Author Archives: Geoff Wilbur

Single Review: Wilson Mercy – “Piece of Your Heart”

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image courtesy of Ki Talent Collective

Single Review of Wilson Mercy: “Piece of Your Heart”

Do you like energetic, seemingly-danceable pop music with a steady, catchy beat, engaging background musical flourishes, and top-shelf lead vocals? Of course you do. We all do. Upon first impression, Wilson Mercy‘s “Piece of Your Heart” seems like it’s dancefloor-ready, but the beat isn’t really fast enough to be suited to that purpose. Rather, it’s the sort of song that’ll quickly have you nodding rhythmically to the beat when you’re out in a club (but not on the dancefloor). And tapping your hands on the steering wheel when driving, well-suited to radio-play. (But hey, if you’ve got cool songs like this on your personal playlist, who needs the radio?) Or on the seat in front of you when on public transit. (So be careful in that situation.) I imagine over time you’ll learn the lead vocal line, but initially you’ll be able to sing along with the background vocals like “I, I, I wanna” and leave the lead to Wilson, whose voice is smooth but with an insistent edge, a necessary component for catchy pop music of this ilk.

This song has been pitched to me as “alternative pop,” but it’s no more alternative than someone like Rick Astley would have been back in his, with the only exception being that there was a lot more pop music on the radio back then. In that sense, I suppose, most old-school-style pop music is alternative. But hey, this is right-down-the-middle pop music for folks who appreciate catchy songs, engaging drum-driven rhythms, strong vocals, and well-written songs. Basically, most music fans. So check it out!

More Wilson Mercy

“Piece of Your Heart” was appeared on Wilson Mercy’s summer 2025 album, Digital Litter. To keep up with the latest from Wilson, be sure to follow him on Instagram or TikTok.

Single Review: Buddy Guy – “How Blues Is That”

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single cover photo by Lyndon French; image courtesy of Blind Raccoon

Single Review of Buddy Guy: “How Blues Is That” (feat. Joe Walsh)

Last summer, blues legend Buddy Guy dropped a brand new album, Ain’t Done with the Blues, on his 89th birthday. Ahead of the album’s release date, it was preceded by one of its singles, “How Blues Is That.” “How Blues Is That” is an instant blues classic, at least for any one who gets to hear it. The song itself was a cowrite of songwriters Richard Fleming and Grammy-winner Tom Hambridge. On this kickass performance, Buddy Guy’s powerful, emotive blues vocal wails are interspersed with dancing keywork work and the blistering, distorted, rockin’ blues axework of Rock and Roll Hall of Fame fretmaster Joe Walsh. If this song isn’t an instant all-time favorite, you don’t have a blue bone in your body. Blues fans (and music fans in general) should hear this song! And I haven’t listened to any of the rest of the album yet, but this tune is a strong initial calling card for it!

 

EP Review: John Gerard – Close to the Sun

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photo by Emily Joy Ashman; photo courtesy of John Gerard

EP Review of John Gerard: Close to the Sun

Close to the Sun is a 2-song EP released by Boston-based John Gerard. John’s electric guitar-driven singer-songwriter sensibility is the sort that could appeal to folk, pop, and rock fans alike, providing a broad swath of potential fans from which to draw.

John’s guitar picking and strumming is relatively barebones on the title track, “Close to the Sun,” and even the supporting sound bed is sparse, highlighting his emotional, somewhat anguished rock-style vocal wails, particularly prominent whenever the song’s energy peaks. It’s a song that’s a source of slight inspiration; it seems to acknowledge the listeners exhaustion while helping encourage “the strength to carry on.”

cover photo by Liz McGee; image courtesy of John Gerard

Second track (B side?) “Fold” builds upon the style, sound, and message of the first track. It’s still a slow-tempoed, introspective number, but the energy peaks more energetically than the title track did, and the song’s lyrical message and vocal delivery are more insistent and determined, as embodied the the song’s lyric “all the strength I’ll ever need has always been inside of me.”

More Recently

The two cool songs on John Gerard’s Close to the Sun EP are a strong introduction to his enjoyable, broad-appeal musical stylings, but they’re no longer John’s most recent releases, and his newer tracks show other sides of his song-delivery skills, so they’re worth digging into if you want a broader picture of this talented singer-songwriter. Last fall, John released a sentimental strummer entitled “New England,” and early this year, he dropped a single entitled “Drag Racing,” which is a nifty Mellencamp-ish nostalgic number.

Single Review: Jon Chesbro – “Choices”

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photo by PostFix Media/Zach Haberern; photo courtesy of Knyvet

Single Review of Jon Chesbro: “Choices”

Maine singer-songwriter Jon Chesbro released “Choices” last spring, but as I always say, if you haven’t heard it, it’s new to you. And lucky you because you get to enjoy this kickass, kinda psychedelic and spacey, introspective guitar-pop song with fresh ears.

cover photo by PostFix Media/Zach Haberern; image courtesy of Knyvet

“Choices” soars and crashes, while the vocals are inward-looking and self-examining, stylistically a little sonically detached and echoey. The tempo plods relatively slowly, but that almost feels like a slow build that sets the stage for a soaring musical liftoff during the song’s final one-third. In any case, it’s a really cool listen, enjoyable for multiple consecutive spins, if you’re so inclined.

On “Choices,” Chesbro (vocals, guitar) is joined by Robert Countie (bass), Akiba Davis (keyboards, organ), and Don Schweihofer (drums).

photo by PostFix Media/Zach Haberern; photo courtesy of Knyvet

More Recently

Since the release of “Choices,” Chesbro has dropped “One Last Dance” and “One Last Dance (Acoustic Version)” on Spotify, and earlier this year, Jon dropped a 5-song EP, Parts Bin Vol. 1, on Bandcamp.

Looking Ahead

To keep up with the latest from Jon Chesbro, follow his social media accounts at Facebook, Instagram, or YouTube.

Album Review: Sean Harrison – Ghastly Love (and Other Dubious Tales)

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photo by Denis Sayer; photo courtesy of CDA Publicity & Marketing

Album Review of Sean Harrison: Ghastly Love (and Other Dubious Tales)

Sean Harrison has one of those voices. It’s the rich, expressive voice of a modern folk troubadour. Most of all, he’s a storyteller. His lyrics are deep and thoughtfully-constructed, occasionally (OK, frequently) clever and humorous. He delivers his stories in the form of singing, mostly, but also as spoken word, when appropriate. There’s a hint of country, but at the folk storytelling end of that genre’s stylistic spectrum. And the arrangements are varied to fit the song subjects.

Sean kicks things off with an especially clever song, “Good Cover Story,” that’s a bit of a blues-folk blend with an old-school art-pop-rock beat and a noir vibe befitting its slick lyrics and crime-based subject matter. It’s a moderately energetic song that’s one of the album’s more likely tracks to reach broad appeal well beyond the record’s core audience. In other words, especially if this album doesn’t sound like it’s in your wheelhouse, maybe at least give “Good Cover Story” a listen.

“Home Where I’m Loved,” next up, is a mellow anthem for those whose home lives are a source of strength and blessing, particularly those like the songwriter whose pasts may have been a bit more scandalous.

image courtesy of CDA Publicity & Marketing

Speaking of scandalous, the next song, the title track, “Ghastly Love.” It’s the sort of song you might imagine Gomez singing to and with Morticia, flamboyantly, full-throated, imaginative, and fun.

“3 Part Strategy,” next, has a rock ‘n roll edge to it, full of energy, accompanied by bluesy distorted guitarwork, all leading to the periodical reveal of Sean’s 3-part strategy: “Get shit done!”

“Ghost of the Old Wire Road” slowly things down, going mostly spoken-word in this storytelling number, telling the story of the Old Wire Road. The song is an enthralling listen, and the topic is an interesting Wikipedia read. If you listen to the song first, you’ll recognize much of the road’s story.

Sean brings back the energy with the raucous “Black Beer,” a twangy country-rocker that’s given a memorable edge thanks to Sean’s matter-of-fact vocal delivery style, as storytelling on rockers like this as it is on the folkier-rhythmed numbers.

The uptempo, truly silly “Doggy Dog World” follows, delivering a musical ray of sunshine and catchy vocals; it’ll get stuck in your head and have you seeing the world through the wonder of a child’s eyes for days after just a few listens.

As much fun as this album is, mostly at least, it really does end on a downer, a 7-minute lightly musical examination of the awareness that the brain lives slightly longer than the body, examining a human’s “Final Thoughts.” It’s delivered a little whimsically and thoughtfully – an interesting listen – but man, the topic is serious and heavy.

As a whole, Sean Harrison’s Ghastly Love (and Other Dubious Tales) is a cool, often fun collection of songs that you really do need to hear. The guy’s a very talented true original, and you’ll find some new favorites when you give this record a listen.

Live Review: Danielle Miraglia & the Glory Junkies at Sanctuary

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photo by Geoff Wilbur

Danielle Miraglia & the Glory Junkies

Sanctuary Main Hall, Maynard, MA

April 3, 2026

A Danielle Miraglia performance is always the right call. And a full-band show with the Glory Junkies is a memorable concert event. Spoiler alert: This particular Friday night show did not disappoint!

You’ve seen Danielle Miraglia written about frequently at this blog because, simply put, she is a rare blues talent. Her songwriting is well-attuned to her voice, its bluesy rock flavor frequently seasoned with a smirk. And yes, you can hear it. Her ability to cover the songs she loves, both blues and rock, and make them her own, too, is inspired. Acoustically, Danielle’s blues is folky. But when she goes electric, she’ll rip the roof off a joint. So, too, does band, a collection of some of the region’s best instrumentalists. On this particular night, she was joined by Erik White (bass), Jim Larkin (guitar), Stephan Chaggaris (drums), and Erica Mantone (backing vocals). I’d last caught a Glory Junkies concert back in 2019, and as this night reminded me, that’s far too long.

photo by Geoff Wilbur

This was also the first concert I had seen in the main hall at Sanctuary. To date, I’d only caught early shows in the intimate bar on-site. I had only walked through the main hall once or twice and was looking forward to catching a performance in “the big room.” What great sound! Of course, it’s a converted church sanctuary, so the solid acoustics are no surprise, but what a treat to finally hear a show in this room! For performances in its cozy bar or the big hall, I love this little venue in Maynard, Massachusetts. In the little bar – but also sometimes in the big hall – it’s a venue that brings to the outer suburbs some of the best Boston-area artists, the sorts of world-class local musicians you’d usually have to fight the traffic and then endure the parking hassles of Cambridge or Boston to see. Case in point, Danielle Miraglia, whose “Drinks with Friends” is a regular feature at Sanctuary’s bar the first Thursday of nearly every month.

But I digress. Before the Glory Junkies took the stage, there was an opening set from the talented Britt Connors.

Britt Connors; photo by Geoff Wilbur

Opening Act: Britt Connors

You can catch Britt Connors regularly at Sanctuary’s bar, too. About once a month. On this night, however, Britt served as the opening act on the big stage, serving up an electric-acoustic half-hour or music before the main event. Britt (guitar, vocals) was joined by Ed Lucie on bass, adding a little more richness to her sound to help better fill the big room.

Britt quickly served notice that her vocals were big-league, delivering her opening number smoothly, with crispness and strength. “Restless,” next, served as a little edgy, heavy strumalong, with the vocals’ seeming to meander through the verses but also tending to more forceful, powerful moments in-between. “Hummingbird” followed, a sweetly thoughtful, folky number but with spots of booming, powerful vocals that, again, clearly set Britt apart from similar artists. This song did a great job of showcasing her ability to combine power, intricacy, and crispness, which she uses together or alternately as required by the song, lyric, or moment.

“Into the Deep,” next, was one of those lifestory-telling songs with kind of a haunting vibe. Sonically a little unsettling, too. Then “Just One Time” served up a little funkiness and plenty of soulful attitude – by mid-song, you’ll find yourself bouncing along to the beat, or at least I did; it’s a little hooky that way.

Britt’s final two numbers – which, if I understood correctly, are two of her most recently-written songs – were my favorites of the set. “Anchor Me” (it’s a love song, she says) is a sweeter song, a real strummer-and-crooner. And Britt’s closing number, written in the wake of the Minneapolis situation, “Steppin’ In,” is a heavy tune with a soulful protest-song vibe, sporting the lyrics “ain’t no savior comin’, we are steppin’ in.”

In all, it was an impressive performance, showcasing Britt’s vocals and songwriting talents. With a voice like hers, I can only imagine what an electric, full-band performance might sound like. Sure, I’ll gladly enjoy her acoustic performances whenever I’m able to get out to hear her, but I’ll circle my calendar for a chance to see Britt with a full band. Regardless, it was a great “warmup” set for the main act of the evening, and I’ll definitely look forward to hearing Britt perform again.

Danielle Miraglia & the Glory Junkies (with special guest vocalists to close the set); photo by Geoff Wilbur

Headliner: Danielle Miraglia & the Glory Junkies

A Danielle Miraglia & the Glory Junkies show is a blues-rock concert. On a stadium or festival stage, a mid-size concert hall stage like Sanctuary’s main hall, or even in a rundown, cramped dive bar, when this band performs, it feels like a concert. And the attendees were prepared, as seated next to me were a longtime – and, at times, a little rowdy – fan joined by his much calmer friend who was familiar with Danielle’s music but hadn’t yet seen her in concert.

So when the lights came on and Danielle Miraglia & the Glory Junkies took the stage, they went big, starting with the band’s powerful number – one that’s likely to be a signature song for the rest of their careers – “All My Heroes Are Ghosts.” The follow-up, the energetic “See the Light,” was a wise selection for the second slot, as it really showcases Danielle’s vocal dynamics. Indeed, hit ’em hard and let ’em know there’s a concert goin’ on!

photo by Geoff Wilbur

By this point, Danielle and the Glory Junkies already owned the crowd, and even moreso after “What Good Can Drinkin’ Do,” with its gritty, heavily swaying rhythm and dynamic vocals – and a crunchy Danielle Miraglia guitar solo, to boot! By the end, it was almost a singalong. I mean, no one was singing, but in a dive bar they would’ve been. With this Janis number, like nearly any cover in their set, Danielle and her band make the song their own.

“Monster,” next, is sidewinding number with a nifty, catchy rhythm and a message that, at the time it was written, seemed insightful yet blissfully unaware how much truer it would soon become. The song, on this night, before an adoring crowd, became a clapalong to the fadeout of “we imagined the monster and we made it real.”

Following came a Tom Waits song, originally recorded too by John Hammond, Jr: “2:19.” It’s a fan favorite cover, one that frequently appears on Danielle’s set lists, and, of course, she and the band always rock this one in a fashion that makes it their gritty ol’ own. On its heels was a cover of Shemekia Copeland’s “Blame It On Eve,” a song that sits on the more finessy end of Danielle’s repertoire, though it’s not without opportunities for that gritty vocal growl, a stylistic combo that makes this number an ideal fit.

All I could catch about the next number was that it’s a new one. Bluesy as hell. And something about a train? It was a heckuva rompin’ tune, though, and I can wait to get swept up in it again at an upcoming show.

photo by Geoff Wilbur

At this point, Danielle stepped back to feature one of her talented bandmates, a cadre of capable singer-songwriters when they’re not being Glory Junkies. This song was a Jim Larkin number, a kinda folky singer-songwritery tune. Not new folk. No, rather, folk with good, old-school, slightly psychedelic ’70s DNA. And hey, Jim has an identifiable hooky twinge in his vox. Who knew?

The song actually provided a nifty segue into the next Glory Junkies song, the coolly funky “Don’t Pray for Me,” delivered with a very laidback bluesy lava lampy vibe.

Following that, Danielle dug way back into her catalog, delving into one of her early albums, 2005’s Nothing Romantic, for “Moment by Moment.” She performed this one acoustically, bringing the room in close, metaphorically speaking, with this thoughtful, pensive, sweetly-sung (I counted just one signature powerful growl in a fitting spot), captivating number that had the audience so raptly attentive you could hear a pin drop. Until, of course, the thunderous applause at the end.

At this point, Danielle shone the spotlight again on one of her talented bandmates, Erik White, who is also one-half of Spotted Tiger alongside regular Glory Junky violist Laurence Scudder. The band performed “Stereo Road,” a song featuring Erik’s soft-spoken vox, ideal for this song that’s kind of swing-meets-Americana.

photo by Geoff Wilbur

Then, back at the helm, Danielle growled her way through the Rolling Stones’ “Happy” before harmonizing with Erica Mantone atop thumping rhythms to the Everly Brothers’ “Gone Gone Gone.”

The band then closed out its set with the full-on energy of fan-favorite “Stagger Lee.”

But wait, that’s not all!

Sure, the crowd would have demanded more. But Danielle Miraglia & the Glory Junkies didn’t play that game and instead provided an unsolicited encore. On this particular night, several local singing luminaries were in attendance – top-shelf musicians do, indeed, turn out to show their support at a Danielle Miraglia concert – and Danielle convinced them to join her on stage. Britt Connors, of course, joined the Glory Junkies on stage, as did Jen Kearney, Andrea Gillis, and Abbie Barrett. An exceptionally talented “choir” for one of Danielle’s signature numbers – an ideal way to end the evening in any setting, but particularly in a converted sanctuary – the so-very-soulful “Choir,” a song that provided a nice, soft landing for this energetically fulfilling concert. And, of course, that Danielle Miraglia vocal wail at the end of the chorus in the middle of the song is always a treat. The crowd knew the song, too, so it turned into a singalong.

Now, that’s how you end a concert.

Live Review: Bees Deluxe at Sanctuary

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photo by Geoff Wilbur

Bees Deluxe

Sanctuary Bar & Lounge, Maynard, MA

April 2, 2026

Tonight, Bees Deluxe helped turn a cozy suburban bar into a hip urban blues lounge. Top-shelf musical acts will do that. Of course, those of you who live near Sanctuary know that, in addition to hosting some acts that are big suburban draws, this venue is also an oasis of music from artists who don’t often perform this far out in the burbs, and that’s why you’ll so often find me in this arts and entertainment venue’s cozy little bar. The frequent early set times in the bar – 5:30 shows, like tonight; sometimes earlier on the weekends – are another draw for those of us who live and work nearby.

photo by Geoff Wilbur

As for Bees Deluxe, I love this band, a group that infuses such cool grooves through their songs. They play a style of blues I don’t know well but enjoy. You may have noticed my enthusiasm when I reviewed Hallucinate a couple years ago, but I was happy to defer the review of Smash Hits to longtime co-conspirator Eric Harabadian, whose blues knowledge is much broader and deeper than mine.

Last night, the Bees Deluxe lineup was comprised of three of its core members – Carol Band (keys), Conrad Warre (guitar), and Matt Arenburg (drums) – plus Allyn “Aldo” Dorr, who you’ll find listed on the “musical guests and friends” section of the “musicians” page of the band’s website. A couple times during the set, the quartet became a quintet, as they were joined by special guest Keith Lanzilotti on harmonica.

photo by Geoff Wilbur

The band noted they were going to try to fit a 3-hour setlist into the 2.5 hours available. (The Donna the Buffalo show in the main concert hall began at 8:00 last night; hence, the hard stop.) So it was no surprise that the band didn’t take a break. I had other obligations, so I just stayed for the first two hours of set, and I stopped taking notes about a half-hour earlier. So here’s what I heard during the first 60% of the show.

The groove was already in full swing by the time the band reached its cool rendition of Michael Burks’ “I Smell Smoke.”

Soon thereafter, Bees Deluxe entered a section of its setlist readily recognized by those of us without much blues knowledge. Notably, a neat version of “These Boots are Made for Walkin’,” with Carol taking the vocal lead, obviously, in place of Conrad, who took back vocal duties on the cool, hoarsely delivered “Love the One You’re With,” a song that also served as a great opportunity for Conrad to show off some nifty guitar riffs atop Carol’s rich keyboard bed. The easily-recognizably trilogy concluded with some crowd-pleasing Bacharach, “I Say a Little Prayer.”

photo by Geoff Wilbur

The next few songs included several originals, including “You Say Red,” a smooth number that is a little softly rollicking, if you believe a “rollick” can be soft. It was followed by a number whose title I missed but that’s worth mentioning because it featured simultaneous atmospheric and psychedelic vibes, a combo that runs through a lot of Bees Deluxe’s music. Also worth noting in this run were a great rendition of “I Wouldn’t Treat a Dog (The Way You Treated Me),” which you’ll find on the band’s Smash Hits disc (follow the link to Eric’s review, which I shared in the first paragraph). It also featured the first appearance of guest harmonica-wiz Lanzilotti and a couple more originals – lean-back-and-soak-up-the-vibe number “Wherever You Hide” and “Queen Midas,” a kind-of-groovy, psychedelic personal favorite of mine from the Hallucinate album that features an aggressive approach to its chorus.

The band then slowed things down with a rich rendition of “Georgia on My Mind.” Carol’s keys set an almost religiously organ-ic baseline, while Conrad’s meandering axe added additional character.

The show continued, but my note-taking stopped. The crowd, sparse as it often is at the beginning of these 5:30 sets, grew to a packed room over the course of the early evening. And Bees Deluxe provided top-shelf, crowd-pleasing blues to the appreciative audience.

Throughout Bees Deluxe’s set, the keys, very organ-like, set the backdrop. The guitar danced and showed off. And the rhythm section… rhythm sectioned, steadily and solidly, notably nuanced if you paid attention, and clearly appreciated by their bandmates as evidenced by callouts throughout the set, but otherwise not generally showy, as is often the fate of an excellent blues rhythm section. Again, a helluva band. And not surprisingly, an excellent early evening of accessibly thoughtful cool blues.

Looking Ahead

The “Shows” page of Bees Deluxe’s website lists plenty of shows already scheduled for the rest of this year, crisscrossing New England, New York, and New Jersey.

Sanctuary’s concert calendar lists the venue’s upcoming shows, both the free early performances in the cozy bar and lounge and the ticketed shows on the big stage in the main hall. In fact, I’ll be back in Maynard in less than 2 hours for the 8:00 PM start time of my first main hall concert at Sanctuary, as Danielle Miraglia and the Glory Junkies take the stage tonight, following opening act Britt Connors. If you read this as I post it, maybe I’ll see you there. If not, watch for my review so I can tell you what you missed.

Single Review: The Mucks – “Need Your Love”

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photo courtesy of BJF Media

Single Review of The Mucks: “Need Your Love” (Flip Flop Records)

“Need Your Love” is a broad-appeal, alt-influence, guitar-based rock and roll song that carries anguished energy from beginning to end, embedded in lead vocalist’s Michael Dunn’s tunefully pained wail. Dunn is joined in The Mucks by Kieran King (bass), Conor McGuire (guitar), Scott Johnson (guitar, vocals), and Max Kendrick (drums, vocals).

image courtesy of BJF Media

The jangly guitar is key to the mainstream-friendly alt-rock vibe of “Need Your Love,” resulting in a song that’s well-suited to the college rock scene but carries all the elements of a tune with crossover appeal. The subject matter that’s so aptly captured by the lyrics is the realization of the weakening of a long-distance relationship. It’s delivered poignantly and on-point – both musically and vocally – to the extent that it’s likely to resonate with a broad swath of potential listeners. However, even if the subject matter doesn’t elicit memories of a personal experience, this raw, emotional, guitar-rich single is sure to strike a chord with mid-tempo rock fans.

photo courtesy of BJF Media

Looking Ahead

It seems that The Mucks’ future is uncertain. Last summer, a few months after this single dropped, the band shared these Instagram posts: first, announcing that the band taking an indefinite break; then, highlighting a parting of ways with a band member. If you dig this song – and it’s a great song! – you may want to follow The Mucks on Facebook or Instagram in order to be connected with the band if/when they reemerge.

Single Review: Orianthi – “Attention”

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image courtesy of Frank Roszak Promotions

Single Review of Orianthi: “Attention” (Woodward Avenue Records)

Last summer, Orianthi released her Some Kind of Feeling album. I previously reviewed a couple of the earlier single releases from that album – “First Time Blues” and “Some Kind of Feeling.” Well, a few weeks before the album’s release, Orianthi dropped another single, “Attention,” which I’ll review here.

Of course, with any Orianthi release, you can count on some kickass guitar. And, as I’ve grown to expect, some monster hooks on the singles. “Attention” is an uptempo, insistent, catchy guitar pop-rocker with the nifty vocal “You’re so predictable, you do it every time. Drunk-checkin’ on me in the middle of the night. You know, you know, you know what you pull me through. You just want attention; I’m done thinkin’ bout you.” That’s just some cool – and singalong-able – lyrics!

If you listened to the Orianthi songs I reviewed last year, then you’ll know what to expect when I say “Attention” has the pop-rock sensibilities of “Some Kind of Feeling” and the coolness of “First Time Blues,” wrapped up in an uptempo classic guitar pop-rock package. I really dig this song, and if you like guitar, pop-rock, and/or cool, hooky songs, you’ll enjoy “Attention” as much as I do.

Album Review: The Dogmatics – Nowheresville

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photo by Nicole Tammaro Photography; photo courtesy of Knyvet

Album Review of The Dogmatics: Nowheresville (Rum Bar Records)

The Dogmatics are masters of a style of garage rock that’s absolutely swimming in monster hooks. Catchy songs. Low-fi. It’s a crunchy, raucously satisfying meat ‘n potatoes musical combo meal. And Nowheresville, the band’s recent full-length release – its first in nearly 40 years! – is a massive helping of raw, rockin’ comfort food. The fivesome behind this gamey but tasty collection of rock tuneage are Jerry Lehane (vocals, lead and rhythm guitar), Peter O’Halloran (vocals, lead and rhythm guitar), Jimmy O’Halloran (bass), Tom Long (drums), and James Young (vocals, backing vocals, mandolin).

The album kicks off with “Key of B,” a fun, energetic, lyrically silly yet earnest ode to one of a rocker’s most important, life-altering decisions. And with that, The Dogmatics set the tone for this entire raw, rockin’ collection.

Some of the songs are garage rockers that share some punk rock DNA. “You’ve Got What I Want,” for example, has such a raw, energetic feel. “With a Scarlet Letter,” meanwhile, adds a more nuanced rhythm while remaining just as gritty and rough.

cover photo by Mary Lou O’Halloran; cover design by James Young; image courtesy of Knyvet

Other songs – “Rainy Nights,” for instance – have a more country aura filtered through an Americana-rock lens, kind of Eagles-ish. “Con Job,” too, leans that way, though it’s more of a hillbilly-ish rocker – rockabilly? – while if you listen to the lyrics, you’ll be sure to never be caught alone in a dark alley with the songwriters. It is a wicked cool song… with a little extra wicked.

One of my favorite songs on the record, “Nothing to Be Learned,” is a pure melody-driven, roughly-produced, guitar-based pop-rocker. Its catchy rhythm and persistent rhythm guitar line helps it feel as if it’s more energetic than its actual pace dictates. Cool stuff, dudes! And if this is your favorite Dogmatics’ sub-style, “I Can’t Get Over You” is another song you’ll love, with a similar hooky-rockin’ delivery.

My very favorite song on the disc is an instant classic as much because of its lyrics as its tunefulness. “No Likes No Comments” is one of the rawest songs on the album, from a production standpoint – though that nifty guitar solo is in a production sweet spot – but the social media-referencing lyrics are so damn clever. The main line of the chorus, “No likes, no comments, no one cares,” is inspired by itself, but the cherries on top are the more inventive lyrics like “I snapped and I chatted, I tikked and then I tokked. My grams had lotsa instas, but everybody balked.” Poor Threads didn’t even warrant a mention. The song is the silliest on the record, which isn’t an easy task on a disc that opens with “Key of B,” and it’s a lot of fun.

The record ends with a couple balls-to-the-wall rockers, at least in context of the record as a whole. Fast energy. Raw feel. Faster tempos. Indeed, “Library Girl” and “Ball Me Out” are a great offramp from this cool disc. Also, they’re strong indicators that a live Dogmatics is like to be an all-out rock ‘n roll party. I mean, the whole album suggests that, but in case you weren’t paying attention, these last two tracks make sure you notice how cool it would be to catch these guys live!

And if you want to catch a live Dogmatics gig, there are a couple in the Boston area in the next week or two. Just check out the “Shows” tab of the band’s website for more info and to see new performances as they’re added.