Author Archives: Geoff Wilbur

Album Review: Blurred Vision – Organized Insanity

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Blurred Vision – Organized Insanity

Blurred Vision

photo courtesy of Judy Totton Publicity

The Backstory

I first heard Blurred Vision at a London showcase in October, which I wrote about here as part of my “Five Nights in London” series of live reviews. Since then, I’ve been enjoying the band’s CD, Organized Insanity, so much that I feel compelled to write a review of the album, too…

CD Review of Blurred Vision: Organized Insanity

Blurred Vision - Organized Insanity

album cover designed by Hugh Syme; JPG image courtesy of Judy Totton Publicity

Organized Insanity is an album of brand new, shiny, ’70s-and-early-’80s-style classic rock. You’ll most often hear the comparisons to Pink Floyd, and rightfully so. The band first achieved public recognition with its version of a Pink Floyd classic, with Blurred Vision’s variation entitled “Another Brick in the Wall (Hey Ayatollah, Leave Those Kids Alone!).” So the Pink Floyd influence runs deep. But if you listen closely, you hear an entire generation of rock influence in the band’s music to varying degrees. There’s some Electric Light Orchestra, Moody Blues, The Who, a hint of Boston, a little Beatles, perhaps a hint of The Police, and maybe even some Rush in there.

If you’re searching for deep Pink Floyd influence, look no farther than songs number two and four, “Rollin’ On” and “Long May You Run,” which both share a sonic kinship with “Comfortably Numb.”

Blurred Vision's Sepp Osley

photo © Judy Totton; photo courtesy of Judy Totton Publicity

By contrast, the meandering tunefulness of “Dear John” reminded me of a subtly catchy Beatles-esque tune. This was before I realized the “John” in the song was John Lennon. How appropriate.

“All I Wanted” seems to weave elements of ELO and Moody Blues into a straightforward rock tune.

From beginning to end, in fact, the album is a tremendous, brand new, shiny classic rock album. The two songs that stand out to me most, however, bookend the disc.

Album-opener “No More War,” in addition to its stylish, rhythmic opening, employs a particularly attention-grabbing bridge and artful use of Martin Luther King speech clips. In the end, you’ll catch yourself walking down the street later singing to yourself “no more war no more war no-more war no more war no more war…” (Stylistically, this reminds me a bit of Living Colour’s use of quotes from Malcolm X, JFK, and FDR in “Cult of Personality” – not bad company at all.)

Closing track “Organized Insanity,” meanwhile, combines a catchy, laid-back, pleasant chorus with sonically dissonant, Pink Floyd-reminiscent, protest-style verses. The song is well-placed, as fitting way to end the disc.

Blurred Vision

photo by Geoff Wilbur

About the Band

Canadian power trio Blurred Vision features Iranian-born brothers Sepp and Sohl Osley on guitar and bass and Ben Riley on drums. The brothers gained attention with a viral YouTube hit and a video produced by Babak Payami for “Another Brick in the Wall (Hey Ayatollah, Leave Those Kids Alone!).” Later, as a band, Blurred Vision recorded Organized Insanity with producer Terry Brown (who you may know best for his work with Rush, but his discography is a bit of a who’s who of great bands), who introduced the brothers to their drummer in order to fill out the trio.

The band is currently assembling its 2016 tour schedule, with the only date confirmed on the website so far its appearance at the Ramblin’ Man Fair in Kent, UK, on July 23rd. Check the band’s website for updates.

Album Review: Dan Israel – Dan

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Dan Israel – Dan

The Backstory

Dan is Dan Israel‘s 13th album of originals. He has won awards, written and recorded songs, shared the stage with big name acts, and crafted a musical career that has spanned a couple decades. I first connected with Dan when I was publishing Geoff Wilbur’s Renegade Newsletter in the ’90s/early ’00s. Of course, I took a dozen-year hiatus from writing about music. When I returned, who was one of the first people to reach out to me? Dan Israel, of course, who had taken no such hiatus; he had been continuing to churn out top-shelf new music while I was away.

Album Review of Dan Israel: Dan

Dan Israel - Dan

image courtesy of Dan Israel

My first instinct when describing a folk singer with a raspy voice is to invoke Bob Dylan, though this album leans toward the Americana end of folk, and if I had to offer you a vocal comparison to Dan Israel, I’d say Tom Petty’s raspy voice is actually more apt. And while some tracks lean significantly folk or a bit more Americana, there are also some serious electric rock guitar riffs on Dan. Dan explores several different elements of his musical repertoire, in fact, producing a cohesive disc with enough variety to sustain frequent listens.

Album-opener “Winter is Coming” feeds my initial instinct, though, as Dan’s vocals fall between Dylan and Croce on this particular track. With judicious use of female accompaniment on this track, it provides Dan with an upbeat, toe-tapping start.

“Be With Me” cranks the energy up a notch, with a melody and vocal growl especially reminiscent of Petty. If I had to single out a track with the greatest mainstream hit potential, “Be With Me” would be it.

Another notable track is “Can’t Believe It,” which draws the listener in with light distorted guitar and an initial emphatic “I…” before blending Israel’s vocal style with an almost “Lyin’ Eyes”/Eagles-ish melody. To engaging effect, I might add.

Dan will have you singing “ahh-ahhh” along with “Lonely Too,” a toe-tapper of a mid-tempo crooner that deftly mixes mildly energetic verses and traveling instrumental bridges with that lower-key-but-hooky chorus.

“Try and Let You Know,” meanwhile, provides a melancholy interlude; here Dan’s vocal expressiveness convincingly depicts the pain in the lyrics, as the song plods slowly, though at exactly the ideal pace for the subject matter.

Also, for a nice change of pace, Dan tosses in the occasional rockin’ country guitar lick (and slightly more frequent slide guitar) on mid-paced “Winning at Solitaire,” giving it a soft rockabilly/country dance hall flavor unique among this collection.

If you’re a folk aficionado, I’m sure you’ll enjoy this album. Dan Israel’s an experienced, talented individual with an inspired new release; the man always delivers. And from the energy of his recordings, you get a sense his shows are probably fun events, as well.

Dan’s Upcoming Gigs

Since I suspect Dan’s shows are well worth seeing, let’s take a look at his upcoming calendar. Listed on the “shows” page of Dan’s website, it looks like he has a few gigs already scheduled in the next couple months in and around the Twin Cities: Tonight, Friday, Jan. 22nd at Public Kitchen and Bar in St. Paul, MN; Friday, Jan. 29 at LTD Brewing in Hopkins, MN; a to-be-announced “mystery gig” on Saturday, Feb. 6th; Friday, Feb. 12th at the Tavern Lounge in Northfield, MN; Friday, Feb. 26 at Harriet Brewing in Minneapolis; and Saturday, March 19 at the Chankaska Winery in Kasota, MN. Of course, check his website for times, links, and additional dates.

EP Review: Cali Rodi – Cali Rodi EP

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Cali Rodi – Cali Rodi EP

The Backstory

Cali Rodi grew up in Arizona and performed professionally as early as age 12. She moved to Nashville to study the entertainment industry at Belmont University, and that’s where she’s currently based. I first discovered her music this past spring, and it has been a solid part of my playlist ever since.

EP Review of Cali Rodi: Cali Rodi EP

Cali is a young pop singer with an amazing, powerful voice. Identifiable by her tone and the way her voice has a hint of a break in her voice on certain notes for emphasis, Cali has released a powerful collection of high-energy pop-rock songs. The songs themselves are well-written, with catchy hooks and cohesive song structures that engage the listener; indeed, though the music is rockin’ pop, the songs are penned in the sort of tight, structured style you’d associate with Nashville and ideally suited to Cali’s voice.

blank CD

Songs on the EP that typify Cali’s punchy, energetic, rockin’, pop radio-ready sound include EP-opener “If I Close My Eyes,” which holds the attention with its building, soaring melody, plus the power-pop anthem “Loser Ex-Boyfriend” and “Hitchhiker,” whose unique hook involves and almost-dissonant volume variance.

“Pulse Check” is a bit slower and shows some of Cali’s range – it may just be me, but I think there’s a hint of a rock ‘n roll version of Taylor Swift in her lyrics, song structure, and delivery, too.  “First Kiss Consequence,” meanwhile, slows things down quite a bit more (though it’s still quite an energy-filled ballad), proving Cali can deliver the goods on the softer stuff, as well.

You’ll find no better pop-rock music than the songs found here – catchy and memorable. While “If I Close My Eyes” was my initial favorite, it’s now more often “Hitchhiker” with its unique rhythmic hooks, though some days it’s “Pulse Check.” Give this EP a few listens and you’ll undoubtedly have a favorite or two of your own.

This particular EP was a free download I received when I signed up for Cali’s mailing list via her website; it’s an exceptional introduction to Cali’s talent.

With the right guidance and a bit of luck, Cali has an almost unlimited ceiling on her career. Worst case scenario for us, as listeners, though, is that she’s producing some outstanding songs we all get to enjoy right now.

Also…

Be sure to check out Cali’s new song “Fan Girl.” The new tune shows off the insistent edge to Cali’s vocals, this time in the form of a ballad.

Album Review: Bob Malone – Mojo Deluxe

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Bob Malone – Mojo Deluxe

Bob Malone

photo courtesy of Bob Malone

The Backstory

I’ve known Bob Malone since the late 1990s.  In fact, my interview with Bob landed him on the cover of the May 1998 Industry Edition of Geoff Wilbur’s Renegade Newsletter. When Bob was preparing to release his latest CD, Mojo Deluxe, in May 2015 while I was still a “civilian” during my decade-plus hiatus from writing, I pre-ordered it. (The album dropped on August 21st.) More recently, I caught Bob’s London gig in October– the first time I’d seen him perform live – as part of my “Five Nights in London” series for Geoff Wilbur’s Music Blog.

As for Bob’s backstory, he is classically trained, studied at Berklee, earning a degree in jazz, is based out of Los Angeles, and has crafted a two decade-long solo career, including the release of several critically-acclaimed albums. Since 2011, he has also served as John Fogerty’s keyboard player.

CD Review of Bob Malone: Mojo Deluxe

Bob Malone - Mojo Deluxe

image courtesy of Bob Malone

If you’re looking for rollicking, energetic blues, you’ve come to the right place. But there’s also something unique about Mojo Deluxe, Bob’s first full-length release since Ain’t What You Know about seven years ago. There’s something that suggests this is one of those “must-own” albums. With cross-genre appeal to blues fans, blues-rockers, blues-based hard rockers, and beyond, this disc recalls and expands upon many of Bob’s stylistic variances. Vocally, you may notice a bit of Randy Newman in Bob’s vocals but with a bit more blues growl; to be honest, after years of listening to his music, I can hear the stylistic similarity, but he mostly just sounds like Bob Malone to me. I’m sure a strong comparison is noticeably there, however, as first-time listeners still point it out.

Mojo Deluxe is twelve songs long, featuring a variety of blues styles. You can rock, stomp, and wail at the top of your lungs to album-opening, high-energy, get-on-your-feet, stomp-box blues tune “Certain Distance,” uptempo, soulful “Looking for the Blues,” or mid-tempo, energetic, sassy “Don’t Threaten Me (With a Good Time).”

Bob Malone

photo courtesy of Bob Malone

You’ll catch some more attitude in the lyrical storytelling of songs like “Toxic Love” and “Rage & Cigarettes.” These tracks play louder and faster in the memory than they do on disc, as many great blues songs do — oh, they’re full of energy, but in a nod-your-head, close-your-eyes, fill the room with sound and the sing blues kind of way (not in the loud, scream-at-the-top-of-your-lungs, ear-bleeding rock ‘n roll way). Same emotion; different musical style. Hence, the term “rollicking.”

Mojo Deluxe shows off Bob’s softer side, too, most notably on the amazing, incredibly sentimental “Paris.” Many of us who love that city will nod knowingly when we hear these lyrics in particular: “All these crowds make me lonely, all these lovers make me blue/‘Cause Paris is just another city without you.”

“Hard Times” and “Someone Watching Over Me” are catchy, relatively typical, slow-tempoed blues laments that weave interesting stories. Also relatively typically-themed, “Looking For the Blues” (“I wasn’t looking for the blues/but the blues found me”) packs energy in its crescendos, background vocals, soulful horns, and a guitar solo that ties the song together nicely as a bridge. Indeed, “Looking For the Blues” is a fun, full-production number that’d get a crowd to its feet and deserves special mention. Finally, album-closer “Can’t Get There From Here” (which cleverly begins “Once I was beautiful/Now I just look good for my age”) is perhaps a more unique blues lament about looking back (and ahead) at life’s journey.

If you like the blues (or any adjacent style of music) even a little, if you appreciate a clever lyrical turn of a phrase, or if you simply enjoy hearing one of the best musicians at his craft, this disc is mandatory. With all of the great albums Bob Malone has released throughout his career, Mojo Deluxe is quite possibly his best yet.

Bob Malone

photo by Geoff Wilbur

What’s Next?

Bob is playing several Las Vegas dates in John Fogerty’s band in January, then he hits the road solo in February. His website currently lists tour dates in Alpharetta, GA (Feb. 4), Charlotte, NC (Feb. 5), Charleston, WV (Feb. 6), Houston, TX (Feb. 10), La Grange, TX (Feb. 12), and two dates as the opening act in The Woodlands, TX (Feb. 13 & 14, opening for Los Lobos and Gary Puckett, respectively).

Live Review: Everett Pendleton at Chopps

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Everett Pendleton

Chopps American Bar and Grill, Burlington, MA

January 5, 2016

Everett Pendleton

photo by Geoff Wilbur

The Backstory

I started writing about music during my first two years in Boston. One of the bands I wrote about back then was a jazzy pop-rock outfit called The Amazing Mudshark, Everett Pendleton’s band.  In fact, you can see me sporting an Amazing Mudshark shirt in this Throwback Thursday tweet from a photo op at the end of an Anthrax press conference back in the early nineties. So I’ve been a fan of Everett’s music for… a few years.

In any case, when I learned Everett was performing an early 6:00 show at Chopps tonight and realized it fit into my schedule, I jumped at the chance to hear him sing.

The Show

Everett Pendleton

photo by Geoff Wilbur

I arrived a couple songs into Everett’s first set and was able to stay for about a set and a half. Everett has a smooth, rich, strong voice that’s well-suited to radio-friendly soft rock, country, and blues. And it’s always worth it to get out and hear this guy sing, even at a venue like this where he mostly performs cover tunes.

When I entered the room, Everett was singing the Eagles’ “Take It Easy.” He followed it with “Driving With the Brakes On,” a Del Amitri soft rock ballad he delivers with what could be interpreted as a hint of country style.

A couple songs later, I was treated to the one original Everett performed while I was there, “The Devil You Know,” a mid-tempo soft rocker with emphatic vocals; a song well-suited to his strengths.

Everett Pendleton

photo by Geoff Wilbur

Throughout the rest of the evening, Everett showed off the breadth of his vocal and stylistic range. Matchbox 20’s “When She Smiles” was one of the more uptempo numbers of the evening, showcasing the richness of his vocals. The variety of the evening, however, ranged from Men At Work’s “Overkill” to Vertical Horizon’s “Everything You Want” to Van Halen’s “Dance to Night Away.” Other notable covers included Tom Petty’s “Free Falling,” Oasis’s “Wonderwall,” Jason Mraz’s “I Won’t Give Up,” Hootie and the Blowfish’s “Let Her Cry,” and Train’s “Calling All Angels.” And a couple of my favorites were Everett’s delivery of Lowen & Navarro’s “The Spell You’re Under” and energetic strummer Ben Harper’s “Steal My Kisses.”

At least as far as I’ve ever seen, Everett always delivers. In this case, the early gig fit my personal schedule quite well, resulting in a great evening of soft, acoustic rock music, covering songs spanning several decades and multiple genres and sub-genres.

Album Review: Jann Klose – Mosaic

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Jann Klose – Mosaic

The Backstory

I first met Jann Klose at Undercurrents Music Conference in Cleveland in the late ’90s, where I chatted with him briefly and later reviewed a recording that contained selections from his Enough Said release. Not too long thereafter, in 2000, Jann relocated to New York City. We stayed in touch off and on over the years. I followed his career even while I was out of the business, something made easier by the fact that he ended up working with a publicist whose press releases have consistently graced my inbox for the better part of two decades.

As for Jann’s backstory, as you can read elsewhere, he grew up in Kenya, South Africa, Germany and the United States and now lives in New York. More recently, his voice was featured in the 2012 film Greetings From Tim Buckley. The album I’m reviewing, Mosaic, won three 2014 Independent Music Awards.

Album Review of Jann Klose: Mosaic

Jann Klose - Mosaic

image courtesy of Jann Klose

During the last decade and a half, while living in New York, Jann has built a solid music career on the strength of his strong, versatile, identifiable vocals and his insightful, crisp, varied songwriting, joining the ranks of New York’s exceptional pop-rock singer-songwriters. With his album Mosaic, Jann has crafted a varied collection of memorable, radio-friendly songs with cross-genre appeal.

The disc opens with “Make It Better,” an energetic pop-rock song with a catchy hook that – paired with its engaging video and timely message of tolerance, acceptance, and equality – is perfectly in step with the marriage equality movement this past year. It’s followed by “Know What’s Right,” another song imploring action, this one leveraging Jann’s ability to deliver a powerful, insistent vocal with conviction within the confines of a mid-tempo acoustic guitar rocker.

Jann’s voice has a rich texture that helps create emotional ballads, as well, and he employs that extremely effectively on “On and On” and “Still.”

Another ballad, “Long Goodbye,” shows off Jann’s rockin’ guitar chops as it builds in power late in the song; combined with Jann’s wail, there’s a bit of ’70s wall-of-sound flavor during the latter parts to this particular track. You’ll find a similar ’70s guitar rock feel to the more uptempo “Falling Tears,” as well.

Jann shows off a folky side, as well, with catchy country-folk-pop-infused numbers like “Four Leaf Clover” and “Beautiful One.” I want to say “The Kite” also fits this style, though it’s really just more of a catchy song, one that will creep into your mind an unleash itself back into your consciousness when you least expect it.

Jann closes the album by showcasing a clear, almost Gospel-like vocal on his powerful, a capella version of Tim Buckley’s ballad “Song to the Siren.” Just wow. Seriously.

The “Special Edition” of Mosaic contains six additional songs. They’re demo versions of some of the 10 songs on the album (plus the song “Anything”), which tend to be rougher instrumentally, showing off Jann’s vocals. They’re a nice added bonus.

In total, Mosaic showcases a talented singer-songwriter’s skills by weaving many diverse influences into a cohesive, engaging album of hummable, radio-ready pop-rock songs with social, lyrical, and musical depth. As a listener, you’ll have a different favorite song depending on your mood each day, and you’ll catch yourself singing a few as you walk around during your day. This is an exceptional collection of songs and a great performance.

What’s Next?

Jann’s next release is a collaboration with Gary Lucas. Gary Lucas & Jann Klose: Stereopticon is scheduled for a January 8, 2016 release. (Watch for a review of that in the coming weeks.)

Jann will also kick off 2016 on tour. Dates listed on his website include shows in Germany January 2-10 (hitting Hamburg, Barmstedt, Lübeck, Kiel, Osnabrück, and Bielefeld), a January 13 gig at The Bedford in London (a venue I visited during my “Five Nights in London” a few weeks ago), and California gigs at the NAMM show in Anaheim on January 22nd and at The Hotel Cafe in Los Angeles on January 27th. Jann already has several other shows listed as he begins to fill in his 2016 calendar, so be sure to check his website to see if/when he’ll be near you next year.

Album Review: Trysette – Feel So Pretty

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Trysette – Feel So Pretty

Trysette

photo by Robin Craig; photo courtesy of Trysette

The Backstory

I was initially introduced to Trysette through some common musician friends. As was so often the case during my hiatus from music journalism, longtime music industry contacts were behind my introduction to a great new musician.

As for Trysette’s backstory, she is a classically trained pianist and a pop singer/songwriter. Her latest CD, Feel So Pretty, was recorded in Los Angeles with a talented supporting cast including Mike Baird (Joe Cocker, Journey), Randy Ray Mitchell (Donna Summer), and Bob Malone (John Fogerty). I became familiar with Trysette’s music through her video for the title track, “Feel So Pretty,” and “Good Day,” a song from her previous album, Le Cafe Ancien, she shared for free download this past year (I believe this past summer); “Good Day” has since been a mainstay on my smartphone playlist.

Album Review of Trysette: Feel So Pretty

Trysette - Feel So Pretty

image courtesy of Trysette

Trysette generally tends toward mellower songs befitting her sweet, high voice. The production on Feel So Pretty is crisp, highlighting Trysette’s voice, and the songwriting is well-constructed, delivered with tight musicianship befitting the caliber of musicians she had surrounding her in the studio. But, of course, a soft pop album is all about the songs, and these are the sorts of songs that grow on the listener with each run through her album.

The first track on Feel So Pretty, the exceedingly pleasant “You Must Know,” opens slowly and builds, constructed to capture the listener. Track two, “Hands on Me,” opens with a sassy, twangy rock guitar line that hints at the lyrics yet to come.

“Under My Skin (Band Version)” highlights more of the nuances Trysette’s voice is capable of. But that’s nothing compared to the depth the piano accompaniment draws out in her vocals during “Like Water.”

The middle of the disc shifts gears just a bit, featuring some songs with impact. The title track is catchy, and it will cause the listener to sing along. So beware, gents, because “Feel So Pretty” will surely provide you with an awkward public moment or two if you add it to your mobile playlist. Catchy, fun tune.

Trysette

photo by Fred Bailey; photo courtesy of Trysette

That’s followed by an emotional rendition of “Chasing Cars.” Trysette’s discussion of how she chose to record this song as her album’s cover song is interesting, and one listen proves the selection of this sogns was a good call; quite simply, this song suits her voice, and she delivers a personal, original version of it.

The next cut, “Keep Me Dancing,” is a soaring, powerful, soft ballad, my favorite pure ballad on the album. It’s a rich, full, orchestral pop ballad suitable for radio airplay and slow dances.

The next song, “City Boy,” is my personal favorite, not because it’s better than the others but, rather, because it strikes a personal chord with me. The song was originally recorded by Trysette a long time ago, but I’m glad she included it on her Feel So Pretty disc. I’m not familiar with the original version, but this is a catchy, lush recording whose lyrics (“The more you earn/The more you spend/The more you got/The more you want“) transcend time, leading into the tuneful wail of “ciiiity boy.”

Trysette

photo by Robin Craig; photo courtesy of Trysette

The home stretch of the disc features songs whose insistence vocals suggest a deeply personal connection. I imagine the last section of this disc, for this very reason, may be many listeners’ favorite. It kicks off with “Is That What You Said,” a soft, sweet, emotional piano ballad. The following song, also balladic, soars, with Trysette’s delivery of the entreaty “This Should Be a Good Thing” giving away the lyric’s true emotion.

The final two tracks, “Take a Bow” and “Under My Skin (Intimate Version)” close the album by showcasing Trysette’s soft, high, strong vocals with their unique, identifiable intonation. Feel So Pretty takes the listener on a pleasant journey, a journey that gets more pleasant with each listen, as different favorite songs emerge.

In summary, Trysette has recorded a unique disc full of well-written soft pop songs, delivered in a unique vocal style. Well worth checking out; within a few listens, you’ll have selected your own favorite tracks.

Album Review: Shayna Leigh – Drive

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Shayna Leigh – Drive

Shayna Leigh

photo by Ben Helmer; photo courtesy of MLC PR

The Backstory

I was introduced to Shayna Leigh‘s music more than two years ago at the urging of a longtime music journalist friend. He has terrific taste in music, and if he recommends an artist this highly, I’m usually glad I followed his suggestion. Shayna’s release at the time was the catchy “Drive Away,” and it found a heavy-rotation spot on my personal playlist. A few months later, I found her 3-song EP, The Cold Hard Truth and the Dream, which featured “Drive Away” along with “Next to Me” and “Map of My Heart.” That was enough to completely sell me on Shayna’s talent, and I knew that, if I began writing about music again any time soon, she’d be one of the first artists I’d contact for a review. That was nearly two years ago. A lot has changed for Shayna since then.

In the time since I first heard her music, Shayna Leigh has progressed from a critically acclaimed independent musician to a recording artist with a big-time album release. In July of this year, Shayna’s full-length album Drive was released by S-Curve Records/Universal Music Group; it became available for digital download on July 28th. And December 4th, just a few days ago, was the release date for physical copies of the CD. That is the album I’ll be reviewing…

Album Review of Shayna Leigh: Drive

Shayna Leigh - Drive

image courtesy of MLC PR

Vocal and song-driven catchy soft pop/rock. Shayna Leigh does it well, and she’s instantly recognizable. Not just her voice but her vocal flourishes set her apart. You’ll realize this quickly, as Drive opens with the title track, one that showcases the soft, strong, and unique sides of Shayna’s delivery all in one song. Yes, Shayna has a great voice, but she also has great pop music instincts. Throughout the album, her recognizable tone weaves its way throughout catchy, soft pop tunes.

The song “Drive” was released publicly in the summer of 2014, so I was already quite familiar with it; it is joined by another tune I knew well, one from the The Cold Hard Truth and the Dream EP, now entitled “Next to You,” a song that dances around the melody a bit more than the slightly more directionally straight-ahead “Drive.”

Other songs also jumped out quickly at me. The first of these other memorable songs is “Last Criminal,” a lyrically clever, engaging track that has a unique vibe I first heard a few months ago when its video was released. Indeed, it’s easier to understand that unique vibe when you see the video for “Last Criminal,” a film noir-style short that plays upon the clever lyrics and atmosphere of the song. The other track that engaged me quickly is a very poppy number, “Dirty Laundry,” which paints a graphic and not particularly enticing picture of a slobby, loser boyfriend in its verses, surrounding a catchy pop chorus.

Shayna Leigh

photo by Ben Helmer; photo courtesy of MLC PR

But as much as the aforementioned songs were the quickest-hits in the collection, as I have accumulated album-listens, I’ve actually started to catch myself singing other songs, as well, particularly the uptempo, upbeat-sounding “Goodbye July” and the fast-paced “Crash,” with its insistent, tense energy and cathartic releases.

Also worth noting is second track “Typhoon,” another catchy, pop radio-ready number with a clearly identifiable hook that plays in the pop range of Shayna’s vocals. “Typhoon” is an energetic number that features an accompanying music video.

Shayna shows her softer side on songs like “Paradise Lost,” a song about moving on, putting the past behind, and reaching for a better future. (Yes, “Last Criminal” is technically also a ballad, but “Paradise Lost” is a more traditional pop ballad.)

Overall, Drive is a varied collection of catchy songs that show off the emotionally-connecting voice of a talented, young, fast-rising pop singer, a stellar first full-length effort, a strong album without a weak link. Every listener is likely to have a different favorite; and a single listener may have a different favorite each week.

Obviously I think Shayna Leigh is an exceptional talent, but don’t take my word for it. I provided a couple of links to songs in the text above. Check out her music for yourself.

What Else?

Go to Shayna’s website and get a free download of her Christmas song, “Wake Me When It’s Christmas,” while you wait for Santa to leave her album in your stocking.

Album Review: Alchemilla – Hearts

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Alchemilla – Hearts

Alchemilla

photo courtesy of Alchemilla

The Backstory

I discovered Alchemilla‘s 4-song EP, Hearts, through the disc’s producer, who’s an old music industry friend of mine. He was raving about the band, and my old music biz contacts are often great sources for discovering talented new bands, so I took a listen to the advance promo video for Hearts and was intrigued; then, when available, the EP blew me away. Since discovering the band about a year ago, I have tried on a few occasions to catch a live performance but have always had schedule conflicts. One day I’m sure you’ll see a live review of one of Alchemilla’s shows in this blog. For now, however, I’ll give a quick review of this four-track EP.

EP Review of Alchemilla: Hearts

Alchemilla

image courtesy of Alchemilla

Loud. Distorted. Heavy. Real rock music. First song “Live Life Over” kicks off the disc with distorted power chords and a near-wall of sound meant to serve notice that this album will rock you. Hard. Then Kat Burke’s vocals kick in, slicing through the noise with confident strength, demanding attention with each extended vowel; always controlled, never wavering. Commanding “we will not grow old,” this song certainly doesn’t. In addition to well-constructed guitar bridges that form a solid song structure, the necessary (and necessarily blistering) hard rock guitar solo serves as appropriately measured punctuation. It’s clear from the first track on Hearts that Alchemilla will be a raw, rough, energetic live band, which is why I’m still trying to get to a gig. It’s also a clue that the listener is about to hear four well-constructed songs.

Title track “Hearts” follows, and it’s a bit more atmospheric though still 100% hard rock. The vocals are sung distinctly syllablically, with the measured vocal approach matching the plodding power of the ever-growing wall of guitar and vocals that sneak in over the course of the track. Again, as with the first track, the guitar solo hits the spot, though it’s toward the end of “Hearts,” leading into the powerfully fading final vocals.

Alchemilla

photo courtesy of Alchemilla

Vocalist Burke hits some hauntingly almost-awkward (but no, she nails ’em; that’s the intent) high notes on track three, “In My Head.” This is the least wall-of-sound song of the four, or perhaps it only seems so because of the less dense beginning and ending. It certainly is the catchiest of the four, as I more often catch myself singing “there’s someone in my head…” than any other lyric on the EP.

Final track “One Way” kicks off with distorted guitar and power vocals, somewhat like the EP-opener but with a bit more finesse. Alchemilla works in some soaring vocals, driving rhythm, and solid vocal-driven bridges for a solid conclusion to its EP.

Overall, this EP plods, but I mean that in a good way. It has a slow, heavy pace. Like a steamroller. Like a really cool hard rock steamroller. One that belongs in your hard rock music collection and in your earbuds making your ears bleed and your head bang. From a band whose gig seems like it’s probably a must-see. But, of course, when I say this is cement-truck-heavy, well-constructed hard rock, you don’t have to take my word for it. Listen for yourself.

Album Review: Bridget Davis and the Viking Kings – I Wasn’t Planning on the End

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Bridget Davis and the Viking Kings  –  I Wasn’t Planning on the End

Bridget Davis and the Viking Kings

photo by Larufoto; photo courtesy of Bridget Davis

The Backstory

You already know the backstory if you’ve been reading this blog. However, the short version is that I discovered Bridget Davis and the Viking Kings purely by accident at a Rockwood Music Hall show in New York. At the time, this album was in production. I decided to order the CD before I decided to return to music journalism. As such, this is the last CD I purchased prior to re-entering music journalism. Because I hadn’t spun this disc enough times before I wrote about Bridget and company a few weeks ago, I saved the album review for later. Or, rather, now.

CD Review of Bridget Davis and the Viking Kings: I Wasn’t Planning on the End

I’ll begin by pointing out that Bridget has an outstanding voice. She hits the notes with clarity and emotion, with the extraordinary control required by this sort of music. Her voice is soft and strong, ideal for the sort of alt-rock/Americana/roots-rock blend her band plays. However, in this particular genre, it is rare for a voice to set a band apart. And it probably doesn’t do the trick here, either. Vocals simply aren’t dominant enough in this relatively laid-back brand of music to prove the difference-maker. To quote your college philosophy professor, great vocals are necessary but not sufficient to set a band apart when playing this style of music. And, indeed, Bridget’s exceptional vocals more than fulfill that “necessary” requirement.

Bridget Davis and the Viking Kings

artwork by Cassie Kelly; image courtesy of Bridget Davis

Indeed, while Bridget and the Viking Kings could have drawn a nice following simply playing a mellow, sometimes vaguely haunting sort of flowing folk-rock, they don’t do that. And it’s all about the songwriting. Indeed, that’s what’s special about this band. Each song, to a varying degree, has an “engine,” as I call it, driving the song. It’s too catchy/grabby to be a rhythm, but it infiltrates too much of the song to be a hook. It’s what makes Bridget Davis and the Viking Kings unique in a style of music in which it might otherwise be easy to get lost among the crowd. And it’s why I ordered this album as my last “civilian” act before starting this blog. I Wasn’t Planning on the End is a heck of a final purchase. The 10-song disc includes 3 re-recordings of previously-released songs plus 7 all-new originals.

“Elizabeth” is an excellent choice to start the disc, as it begins thinly and builds. Ultimately a slow-to-mid-tempo number, its “motor” is largely built upon the slightly-complex drum line; regardless, the slow-build nature of the song is well-structured to engage the listener. It’s followed by “Transient,” an intriguing number that draws a bit of the hauntingness out of Bridget’s voice while powered by bass and rhythm guitar. Debut single “Transient” acted as a “preview” track for the album, released online in advance of the CD release, so I was already relatively familiar with it. As with several of BD & the VKs’ songs, there’s a nice spot mid-song that utilizes silence and the return initially of a single instrument to grab the listener. (Did I mention I’m impressed with the band’s songwriting?)

Next up are two songs re-recorded from the band’s 3-cut January EP. First, that EP’s title track, has a catchy recurring guitar hook that melds with a rhythm-driven “motor” to drive the song along while featuring Bridget’s crisply expressive vocals and other extra, enjoyable nuggets of musical detail. It’s followed by “The Breakdown,” whose catchy little guitar hook is what convinced me to investigate this band’s music in greater detail because they just might be something very special. Because that hook was still dominantly running through my head the afternoon after I first heard Bridget and the Vikes, even though I had only heard it once (and had seen a heck of a good band perform after them, as well). There’s a bit of an Old West feel to “The Breakdown,” as I could see movie musical cowboys swaying to it while on a cattle driven,though perhaps it’s more Great Plains, as I’d more likely visualize a lonely farmer or two lamenting a life as it might have been while staring across their fields, with a soft wind blowing on the prairie.

Bridget Davis

photo by Larufoto; photo courtesy of Bridget Davis

Next up is “Rollaway,” an engaging, well-crafted, fun song driven by a rolling rhythm but punctuated by a tension-building run or two before release. It’s followed by a rendition of “Trouble Comes in the Threes,” the title track from Bridget and the VKs’ first EP. The catchy strumming pattern at the beginning draws the listener in, and it combines with a vocal that seems to whisper even though it doesn’t. Where “Rollaway” goes somewhere, “Trouble Comes…” just sits on its relatively slow-tempoed motor and let’s the listener enjoy.

The album cranks up only a very small notch with “Let Him Down,” and actually, with the motor being a bit more subtle, it almost feels like it has slowed down a touch. It’s probably the purest song on the CD that hits at the core of BD+VKs’ style, even if the band’s style seems to be all about straying from its center, rarely settling in. So it’s a nice job of song placement to have the album centered just in time for the next track, “Sarah’s Song,” which for me is the biggest potential breakout hit of the collection. It is the only song whose “motor” is a background vocal, one that’ll have the listener “oh”-ing along by halfway through. Comparatively speaking, the tempo is relatively faster than the others on the disc, the lyrics are interesting… and then the song throws this Chris Isaak-esque “Wicked Game”-ish guitar bridge to seal the deal. Um, yeah, “Sarah’s Song” is something special.

“I’m Ready” is a bit of a blend of the two previous tracks, with the eeriness of the slower parts of “Sarah’s Song” and the centeredness of “Let Him Down.” The song begins at a much slower tempo with muted instrumental flourishes, though it does build to power in a couple spots and end much noisier than it begins. I’ve seen “I’m Ready” mentioned as an album favorite in comments by some of Bridget’s core fans, which is evidence that, even as a band should strive for music that could attract new listeners (like “Sarah’s Song”) and to grow outward as musicians and songwriters, it’s important for a band to grow inward, to remember its center, to try to create variations on its central theme because that’s what its long-term followers love.

The last song on the CD is the title track, and it’s a bit of a slow, mellow, haunting bookend to the first track. Both guitar and percussion are the slow motors that move forward “I Wasn’t Planning on the End.” The whole song has a bit of a melancholy feel, ending where the album began, a bit mellow and unsure of the world around it, simultaneously definitive and uncertain. Very much Bridget Davis and the Viking Kings.

So yes, this band will never rock your face off or blow your mind with freakish feats of vocal or musical amazingness. But they consistently deliver good songs, vary the tempo, provide hook-type “motors” you’ll remember. If there’s a place in the world for a truly fine, song-driven band — and really, if we’re being honest, that’s at the core of most long-term success in the music business — you’ll find that right here.

Looking Ahead

Bridget Davis and the Viking Kings’ next performance is Saturday, December 5th at 10:00 pm on Stage 1 at the Rockwood Music Hall in New York. I’d be there if I could. I can’t, but if you can, you should go.