Author Archives: Geoff Wilbur

Album Review: Desk – All-American Awesome

Posted on by

Desk – All-American Awesome

Desk

photo by Tom Robeiro; photo courtesy of Desk

Album Review of Desk: All-American Awesome

Desk could be described as a “supergroup” of New England rockers, featuring members of Vary Lumar, Body English and the Ultrasonic Rock Orchestra, Downcity Armory, and AdaptorAdaptor. Musically, though, what is the end result?

I try to listen to new music without reading too much in advance of my first listen, and my immediate first impression of Desk was that I heard a heavy dose of early-era Kiss. If I had merely scanned the band’s logo, the Kiss influence would have been apparent. But I’ll resist writing too much about the band’s backstory, which you can read on the Desk website here, and focus on the music.

Desk - All-American Awesome

image courtesy of Desk

You can almost close your eyes and sense some healthy tongue-in-cheekness when listening to All-American Awesome, but the album quickly transcends that. Indeed, the songs will rock your face off, and upon closer consideration, the album is clearly much more homage than satire, transporting itself musically back to a time when power chords dominated arenas and rock was king. In the end, the album is best described as a tome of respect… with a smirk.

The seven-track album opens with “Wisdom of the World,” a classic arena-rocking album opener; it’s one of the tracks on the 7-song disc that clearly recalls 1970s, full-makeup Kiss.

Among other standout tracks, “Cowboys in Boston” is essentially a civic pride anthem… “because,” as the song insists, “we’re all-American awesome in Beantown.” Representative of Desk’s median state on this disc, “Cowboys in Boston” delivers rough-hewn, high power vocals, a pulsing beat, and a drum kit that is taking the beating of its life. Bonus points, by the way, for inventing the word “fixiation.” There’s a video for this song, too, which I can describe in three words: Fire! Fire! Fire!

Desk

photo by Tom Robeiro; photo courtesy of Desk

“Love” wallops with a sort of swamp rock boogie hook, tempo changes, a guitar solo, and vocal roars. “Great American Stupid,” meanwhile is more of a straight-ahead distorted guitar rock onslaught.

And the album closes with a raucous song that’s as stylistically Kiss-esque as the album-opener, “(You’re) Hot (But You’re a) Problem.” Screeching guitars, vocals that inspire listeners (and, I presume, concertgoers) to shout along, and powerful drums drive this song, while wild-dog howls end it. And the disc.

Initially, I wasn’t sure what I thought of this collection. It feels a little loose, the vocals sometimes at the edge of tunefulness. But after a few listens, I realized that unfiltered energy is the album’s greatest strength. Raw, unsweetened, ’70s-style hard rock. And now I have a hard time choosing just one or two favorites. Let this album rock you for a while. Like a bad seed, it’ll grow into a bad apple tree – one that’ll scream “Kiss this!”

Looking Ahead

The album leaves me confident that Desk kills it live. The only upcoming live gig listed on Desk’s website right now is this Saturday, July 16th, at The Midway Cafe in Jamaica Plain, MA. If you can’t make it, watch the band’s “shows” page for additional upcoming dates as they’re added.

Live Review: TOS at The Pleasant Cafe

Posted on by
TOS at The Pleasant Cafe

photo by Geoff Wilbur

TOS

The Pleasant Cafe, Maynard, MA

July 9, 2016

The Backstory

I stumbled across an announcement for this show a few days ago while scanning a list of local events. So I checked out TOS’s music and was extremely impressed by the songs posted on the band’s YouTube channel. After that, I looked at the band’s website, and I was shocked to learn the band members were all aged 16-20. So much talent for such a young band. I was glad I was able to fit the band’s Saturday show into my schedule.

TOS at The Pleasant Cafe

photo by Geoff Wilbur

The Concert

TOS delivers alt-rock with a modern edge and an old-school haunting vocal wail. Vocally, I hear a bit of Lush and perhaps a hint of Cocteau Twins, but TOS’s music is much more broadly accessible, more rocking. TOS’s repertoire of songs is mostly mid-tempo but with some variance, the music is engaging, and I’d pit this band against the best bar bands in any town. It’s also music that translates well to the studio, which is a bonus.

This particular gig was TOS’s album release show, launching its disc Killer. For the first set, in fact, the band performed its new album beginning to end. The second set featured some of the band’s new songs and some old ones.

Before I get any farther, I should point out something that’s apparent from the beginning. There can be no mistake. The original, unique flavor that is TOS emanates from the voice, phrasing, and songwriting of Sophia Ward. The rest of the band is tight and talented, and they have exceptional rapport on stage and, I can only assume, in the studio. Such a strong band by itself can be a bar scene favorite; add strong songwriting and an identifiable, memorable vocalist, and you have lightning in a bottle.

TOS at The Pleasant Cafe

photo by Geoff Wilbur

Each band member contributes memorable segments to the songs – each, in fact, carries some of the songs. Lead guitarist Jackson Parker contributes well-placed, song-moving solos. Rhythm guitarist Jonathan Sommer provides memorably catchy hooks, particularly during a few of the songs on which he wields the acoustic axe. Bass player Jae Mannion keeps a steady rhythm, more noticeable on this evening during the second set, when he more often delivered the catchy hooks that held the songs together. And skinsman Mitch Rolla occasionally goes beyond just keeping a steady beat, providing subtle drum fills that add needed texture as a backdrop behind the melodies, noticeable for those who paid attention on several of the tunes performed this evening.

The first set opened with “Death of Me,” a song that combines Sophia’s haunting vocals with driving rhythm and a steady beat. One of the catchier songs on the album, it’s a solid welcome to the album and served to grab the audience’s attention from the very start of the evening. It was followed by “Soul Keeper,” a song that augments great vocal tone with an engaging song structure that builds to power before stopping cold in places. “Cry Baby,” meanwhile, was a bit poppier, driven by an energetic acoustic guitar line and what I can best describe as oh-so-cool, “That Thing You Do”-esque drumming.

I’d love to go song-by-song through the set, but I’ll just mention a couple more of the standouts. “Reckless” is a raucous rocker in which the bass line stands out as a sneaky-monster hook while featuring a nice little guitar solo and showcasing the singer’s vocal power and a few nice vocal flourishes. And set album-closer “Killer” is a powerful song whose tone, vocals, drumming, and even the speed-acoustic guitar solo recall a lava lamp-and-black light, late ’60s/early ’70s classic rock vibe.

TOS at The Pleasant Cafe

photo by Geoff Wilbur

The band opened the second set with a great cover of the Beatles “In My Life,” then slipped into a straight up hoarse-vocalled alt-rock number, “Best You’ve Ever Had.”

Other notable tunes in the second set included “Primadonna,” a driving pop song with a somewhat different sound featuring a little bluesy and funky rhythm; “Alphabet Hate,” a sad but thoughtful song that’s delivered a bit angry; “Side Effects,” a slow, rhythmic, steady balladic song with a hint of a ’70s rock singer-songwriter vibe; and “Without You,” a poppy alt-rocker with a hooky bass rhythm and slick electric guitar solo that doubles as an audience participation clap-along song. The set closed with “Money,” a tune with a prominent bass line and blistering-though-subtle guitar solo that showcases the singer’s otherwordly trademark alt-rock vocal wail.

With the crowd calling for an encore, TOS delivered the goods with “You Don’t Know.” Featuring a strong bass line and catchy rhythm guitar that seems to both mimic and mock the vocals, this is a song that brings the energy level in the room to a fever pitch. Talk about ending the show on a high note!

Brimming with talent, don’t dismiss this band because of its youth; TOS could rock any bar in Boston… or New York… or London with those cities’ best. These musicians are ready for a big stage. I can’t wait to hear what they do next.

Looking Ahead

TOS has three shows listed on its website: July 24th at The Raven in Worcester, MA; August 5th at Canobie Lake Park in Salem, NH; and August 8th at the Natick Commons in Natick, MA. Keep an eye on the band’s website for additional upcoming dates.

Also expect to see a review of the band’s album, Killer, on this website in the coming months. I have a few albums in the queue ahead of it, but I have a copy of the disc and look forward to penning its review.

Album Review: Debbie Hennessey – No Longer Broken

Posted on by

Debbie Hennessey – No Longer Broken

Debbie Hennessey

photo courtesy of Debbie Hennessey

Album Review of Debbie Hennessey: No Longer Broken

Debbie Hennessey‘s music is folk-styled songwriting with an overarching country/Americana musical style, but her voice is that of a gravelly rock vocalist, and she augments that effectively with occasional mid-tempo rock electric guitar parts. It’s a combination that allows her to stand out from otherwise-similar artists.

Debbie Hennessey - No Longer Broken

image courtesy of Debbie Hennessey

In fact, the album begins with a rock beat and a guitar riff that dances through the rhythm, kicking off with soft rock-flavored “Every Song is You.” Like so many of Debbie’s songs, this one is simultaneously energetic and laid-back.

It’s followed by what may be the catchiest song on the disc, “Whiskey Charm,” with Southwestern guitar flair and a stop-and-start rhythmic beat complementing Hennessey’s persistent vocals.

Another song that jumps out is “You Can’t Unpull a Trigger,” featuring its harmonica and thoughtfully-constructed lyrics, forcefully delivered with attitude by Hennessey.

Debbie Hennessey

photo courtesy of Debbie Hennessey

Debbie slows things down nicely, too, with a mellow, western-tinged guitar line supporting the heartfelt vocals in “Let Me Go.” A purer country ballad is “Sugar and Rain,” where subtly dancing guitar lines combine a vocal touch that holds onto some lyrics just that extra split-second for emotion to produce a powerful, impactful country crooner.

The disc closes with “Woman,” a duet ballad in which Debbie’s voice is nicely offset by Lexie Hofer’s crisper, higher tone. A great way to end a solid disc.

In its entirely, No Longer Broken lands on the soft to mid-tempo rock end of the country music spectrum. Her songs would blend well on a playlist with the Eagles, Stevie Nicks, Karen Nash, and Foreigner. Such a strong album, of course, was to be expected from a singer like Debbie Hennessey, whose web page lists accolades spanning more than a decade.

Looking Ahead

There are no upcoming dates listed on Debbie’s concert calendar, but keep an eye out for future gigs from this talented L.A.-based singer.

EP Review: The Kings of Jade – Ready or Not

Posted on by

The Kings of Jade – Ready or Not

The Kings of Jade

photo courtesy of The Kings of Jade

EP Review of The Kings of Jade: Ready or Not

The Kings of Jade - No Pain No Gain EP cover

image courtesy of The Kings of Jade

Rock. Hard rock. Melodic hard rock. The heyday of the Sunset Strip. The Kings of Jade recall an era when melodic hard rock ruled that stretch of Los Angeles real estate and dominated the American airwaves. Sure, it had been renamed “hair metal” by the end of its run, but this harkens back to a day – decade, actually – when it was all about the catchy, guitar-driven hard rock music, and musicianship was always more important than the genre’s accompanying flash and glitz.

Driven by the band members’ talent, The Kings of Jade are 1980s hard rock with a bit of a rougher edge. The band is reminiscent of bands like Babylon A.D., Dangerous Toys, and Hurricane, with a healthy dose of Shout at the Devil-era Motley Crue, Pornograffitti-era Extreme, Hurricane, and Trixter. Raucous, rattling, and rolling, No Pain No Gain is intricately fun to listen to and clearly suggests an amazing live show.

The Kings of Jade

photo courtesy of The Kings of Jade

First track “Ready or Not” opens with a classic melodic metal echo chamber buzz before the guitar builds and drums and vocals come crashing in. It’s a great way to draw listeners in and hit them with exactly the brand of power rock The Kings of Jade specialize in.

“Danger” utilizes another classic melodic metal intro technique, starting with guitar, adding drums, then launching into the energetic number, which features a fan-shoutalong-worthy “Danger!” opening its chorus and well-placed key changes throughout to maintain the energy. It increases the energy level a notch from “Ready or Not,” charging straight ahead without pausing to take prisoners.

The Kings of Jade

photo courtesy of The Kings of Jade

The third track, “No Pain No Gain,” mixes more nuanced hard rock guitarwork and vocal emotion but carries forward “Danger”‘s energy level. The energy level and lyrical content suggest this could be an ideal get-fired-up song for an athlete getting pumped up for a big game, a clubgoer preparing for a night out, or, really, anyone trying to get psyched up for another day of fighting life’s obstacles.

The Kings of Jade

photo courtesy of The Kings of Jade

All of the tracks feature energetic solos that fit within the song while showing off some flashy axework. “Ready or Not” showcases a blues-influenced solo, while “Danger”‘s is more straight-ahead blistering. “No Pain No Gain” features a more finesse-driven solo.

Talent. Versatility within the melodic hard rock/metal framework. Though still relatively new to the Los Angeles scene, The Kings of Jade are the complete package. This should be no surprise, if only because of the band’s frequent Whisky gigs and the high caliber of acts with whom the band has performed. But it’s easily confirmed by a single listen to this Tonio Ruiz-produced 3-song EP, Ready or Not.

The Kings of Jade

photo courtesy of The Kings of Jade

Looking Ahead

You can check out the tour dates section of The Kings of Jade’s website to keep up with the band’s upcoming dates. The band is opening for L.A. Guns on July 29th at Whisky a Go Go in Los Angeles. Watch for other dates. The Kings of Jade play regularly, so I suspect there will be other dates appearing on the band’s calendar soon.

Album Review: Analog Heart – Sun Here I Come

Posted on by
Analog Heart

photo by Shivohn Fleming; photo courtesy of Analog Heart

Analog Heart – Sun Here I Come

Backstory

I first heard Analog Heart late last summer at Worcester’s stART on the Street festival. I rocked through the band’s entire set, grabbed the download card the band was handing out for “Merrimack Jane,” and drifted away. This was during that period of time during which I had committed to launching Geoff Wilbur’s Music Blog but was still keeping it quiet. As time passed, “Merrimack Jane” became a staple of my personal playlist, so when I assembled a list of bands I wanted to contact to offer reviews, Analog Heart was on that initial list.

The band’s backstory began in 2010 when singer Liz Bills placed a craigslist ad and connected with guitarist Jesse Cohen and drummer Austin Ferrante. In 2012, the band recorded its debut, self-titled album. That same year, Liz entered American Idol and made it to the Hollywood portion of the show, placing in the women’s top 30. The trio added backup vocalist/rhythm guitarist Guy Jerry in 2015. And they’re all joined onstage by “Greg,” the prerecorded bass tracks that have solidified a revolving-door bass player situation.

Album Review of Analog Heart: Sun Here I Come

Analog Heart - Sun Here I Come

image courtesy of Analog Heart

Distorted guitar hooks and power rock vocals. Analog Heart’s songs are much more than that, but those key elements are where everything starts. At its best, the band churns out songs that boom, rattle, rattle, and rock! (Yes, they rattle twice.)

The album cover sports a psychedelic look that meshes well with the first impression Analog Heart made when I caught last summer’s festival set. And, indeed, this disc blends a ’60s/’70s classic psychedelic rock flavor with a modern alt-rock vibe, hard rock power, and some down ‘n dirty swamp-rockin’-boogie guitar licks.

Sun Here I Come kicks off with rock ‘n roll authority. First is “Whoa,” a rollicking number that thumps, rattles, and rolls its way right from the get-go. It’s followed by “Merrimack Jane,” which adds a bit of Southern rock outlaw flavor to the mix.

Analog Heart

photo by Shivohn Fleming; photo courtesy of Analog Heart

By this point, the speakers won’t stop shaking, and it’s obvious guitarist Cohen and Bills may have discovered a modern, somewhat crisper, 2010s spin on Skynyrd-meets-Joplin with a hint of Hendrix-meets Ann Wilson thrown in for good measure. With Ferrante’s pounding drums and Jerry’s steady rhythm guitar rounding out the group (with, of course, “Greg”), Analog Heart is a barely-contained explosion whose music would fit well in a black-lit basement rock club or a weekend-long festival.

Analog Heart slows it down a bit, as well… to what most bands would call mid-tempo. In fact, there are a few mid-tempo songs on the disc that really stand out for me. Aside from the first two tracks, the other three I carry with me on my phone are: “Let It Go,” a song with a slow-build buoyed by a slick opening rhythm, Bills’ insistent vocals, and Cohen’s well-placed distorted guitar licks; “Try to Get Along,” which grabs the listener with catchy, distorted guitar and crisp, clear, emotional vocals; and “Sun Here I Come,” which again pairs powerful vocals with a monster guitar hook. The trend? Yes, guitar shredding with powerful vocals. That’s rock and roll.

Now, if you insist on a sensitive touch, there is a ballad on the album, “Like a Dream,” that showcases the powerful-yet-sensitive side of Bills’ pipes, though even while enjoying a beginning-to-end ballad, you can still feel the barely-restrained energy that’s what puts the “power” in a power ballad. But when “Like a Dream” is over, put your lighters away because Analog Heart is unabashedly a rock band. And songs like full-octane rock-fest “Flickering By” and “She’s Rock and Roll,” which mixes psychedelic and power rock, will remind you if you forget.

Analog Heart

photo courtesy of Analog Heart

At risk of stating the obvious, the power of Bills’ vocals and Cohen’s guitar licks, combined with the band’s ability to write songs that showcase those exceptional skills, ensure Analog Heart has an opportunity to be a festival, club, and arena favorite; the band’s albums (if Sun Here I Come is any indication) should appeal to modern heavy alt-rockers and psychedelic rockers alike. I’m looking forward to hearing a lot more from this talented ensemble in the future.

Live Gigs Ahead

Analog Heart lists four upcoming shows on its website: Saturday, June 11th at ONCE Lounge in Somerville, MA; Friday, June 17th at Luthier’s Co-Op in Easthampton, MA; Saturday, July 25th at the Byfield Music and Arts Festival in Byfield, MA; and Sunday, July 10th at Great Scott in Allston, MA. This is a great live band; get out to a gig if you can!

Album Review: Courtney Conway – 21 Days

Posted on by
Courtney Conway

photo by Annie Warren; photo courtesy of Courtney Conway

Courtney Conway – 21 Days

The Backstory

I first discovered Courtney Conway‘s music more than two years ago. It was my introduction to the song “21 Days” via a YouTube video, the first video released well in advance of Courtney’s full-length album bearing the same name. I loved the music and the irreverent feel of the video and I tweeted about it. In the spring of 2015, I heard Courtney’s softer single, “Sweet On You,” and added it to my SoundCloud Spring 2015 Listen-at-Work Playlist which is, as its name suggests, a playlist I listen to at work. Back then, though, I hadn’t yet returned to music journalism.

Of course, now the Blog has been up and running since October, and I’m still contacting my favorite discoveries from the last few years one-by-one; recently, I finally reached out to Courtney about reviewing the album 21 Days. And I suppose it’s a bit of a spoiler ahead of the review, but I was pleasantly not-at-all-surprised by what I heard.

Album Review of Courtney Conway: 21 Days

Courtney Conway - 21 Days album cover

image courtesy of Courtney Conway

This is straight-up modern, catchy, radio-ready country with plenty of “new country” trimmings but a timeless voice that would be comfortable with country music of any era.

Album-opener “21 Days” is a twang-filled, emotional plea that’s a great introduction to Courtney’s vocal skills, with insistent vocals surging atop the music through most of the tune but also filling lightly-instrumented spots, as well. There’s sass, sweetness, and power. And, of course, that entertainingly unsettling “21 Days” video.

Song two, mid-tempo strummer “There’s the Door,” has a chorus you’ll want to learn quickly because it’s so fun to sing along with. Lyrically interesting, musically upbeat and catchy, it may just be my personal favorite from this collection, though I’d hate to have to choose.

Courtney Conway

photo by Annie Warren; photo courtesy of Courtney Conway

Next, Courtney seems to be channeling her inner Carlene Carter on “Dance,” an uptempo, swinging country dancehall number, replete with some energetic ivory-tickling and Chuck Berry-esque guitar licks. Also, when I sing along, I replace “twist it, sister” with the name of Dee Snider’s old metal band… just for fun. And “Dance” oozes fun. But back to country music, while Courtney’s voice is reminiscent of Carlene Carter on “Dance,” the song itself seems to be a first cousin to Patricia Conroy’s “You Keep Me Rockin’,” as it absolutely channels that same rockin’ country energy.

That’s followed by “Sweet On You,” which takes advantage of another of my personal weaknesses (and possibly yours, too, though you’re loath to admit it) – I love a good “na na” song. Yes, really. But no, that’s not really what you’ll notice most about it. Courtney’s vocal control is impeccable, and the song itself is sweetly memorable.

Courtney Conway

photo by Annie Warren; photo courtesy of Courtney Conway

With so many great tracks on 21 Days, I could point out the reason each might be your favorite song, but I’ll stick to a few notable highlights.

You’ll get a bit of that Jimmy Buffett-esque country-reggae rhythm on “We Are In Love.” “Hard to Forget” is perhaps the purest ballad on the disc, and it has the earmarks of a potential country chart-topper, with Courtney showcasing her vocal power, sensitivity, and range. “What If You Do” is an insistent plea bound in a catchy rhythm. And “Free Like the Summer Breeze” and “Daddy’s Little Girl” are mellow tunes – “Free” is mid-tempo, while “Daddy’s” a ballad – that tug at the heartstrings like only a great country song can.

Her vocal range and tone, versatility, variety of country style, and ability to make the listener believe and feel what she’s singing are all reasons Courtney Conway’s music belongs in any real country music fan’s collection. And she also appeals to those of us whose musical tastes center elsewhere but appreciate a talented crossover artist. In a country music scene that produces so many solid-but-unspectacular artists, I’m always happy to share with my readers one who stands out from the crowd while still remaining pure, true-blue country.

What’s Next?

For Courtney, she just announced that she’s about to hit the road across Australia in a production of Always… Patsy Cline. The tour dates are listed in the announcement on Courtney’s website. I hope it’s a successful tour, and I hope she’s back in the studio soon, too, because I can’t wait to hear what Courtney comes up with next.

Album Review: Katrina Stone – Never Wanna Grow Up

Posted on by

Katrina Stone – Never Wanna Grow Up

Album Review of Katrina Stone: Never Wanna Grow Up

blank CD

Blank CD; photo by Geoff Wilbur

Energetic, cheerful, catchy pop music. Katrina Stone has a fun voice, broad range, and songwriting skill that results in a cheerful disc of enjoyable pop melodies, fast and slow, that perhaps reminds me best of Lisa Miskovsky… but with a faster median tempo.

On her fifth full-length album, Never Wanna Grow Up, Katrina kicks things off with “Hands & Hearts,” an infectiously hooky number that is the musical equivalent of skipping down the street. She stretches out the occasional note to show her vocal chops, but this is all about getting a smile upon her listener’s face at the pace of a brisk walk.

A similarly fun uptempo number, title track “Never Wanna Grow Up” builds as it adds instruments while never letting go of its happy energy, while “Your Favorite Song” is another memorably uptempo, cheery tune whose sometimes lush music bed and incessantly optimistic nature are terminally smile-inducing.

On the softer side, the album’s second track “Forever Be (My Always)” is a sweet, romantic number whose singalong chorus embeds itself easily into the listener’s memory. And Katrina’s duet with Benj Heard, “Together Forever,” is a smooth and light sway-along crooner, like a romantic sunset at the beach.

Also notable, though I can’t place the element that makes it so memorable, mid-tempo “Little White House” is a perfect blend of tempo, upward-rising musical runs, and jazzy delivery that work well together.

Such a deep bench on this album, there are several more tracks that grab my attention. I love the sweet, soaring, emotional vocals in “Bombs Away,” the edgy-yet-playful overtones in “Siren,” and the return-to-trademark, uptempo, energetic, poppiness of “Beautiful Things.”

The whole disc shows off Katrina’s sweet, strong, powerful vocals and pop sensibility. There are potential hits galore, and it’s a great glimpse into a talented singer who’s just waiting for the right song to catch the right radio programmer/soundtrack-compiler/music industry executive at the right time. In the interim, she’s producing catchy, fun, tightly-performed songs we can all enjoy.

As I finish this review, I see the album is not currently available as a name-your-price download at NoiseTrade, and I can’t find another location where you can purchase it at the moment, but I’ll add it here with a link when I do. So keep your eyes open for it (perhaps its availability will reappear), and check out some of Katrina’s other music. But definitely keep an eye out for Never Wanna Grow Up; if you can get your hands on a copy and you enjoy pop music, it’s sure to become a staple on your playlist.

Live Review: The DuPont Brothers at The Backyard

Posted on by

The DuPont Brothers

The Backyard, Brighton, MA

May 14, 2016

The DuPont Brothers at The Backyard

photo by Geoff Wilbur

One of the local house concert venues I like to attend whenever possible, The Backyard is a great venue for live music, especially on a nice late spring evening like Saturday night.

Sean Peters and Erica Leigh at The Backyard

Sean Peters and Erica Leigh; photo by Geoff Wilbur

Opening Act: Sean Peters and Erica Leigh

After the usual potluck, mingling, and settling into place, the musical portion of the evening began with two songs each from Sean Peters and Erica Leigh. Sean exhibited his soaring vocals on both tunes and did a heck of a job on a sad song. He also joined Erica on the first of her two songs on which her delivery was a sweet, storytelling style with sweet, folky vocals. On her second song, she kicked it up a notch, showing she has more vocal punch when it’s called for. A late addition to the evening’s program, Sean and Erica were fitting, enjoyable, talented openers for the night’s main event.

The DuPont Brothers at The Backyard

The DuPont Brothers; photo by Geoff Wilbur

Headliner: The DuPont Brothers

Hailing from Vermont and on the verge of releasing a new album, The DuPont Brothers delivered a fun, energetic, long set of folk/Americana, delivering it in an exceptionally crowd-pleasing style. The brothers, Zack and Sam, emerged to perform a couple numbers as a duo before being joined onstage by violist Laurence Scudder.

The DuPont Brothers at The Backyard

The DuPont Brothers; photo by Geoff Wilbur

Set-opener “Stay Put” kicked things off with a bang, showcasing The DuPont Brothers’ picking, slide guitar, and harmonies. Then, on “Empty Cases,” the brothers mixed a little Western flavor with their folk.

Other songs worth noting were “Seven Days,” which was punctuated with vocal wails and some well-placed viola-work and “Attention Spans,” a great strumming song with a strong fiddle line and forceful-yet-folky vocals.

The DuPont Brothers showed additional range within the folk/Americana umbrella, with one song featuring a kind of ’70s folk feel with a hint of Simon & Garfunkel; a couple others showcasing a somewhat haunted vocal edge. And, of course, late in their set the guys unleashed a very folky, fun cover of Nirvana’s “All Apologies.” Yes, really.

Throughout, the evening had a fun vibe, with the good-natured humor of the headliners helping things along. With the usual relaxed, friendly vibe of The Backyard and the always-talented performers who are booked there, it’s hard to go wrong; this particular evening, indeed, went exceedingly right.

The DuPont Brothers at The Backyard

The DuPont Brothers; photo by Geoff Wilbur

Looking Ahead

The DuPont Brothers will be performing exhaustively through the end of July. The “tour dates” page of the band’s website lists a May 20th date in Montpelier, Vermont; then a June 2nd show in Nashua, NH, kicks off a busy month of June that will also take the brothers to Maine, Massachusetts, New York, Connecticut, Delaware, Virginia, North Carolina, and Tennessee; the July dates, so far, are limited to New England. Be sure to check out the website for live dates near you as the guys hit the road.

Album Review: Persona – Elusive Reflections

Posted on by
Persona

photo courtesy of Persona

Persona – Elusive Reflections

Album Review of Persona: Elusive Reflections

This is an exceptional progressive rock/metal album from talented, Tunis-based ensemble Persona. Founded in 2012, by lead guitarist Melik Melek Khelifa and singer/pianist Jelena Dobric, the band’s line-up also includes Yosri Ouada (rhythm guitarist), Youssef Aouadi (drums), Walid Bessadok (keyboard), and Nesrine Mahbouli (bass).

Persona - Elusive Reflections album cover

image courtesy of Persona

The overarching style on Elusive Reflections is orchestral progressive rock, but other rock/metal influences are evident, as well. Melik’s axework ranges from soaring progressive to straightforward hard rock to even a little thrash. Jelena’s vocals also soar on some songs but more often act as an additional instrument, with tempo and phrasing changing along with each passage as required by each of Persona’s songs. And Youssef’s drumming can range from soft to thrashing, sometimes keeping tempo and at others embellishing with attention-grabbing runs. As with so many of the bands I choose to review, the variance on the album, thanks to the skill of the band’s members, provides an enjoyable full-album listen; the songs are bound together by Persona’s identifiable sound but varied enough to keep things interesting from beginning to end.

A good example of the Persona’s in-song versatility is “Ageless,” which kicks off with engaging synth work, joined by blistering guitar, adding soaring vocals, before combining those elements with a thrashing rhythm. It deftly moves back and forth between ethereal and heavy rock mode. And oh, the guitar solos! Music like this is meant to be heard on headphones… or in an arena.

Persona

photo courtesy of Persona

The track that I think best showcases the use of vocals almost purely as an instrument, though the lyrics are still clearly sung and easily understood, is “Monsters.” It also includes some of my favorite frenetic drumming on the album. And it’s the song that utilizes (in an appropriate spot) a death metal near-growl.

As each layer of the onion is peeled back, almost an endless array of details, subtle and otherwise, emerge. And not just on the songs already mentioned; it can be heard throughout the disc. That’s what makes a great progressive rock album such an interesting listen. Yet I haven’t even delved into my favorite songs on Elusive Reflections.

The record’s opening track, “Somebody Else,” opens with a musical arrangement and rhythm that does seem to be a subtle nod to a traditional North African sound, recurring throughout the song. Hard-rocking rhythms and soaring, theatrical interludes combine with the usual well-placed guitar run to add texture to this tune, which serves as a fitting introduction to the band.

Persona

photo courtesy of Persona

My favorite song on the album, “Blinded,” follows. It surges and pulses, with dancing guitarwork, relentless drum rhythms, and soaring symphonic-progressive vocals. The rhythm and vocals climb musical hills, pause and soar, sometimes gliding down a bit before surging forward and soaring again.

Persona’s songs typically and effectively begin with musical and drum openings that lead to the vocals – guitar and drums on “Forgotten”; drums and keys on “Halley.” Different instrumental combinations are found throughout.

Persona shows it can slow things down a bit on “Torn.” Or, rather, since the pace on most tracks isn’t blazing, I suppose it would be more correct to say the band softens things a bit on “Torn.” And this is a powerful, heartfelt ballad of longing, carried by the vocals and supported by the light instrumental touch. It’s an exceptional change of pace that fits well in its album placement.

Persona

photo courtesy of Persona

“He Kills Me More” is worth noting for the haunting soft-opening that leads first to a rhythmic war-beat of drums and then a hint of sixties flavor in the first soaring guitar riffs before eventually giving way to a more haunting, plaintive vocal. But it’s that rhythm that carries through the song, tying it together and carrying the listener along on its journey as classic rock guitar (within the fabric of the song and as a blistering solo) and vocals each have their featured moments, as does a spoken-word segment. All of the band’s songs carry a strong, well-constructed structure, but the various parts on “He Kills Me More” are more identifiable and it’s relatively easier to see how they interact than elsewhere on the album.

As the band closes the disc strong, I particularly enjoy the guitar solo and the sweet vocals late in the song on “Persona,” while “The Sea of Fallen Stars” provides a soft landing at the end of the Elusive Reflections, with the vocals soaring a bit more and the intricate axework paced just a touch slower. It’s a fitting closing number for this collection.

From beginning to end, it’s clear Persona could capture the imagination of audiences of any size, from a cozy club to a large arena, as the music and performance would be well-placed alongside an arena-caliber light show. If you’re at all a fan of progressive or symphonic rock – or, for that matter, a classic rock fan who appreciates musicianship – you owe it to yourself to give Persona a listen.

Album Review: Jimmy Lee Morris – Wilderness Wood

Posted on by
Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

Jimmy Lee Morris – Wilderness Wood

Backstory

There’s a little backstory, as this album was produced by Simon Scardanelli, whose music I’ve reviewed as long ago as the mid-1990s and whose latest release I reviewed here.

Jimmy Lee Morris has a significant musical backstory of his own. He started writing and recording in the 1980s. I won’t run through his entire background, but he has done solo work, and bands in his past include A La Tienne, Mojo Filter, and the Collaborators. The album Wilderness Wood was released on April 1st, 2016 on Automix Records and published by Musica Scardanelli.

Album Review of Jimmy Lee Morris: Wilderness Wood

If I had to describe Jimmy Lee Morris’ Wilderness Wood in just a single phrase using way-too-many hyphenated adjectives, I’d describe it as a full-sounding, folk-influenced, singer-songwriter-styled, song-driven recording. But it’s more than that, and you can identify specific other genres influencing some individual tracks on the LP. Beyond folk, you’ll hear some Americana, a hint of blues, and a little jazzy flair.

Jimmy Lee Morris - Wilderness Wood

image courtesy of Jimmy Lee Morris

Disc-opener “Give Me All Your Love” has a folk base, but the full orchestration is rather soft-poppy, and the guitar picking suggests Americana/Western. I’d call it eclectic, but that might suggest inaccessibility; in the end, it’s a singer/songwriter type of tune that significantly carries the aforementioned influences. And therein lies the difficulty in describing Jimmy Lee Morris’ music – while much of it defies categorization, it always sounds familiar.

Jimmy possesses a high, strong, rich voice. The songs on Wilderness Wood are well-written. And the production and instrumentation is full and lush, except where a light touch called for. But it’s interesting to run through the songs focusing on the edges, where the songs differ from each other rather than how they’re so cohesive and similar, so with that in mind…

Probably the best pure folk song is the traipsing-through-the-woods-ish song about a trip – technically, I suppose it’s a song about a driving trip, with its title a dead giveaway on that point – “Campervan Song.” This one will have you swaying left and right, perhaps flashing a peace sign, and most likely wanting to sing along once you learn enough of the words to make it worthwhile. Meanwhile, the catchiest pop-folk song of the collection may well be “Sunshine,” with its happy whistle and light, enthusiastic tone. It’s a musical tonic for shaking the blues.

Speaking of blues, the award for best blues edge on Wilderness Wood clearly belongs to “On the Outside.” Great bluesy guitar riff. And a classic recurring blues line in”Nice of you to tell me to my face…” Yeah, it’s blues-folk; heckuva job on this mild genre-bender.

Continuing in the genre-combo theme, do you like a dash of polka seasoning in your folk? The next song, “Home From Home,” achieves just such a convergence. Sure, it’s mostly folk, but it’s just another example of how this disc, while maintaining its folk center and featuring Jimmy’s emotive, identifiable vocals, explores additional influences to juice up individual tracks.

The external influences keep coming. Prefer a little jazz with your folk? There are a couple spots you’ll find it in Wilderness Wood, but “Don’t Fear the Night”‘s sax intro isn’t just a tease; yeah, you’ll find jazz in spades throughout. Daddy-o. If there were such a thing as hipster jazz-folk, this would be it.

Also worth mentioning are “Nothing to Fear,” with its ’70s soft rock/lounge flavor (and sleek, cool sax line); lullaby-esque ballad “Sleep in the Morning”; and “It’s You That I Love,” which has a similar lullaby flavor but tends a bit toward a slow dance song, something you might expect at a ’50s high school sock hop.

Jimmy Lee Morris

photo courtesy of Jimmy Lee Morris

Finally, my favorite track (the one you’ll find on my personal smartphone playlist, in fact) is “This is the Life That You Chose,” which sports a twangy, Western folk-Americana feel. And, of course, in my mind at least, its title phrase can be a bit snarky.

Throughout the album, you can tell Jimmy Lee Morris knows his way around a song and is well-skilled with his instrument and his voice. And the album’s lush, full production is rich enough to fill a room. If your musical tastes include folk-Americana music that incorporates other influences, you’re likely to really dig Wilderness Wood. Despite the variety of influences – well, actually, because of them as a 13-song disc of pure folk would get somewhat redundant for anyone but the most hardcore folk aficionado – it’s a cohesive collection that takes its listener on a pleasant journey.

On the Road

Jimmy just kicked off a tour of radio appearances and live gigs. I’ll list them below, but you can also find them on Jimmy’s website.

You can hear Jimmy on the radio May 8th in Seaford on Seahaven FM; May 25th in Uckfield on Uckfield FM Folk Is Not A Rude Word; and May 30th in Brighton on Reverb Radio.

You can see Jimmy perform live on May 26th in Uckfield at Folk & Blues Club Ringles Cross; on May 27th in Hastings at Gecko Bar; on May 31st in Lewes at The Lamb; on June 1st in Lymington at Folk Club the Thomas Tripp; on June 4th in Lingfield at The Star; on June 11th in Mayfield at Rose & Crown; on June 18th in Eastbourne at the Pentacle Drummers Solstice Festival; and on June 19th in Battle at Crowhurst Park.

Be sure to check Jimmy’s website for any additions or updates.