of musical styles but all centered around her own brand of pop-rock, driven by vocal power in much the same way Pat Benatar’s songs are. But the way her voice can power a song is the basis for the Benatar comparison. There was a very different band whose sound Jess and her band continually reminded me of, driven as much by the songwriting as by Jess’ voice. Unfortunately, the name of that band — a major, successful mid-tempo rock band from the last decade — escapes me. That’s the downside of writing a live review; I don’t have weeks to try to remember, as I would for an album review.

Jess Labus

photo by Geoff Wilbur

Jess kicked the set off solo with her acoustic guitar, singing “Levi,” sporting the most expressive version of her versatile voice, cracking for emotional effect in the right spots. The song’s engaging texture was a result of Jess’ voice really dancing around the melody, moving around within the pocket. In the end, there was a bit of a rockin’ country-folk vibe, in part because it was a story-song, though the way she delivered it gave it more of a Gavin DeGraw (“I Don’t Want to Be”) feel.

The entire band joined Jess for the rest of the set, beginning with “California,” a mid-tempo number whose big sound came from the hooky guitar line and the keys’ rich organ sound, which supported Jess’ vocal roars. Indeed, as nice as the solo acoustic opener was, Jess’ talented, equally versatile supporting cast was the key to the breadth and depth of the set.

Jess Labus

photo by Geoff Wilbur

Next up was “Downtown,” a funky rockin’ vocal track that would fall in the power pop-rock category. It was followed by “I’ll Just Be a Prostitute,” whose bluesy vocal and guitar riff were so catchy they’d almost ensure that, by the end of a second or third listen, if it was on the radio or an album I owned, I’d be singing along. (I had started by the end of the song last night, the first time I heard it.)

“Break Me” featured a powerful, strong vocal, though the song’s engine was really its rhythm. “Come Over,” next, had kind of a funky R&B rhythm supporting Jess’ more soulfully delivered vocal. Next up was “Judgment Day,” a high-energy rocker with power guitars; this song did, in fact, feature a short, blistering axe solo.

Jess closed her set with “Quietly,” which she delivered as a bit of a torch song, continuing to showcase her vocal versatility. And when vocals are delivered with a bluesy, down-home, country edge like this, you call it crooning.

Jess Labus

photo by Geoff Wilbur

After the engaging set, Jess treated the audience to an unveiling of her new, not-yet-released video for the song “Judgment Day,” a tale of gin — or, perhaps, wine — and salvation.

An energetic performance from a powerful singer with a talented band is a great way to kick off a week of live shows. And, indeed, this performance has left me looking forward to hearing more of Jess Labus’ music.

Looking Ahead

Jess’ website has upcoming shows listed in Manchester, NH on December 2nd, in both Bennington and Barre, VT on December 3rd, and in Brooklyn, NY on December 8th. Check out the “tour” page of her website for additional information and new dates as they’re added.

Album Review: Adam Lee – Sincerely, Me

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Adam Lee

photo by Paul Andrews; photo courtesy of Adam Lee

Album Review of Adam Lee: Sincerely, Me

My first impression of Adam Lee is that of a rockabilly Chris Isaak with a little Billy Joe Armstrong-meets-Elvis Presley thrown in for good measure.

And that’s not a bad starting point. Adam’s voice is smooth yet has a rough edge that seems to suggest he’s always dangerously close to flying completely off the rails. He inhabits a raucous corner of the Americana genre. The former frontman of Kansas City’s Adam Lee & the Dead Horse Sound Company, Adam landed a 2015 Ameripolitan Award nomination in the Honky Tonk Group category. Sincerely, Me is his solo album debut.

Adam Lee - Sincerely, Me

image courtesy of Adam Lee

The song that most often pops into my head from this album is “What I Need,” a rattling, energetic, number replete with clever hooks that features ragtime-reminiscent piano… and whose closing lyrics were purloined for the album title.

Also particularly memorable is “Patrick” is an Irish-style folk song with the requisite odd storyline. “When She Danced,” on the other hand, is more like an Irish hymn, with the absolute flip side of what seems like perhaps the same vocal edge.

Adam’s Western-inspired “Misery” mixes a haunting twang with a slow build that never quite explodes, creating an enjoyably artistic tension.

Adam Lee

photo by Paul Andrews; photo courtesy of Adam Lee

Another favorite on this varied disc include the album-opener, not-as-hopeful-as-it-seems “Good Days,” which features the full emotional breadth of Adam’s rough voice and singing style, itself quite conspicuously unique; while the vocals are enunciated as if spoken, they’re simultaneously tunefully sung. And, as I mentioned earlier, smoothly rough and ragged. And the more piano-motored “Son of a Gun,” which uses horns and tempo changes to provide it with an oddly hypnotic energy.

Finally, worth noting, I do love some of the lyrics in “Stray Cat,” including gems like “I’ve found the less you say/The more interested they are/Yeah, a man who talks too much is a man who starves.”

In summary, this disc is a harshly pleasant, boisterous, rockabilly-infused alt-country disc with great depth and style. And Adam Lee provides the sort of memorable vocal that almost sounds as if he sings with an Elvis-inspired quivering lip. The dude’s got style.

Looking Ahead

Per the tour page on Adam’s website, he’ll be at the Bremen Cafe in Milwaukee, WI on Wednesday, November 16; at GLM Live in Lafayette, IN on Friday, November 18; and at the Six Strings Club in Bloomington, IL on Sunday, November 20th.

EP Review: Cody Webb – Cody Webb

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Cody Webb

photo courtesy of Miles High Productions

Cody Webb – Cody Webb

EP Review of Cody Webb: Cody Webb

Cody Webb EP cover

artwork courtesy of Miles High Productions

The voice, the song style, the delivery… Cody Webb sounds like the new breed of country stars. His vocal style is right in line with Florida Georgia Line on some tunes, perhaps a hint of Jason Aldean-meets-Luke Bryan on others.

The EP opens with a trickling guitar hook and a musical build-up that captures the listener’s attention, a very promising introduction to “More Than a Little.” This song shows off the way Cody blends his ability to hit tuneful notes with his authentic twang. It proceeds at a mid-tempo pace with a steady, very-country-music rhythm.

Cody Webb

photo courtesy of Miles High Productions

“She Ain’t Right” and “My My My Girl” are the tunes that most seem like they could be Florida Georgia Line hits. The vocal twang is cranked up a bit here – Cody’s use of “cain’t” in “She Ain’t Right” is about as country as it gets – and there’s a bit of a funky vocal rhythm in spots. As you can tell just from the title, “She Ain’t Right” is sung with a bit of a smirk and a sense of fun; this’ll be a radio or concert favorite. “My My My Girl,” meanwhile, is a good ol’ laid-back new-style country tune.

“Love Me Like I’m Gone” adds a little twang while also hitting Cody’s mid-tempo, pulsing rhythm-driven country sweet spot.

He then slows it down, putting the full depth and warmth of his voice into a corny, heartstring-tugging ballad, “Nothin’ On You.”

Cody Webb

photo courtesy of Miles High Productions

Of course, Cody returns to his trademark medium-speed bailiwick with “Better At Night,” a good-time party song the closes his eponymous EP with a smile.

Looking Ahead

There are several upcoming tour dates listed on Cody’s website. On November 11th, he’ll be at the Wild Wing Cafe in Charlotte, NC. On November 12th, he’ll be at the Wild Wing Cafe in Greenville, SC. On November 16th, he’ll be at The Country in Nashville, TN. And on November 23rd, he’ll be at the Country Club Dance Hall and Saloon in Augusta, GA. Cody heads out to California in December. His December 7th gig in at The Saddle Rack in Fremont, CA is followed by two San Diego gigs – December 9th at Moonshine Beach and December 10th at Moonshine Flatts. Check out Cody’s website for already-scheduled 2017 shows and for more gigs to be added.

Album Review: Gonzalo Bergara – Zalo’s Blues

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Gonzalo Bergara

photo courtesy of Frank Roszak Promotions

Gonzalo Bergara – Zalo’s Blues

Album Review of Gonzalo Bergara: Zalo’s Blues

Gypsy jazz guitarist Gonzalo Bergara‘s new album, Zalo’s Blues, showcases a variety of musical influences, all centered around the blues. This isn’t a typical blues album. No, it’s Zalo’s Blues. It walks the fine line between blues-based rock and rockin’ blues. With other influences, most obviously the occasional jazz infusion. Of course, if Gonzalo’s bio hadn’t mentioned his gypsy jazz pedigree, I’d’ve dubbed him a blues-rock guitar wizard with broad-based influences.

Gonzalo is joined on this disc by Mariano D’Andrea (bass) and Maximiliano Bergara (drums), except for one track, “Woosh,” on which he’s joined by bassist Vince Bilbro and drummer Michael Partlow.

Gonzalo Bergara - Zalo's Blues

image courtesy of Frank Roszak Promotions

Gonzalo shows off his guitar virtuosity right from the start, kicking things off with “Drawback,” a fun, energetic, jazzy blues instrumental. One of a few instrumentals on the disc, all great fun because an adept axemaster doesn’t always need vocals to engage the listener.  Another instrumental, for example, “Ines” is a soulfully blue, close-your-eyes-and-soak-it-in piece. “Dirty Socks,” meanwhile, is a funky, rather syncopated blues dish. And “Been Runnin'” is a fast-paced guitar-pickin’ number with just a hint of a carnival fun house vibe. Variety. Even on the instrumentals, this disc has variety.

But most of the songs carry lyrics. One of my favorites is “Woosh,” in part because it could almost pass for a hard rock number.

“Singing My Song,” meanwhile, is a slow-paced blues song with a bit of a ’70s or ’80s rock edge to its guitar work, particularly in its extensive, amazing solos, as if it might be the closest-to-true-blues song on a blues-based hard rocker’s disc. And the axework? It’d make Jimi Hendrix proud. I love when artists mix in different influences.

“Gonna Go,” for example, embarks on a fast-pickin’, almost rockabilly-infused breakneck pace, leaving the listener engaged and exhausted by the song’s end. “Drinking” employs a Chuck Berry-esque guitar riff to provide an old-school blues based rock ‘n roll number. And the one cover song on this disc, Jimmy Reed’s “You Don’t Have to Go,” sounds exactly like George Thorogood jamming with the London Quireboys in a seedy blues joint.

Gonzalo Bergara

photo courtesy of Frank Roszak Promotions

This collection is an enjoyable, ebbing-and-flowing rock-influenced journey, though it doesn’t entirely sit on the rock-blues border, as it explores various corners of the blues, showcasing how it can transform other genres’ influences into a complete, cohesive blues-based package. As such, the album settles down at the end, with “Won’t Stay With You” serving as a slow, bluesy vaudeville tap-dance off stage.

I’d think guitarists are going to love Zalo’s Blues, while blues fans, blues-rock fans, and anyone who enjoys talented musicianship will get a kick out of it, as well. To top it off, with such varied offerings, there will be plenty of disagreement over which songs are the best.

 

Live Review: Jann Klose house concert

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Jann Klose

photo by Monica Mansfield

Jann Klose

House concert in Shrewsbury, MA

October 22, 2016

The Backstory

As I noted when I reviewed Jann’s album Mosaic earlier this year, I first met Jann at the Undercurrents music conference in Cleveland, Ohio back in the late nineties. Interestingly, after years of reviewing his music and meeting him a couple times, this was my first opportunity to see him perform live. This concert was part of a series held in Shrewsbury; sometimes these events are held at the historic Sumner House, but this concert was a bona fide house concert.

Jann Klose

photo by Geoff Wilbur

The Concert

First of all, Jann Klose has an amazing voice. And he knows how to use it. Full and rich, emotive at the high and low ends of his broad range. I always have a hard time explaining his “place” on the music spectrum. He is, indeed, a singer-songwriter, and he often wields his acoustic guitar, but I hesitate to use that description because it tends to conjure up folk images. And there’s something much more rock ‘n roll about Jann’s vibe than you’d understand from that description. The most convincing description I’ve come up for Jann is that he’s a rock ‘n roll troubadour. But I’d also suggest you listen to his music and decide for yourself.

A house concert is a terrific venue for a singer like Jann who can fill the room with his voice. And this particular room offered terrific acoustics, as well. Jann opened the evening by sharing a new song with us, “Dear Mel.” It’s as good as his best; it left us already looking forward to what he has in store for his next recording.

Jann Klose

photo by Monica Mansfield

He followed that with “Fair Weather,” from the Stereopticon album he released with Gary Lucas earlier this year, and then a couple songs from Reverie that showcased the breadth and sensitivity of his vocals, “Doing Time” and “Mother Said, Father Said.”

He kept the emotional train rolling with his “Wedding Song,” ein Lied auf Deutsch, und mein Deutsch ist nicht gut, so I can only imagine the words were as beautiful as the melody. From crowd reaction, we’re all looking forward to his English translation. That was followed by “Question of the Heart,” a song in which he emits a tuneful vocal howl near the end that conveys well its pain.

Jann closed his first set with a couple songs from Mosaic, the powerful “Rain is Water” and tuneful, melodic, smile-inducing “Four Leaf Clover.”

Jann Klose

photo by Monica Mansfield

Set number two began with the energetic, catchy “Make It Better,” a song with the perfect message of inclusion for the world we live in today.

Jann’s next song was an inspired cover of Adele’s “Skyfall.” As perhaps the most rocking of Adele’s hits – and my personal favorite of the diva’s songs – it was well-suited to his interpretation.

Next came “Beautiful One” and “Long Goodbye” from Mosaic and “Clouds” from Reverie. During the second set, the audience was fully engaged throughout, easily encouraged to participate, and some of this middle stretch was audience requests of some of Jann’s most beloved originals.

Jann closed the second set with the Jeff Buckley tune “Song to the Siren,” which also appears on Mosaic. Jann’s connection to Buckley’s music, of course, goes a bit deeper, as he was the singing voice of Jeff Buckley in the 2012 film Greetings From Tim Buckley.

Jann Klose

photo by Geoff Wilbur

The quickly agreed-to encore consisted of two songs. Or three, actually, as Jann began with a two-song medley of Prince’s “Starfish and Coffee” and “Kiss.” The “Kiss” portion quickly became an enthusiastic singalong. I can’t say I was expecting a Prince cover from Jann, but he continually surprises me with his range, both vocally and stylistically; I should know better by now. Then the evening ended with Jann’s original “Still,” an emotional closing number that left the audience drained but happy.

Of course, as with any good house concert, the fun extended a bit later into the evening, and Jann later reclaimed his guitar for a few impromptu tunes in the kitchen. A thoroughly enjoyable event featuring an exceptional talent. So, tell me again why you don’t yet own at least one Jann Klose album…

Jann Klose

photo by Monica Mansfield

Looking Ahead

Jann, per his website, will be touring Germany for the first three weeks of November. He returns to the States in December, performing Thursday, December 1st, at The Luna Star Cafe in North Miami, FL; Saturday, December 3rd, at the ACMA Listening Room in Fort Myers, FL; Sunday, December 11th at Cozy Cabin Concerts in Green Brook, NJ; and Saturday, December 17th with Annie Haslam at Sllersville Theater 1894 in Sellersville, PA. Keep an eye on his website for additional dates as they are announced.

Album Review: DiMino – Old Habits Die Hard

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DiMino

photo courtesy of Head First Entertainment

DiMino – Old Habits Die Hard

Album Review of DiMino: Old Habits Die Hard

DiMino - Old Habits Die Hard

image courtesy of Head First Entertainment

Frank DiMino was the frontman for 1970s rock band Angel. Frank has recorded with a laundry list of top-shelf performers – and led a late ’90s Angel reincarnation – since then and contributed to several television shows and movies, even receiving a platinum record for his contribution to Flashdance. But Old Habits Die Hard, released on Frontiers Records in 2015, is his first solo record.

You can hear the ‘70s influences in the ‘80s bands DiMino’s record reminds me of… or perhaps it’s more of a ’70s re-influence as DiMino kept current.

Frank DiMino

photo courtesy of Head First Entertainment

The disc opens with “Never Again,” a full-tilt, blues-based metal rocker that has a bit of Kix in it; “Never Again” was released as the album’s second single this past summer.

“Rockin’ in the City,” probably my favorite track on the disc, deploys a Dio-esque tempo and vocal approach mixed with ‘80s glam-metal screams. Stylistically bit like Turbo-era Judas Priest, this was the album’s first single.

Frank DiMino

photo courtesy of Head First Entertainment

The rest of the disc continues to produce old-school hard rock at its best. “Even Now” is a soaring, Steve Perry-reminiscent vocal, slower-tempo power rock tune. DiMino delivers Shout at the Devil-era Motley Crue meets Legs Diamond on “Mad As Hell.” “I Can’t Stop Loving You” recalls House of Lords. “Tears Will Fall” is like “Headhunter”-era Krokus with a Metallica tempo. And there’s even a little Dio in DiMino’s howl during “Sweet Sensation,” though the song itself seems like it would most likely be found on a Fastway album. If any of that sounds like your kind of music, then DiMino’s Old Habits Die Hard will be your kind of album.

No one rocks like a classic rocker who has kept at the top of his game, and this album proves DiMino hasn’t lost a step.

Looking Ahead

The “live shows” page of Frank DiMino’s website lists one upcoming gig, a show tomorrow night, Friday, October 21st, at the Whisky A Go-Go in West Hollywood, CA.

Album Review: Melanie Crew – Further Away

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Melanie Crew

photo courtesy of Melanie Crew

EP Review of Melanie Crew: Further Away

Released on October 3rd, Further Away is Melanie Crew‘s second EP, a follow-up to 2015’s Until the End. London-born and London-based, Melanie wields a sweet, crystal clear voice, ideal for her soft, comforting folk music style. Throughout the disc, the warmth of the sun in a flower-filled field shines through the music.

Melanie Crew - Further Away

image courtesy of Melanie Crew

Disc-opener “Bring You Back” carries a modernized, almost Peter, Paul and Mary vibe, as Melanie’s sweet voice navigates from low to crisply high notes.

“Ghost” is pleasantly surprising, as even though it is clearly from the same family of songs as the rest of this disc, the tone and style carry haunting overtones in the guitar-picking, vocal key, and even choice of phrasing. It’s actually a bit “Greensleeves”-esque in the way it carries itself.

“All That I Want” has an appealing edge to it, coming across as perhaps a 1970s movie soundtrack song from a modern (for the ’70s) love story, while EP-ender “Can’t Find a Way” is similarly-styled but sports just a hint of a more powerful “Age of Aquarius” flavor.

Melanie Crew

photo courtesy of Melanie Crew

Of course, any of the six tracks may end up being your favorite, as the subtle intonation variances and lyrical flourishes suggest a very personal listening experience.

In the end, this is a well-written, throwback modern folk collection from a singer-songwriter who is precise in both lyrics and vocal delivery. I imagine Melanie Crew as potentially a fondly-greeted mainstay at folk festivals and coffeehouses throughout the UK. She is making a bit of a splash already in her young career, as her music has been heard on local radio stations as well as on BBC 6 Music and BBC Kent. If Melanie sounds like your cup of tea, be sure to try a sip of Further Away.

Album Review: Van Ghost – The Ghost Unit

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Van Ghost

photo courtesy of Van Ghost

Van Ghost – The Ghost Unit

The Backstory

Van Ghost

photo courtesy of Van Ghost

I introduced you to Van Ghost during my first days publishing this Blog. My review of the band’s appearance at the Newburyport Music Festival and of the band’s last CD, The Domino Effect, was entry number two of the nine-part “Road Back to Music Journalism” series with which I kicked off Geoff Wilbur’s Music Blog. If the world was fair, that would have been the album to launch Van Ghost on a headlining arena tour. But the world isn’t fair, and that’s why I’m able to introduce you to so much great music you may not have heard before. So now I’ll walk you through this exceptional band’s new album.

Van Ghost

photo courtesy of Van Ghost

Bandleader Michael Harrison Berg discusses the recording of this album a year and a half ago in a Vermont studio here on the band’s website. Such an assembly of talent, I want to name them. In addition to Berg on vocals and acoustic guitar, on The Ghost Unit, Van Ghost comprised Jennifer Hartswick (vocals, trumpet), Natalie Cressman (vocals, trombone), Nick Cassarino (vocals, electric guitar), Chris Chew (bass), Dominic Lalli (saxaphone), Grant Tye (electric guitar), Chris Gelbuda (acoustic guitar, keys), Rob Marscher (synths, keys), and John Staten (drums). The SoundCloud stream of the new album lists the band members’ current gigs next to their names in the text, in case you want to catch any of them with their current bands.

Album Review of Van Ghost: The Ghost Unit

Van Ghost - The Ghost Unit

image courtesy of Van Ghost

The influences on this album are more varied than on the band’s prior studio release, but the essence of Van Ghost remains unchanged. This rock band, with its mid-range arena rock center surrounded by soul and funk influences and pop sensibilities, delivers another memorable disc. The soul influence is a bit more apparent than on The Domino Effect; overall this is simply an enjoyable next step from an exceptionally talented rock band.

Disc-opener “Dead Radio Club” follows a laid-back, mildly syncopated rhythm, thriving on vocal harmonies and a mellow edginess, like Toto or Chicago Transit Authority on a mildly subversive rock ‘n roll bender.

Van Ghost

photo courtesy of Van Ghost

“Strength & Pain” continues in the same vein, but the soulfulness is significantly amped up. And it has perhaps a bit more Chicago influence, as the horns play a more prominent role.

“Simplify” is one of the standout tracks in this collection. The ultra-rich harmonies, subtly trickling music bed, and well-placed soft rock guitar solo suggest this could be both a radio staple and an arena rocker.

“Follow Me” adds funk to the Van Ghost mix, with a prominent bass line running through the song, providing a home base to which the riffing always returns, with forays into Chicago-style horns and even very-nearly disco-era-flavored harmonies.

Hard rock guitar debuts in the opening riffs of “Cold Panic,” an almost Foreigner-esque rocker in tempo and mid-level heaviness. This one’ll sneak up on you and be a favorite by the 10th or 20th listen.

Van Ghost

photo courtesy of Van Ghost

For those of us who love an immediate tempo change, “Cold Panic” is the perfect lead-in to perhaps the album’s most heart-laid-bare instance, the more acoustic-flavored “I Ain’t Gonna Fight You, For You,” a lyrically well-conceived number in which the acoustic melody is well-augmented by a dancing electric guitar line whose first solo leads to a mid-song climax… and whose solo of screams and wails end the song as an extension of the vocals, expressing a level of emotion beyond the capability of a voice.

“Fool For the Pain” follows, a song that could be a modernized Quarterflash tune. Ironically (at least in light of that comparison), this is a song where the dominant instrument is guitar, with scarcely a horn to be noticed.

Van Ghost

photo courtesy of Van Ghost

The next track, “If It Ain’t Crazy, Then It Ain’t Love,” is another standout song, with Chicago-esque horns, soft rock guitar riffs, and powerful vocals. Also that vocal smirk that suggests this could be turned into a country song by a talented artist of that genre. Then again, great songs transcend musical classification.

“ATX” follows, a bit of a hard rock screamer with a country edge. I could almost hear Kid Rock doing this song, though he could never match Michael’s vocals. But the tune does thump along and occasionally roar in that vein, leaning on howling heavy metal axework and aggressive drums for power.

Van Ghost

photo courtesy of Van Ghost

But, of course, Van Ghost mellows things out again to close the disc, with “Birds” soaring vocally, a musical sunset that excels at making the sad and poignant pleasant to listen to.

I’d still love to see Van Ghost perform at a big arena, though the festival stage on which I saw them a few years ago was a pretty good substitute. Still, these guys could fill a stadium with sound.

Putting on my imaginary record industry hat, if I were a label exec, I’d pick “Simplify,” “I Ain’t Gonna Fight You, For You,” and “If It Ain’t Crazy, Then It Ain’t Love” as the first three singles, in no particular order, with perhaps “Cold Panic” as a fourth release, though with such a strong disc from beginning to end, it’s hard to go wrong. Go get ahold of these songs. Enjoy them. One of my favorite bands for several years now, Van Ghost is a rare gem of a rock group.

Album Review: Project Grand Slam – The Queen’s Carnival

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Project Grand Slam

photo courtesy of Miles High Productions

Project Grand Slam – The Queen’s Carnival

Album Review of Project Grand Slam: The Queen’s Carnival

Project Grand Slam - The Queen's Carnival

image courtesy of Miles High Productions

The horns pop, the bass and keys dance… Project Grand Slam’s The Queen’s Carnival is the quintessential jazz fusion disc. For those of us who grew up with the seasonal Charlie Brown special, there’s a bit of Vince Guaraldi’s style in here. Also a healthy dose of those energetic horns and funky beat that suggest PGS may rival the electricity level of a ska band if you saw them perform live.

Comprising Robert Miller on electric bass, Marcello Casagrandi on keyboards, Mario Castro on saxophone, Joel E. Mateo on drums and percussion, and Yasser Tejada on guitar, Project Grand Slam seamlessly shares the driving on this particular journey.

Project Grand Slam

photo courtesy of Miles High Productions

To start things off, “Beyond Forever” welcomes the listener like a slap of fresh, cold air on a crisp fall day. It’s followed by “The Rescue,” which continues the groove. And that ska-like groove I mentioned? Check out the title track, “The Queen’s Carnival”! It’s a guaranteed party-starter.

The album’s only vocal number is a cover of “You Really Got Me,” featuring the jazzy vox of Lucy Woodward. There’s a just-as-fun instrumental version toward the end of the collection.

Indeed, for an instrumental album to stand out, it’s all on the musicians. Their instruments and the songs that contain them must tell a story. The tempos and jams vary significantly throughout the disc, offering an engaging listening experience.

Project Grand Slam with Lucy Woodward

PGS with Lucy Woodward; photo courtesy of Miles High Productions

Other tracks worth investigating are the seventies rock (with horns)-flavored “Gorilla,” the deliberate, “Peter and the Wolf”-esque pace of “It’s the Beat,” and album-ending “Lullaby for Julesy,” a horn-driven, sweet holiday-season-flavored lullaby. The twinkling sounds even recall a light snow, bringing this stellar disc to a pleasantly drowsy end.

I don’t consider myself a knowledgeable jazz connoisseur by any means, but I recognize and enjoy a top-shelf group when I hear it, and from what I hear on The Queen’s Carnival, Project Grand Slam clearly qualifies as such.

Project Grand Slam

photo courtesy of Miles High Productions

Looking Ahead

PGS has a few upcoming shows booked, per its online concert calendar.  On Wednesday, October 19th, they’ll by opening for Boney James at the Ridgefield Playhouse in Ridgefield, CT. After that, there are a few shows around New York: Saturday, October 22nd at Groove in the City; Wednesday, November 2nd opening for Reign of Kindo at the Knitting Factory in Brooklyn; Saturday, November 12th back at Groove; Monday, November 21st at the Thanksgiving Benefit for CityMeals at Iridium; and again Friday, December 2nd at Groove. Then, on Saturday, December 3rd at the Highland Lakes Concert Series in Highland Lakes, NJ. Do keep an eye on the band’s website for additional dates as they’re added.