Category Archives: Album Reviews

Album Review: D.C. Anderson – Sharing the Night with Darkness

Posted on by

photo by Sam Pickart; photo courtesy of D.C. Anderson

Album Review: D.C. Anderson – Sharing the Night with Darkness

D.C. Anderson is an accomplished stage and screen actor and recording artist, with a delivery style very much of the stage. If you like Broadway cast albums – or if you like sincere, well-crafted singer-songwriter music – then D.C.’s albums of intimately sung, theatrically-styled offerings are likely to be right up your alley.

Sharing the Night with Darkness is a collection of songs many of which touch upon issues like aging and mortality. It’s an incredibly moving collection, meaning I have to pick my listening moments, reserving this album for times when I’m in the mood to be deeply moved and emotionally affected. For a glimpse into the topics and emotions behind each of the songs on this disc, I’d direct you to D.C.’s Facebook post where he discusses this album.

D.C. is joined by David Robison on piano for some songs, Luke Wygodny on guitar for others, and vocals-only with no accompaniment for still others. Other musicians chip in during one or two songs each: Audrey Q. Snyder (cello) on “Mail Order Annie” and “Such Fine Things” and Lem Jay Ignacio (piano) and Lemy Ignacio (guitar) on “You Do Something To Me.”

album art by Julia Mann; image courtesy of D.C. Anderson

D.C. opens his heart in the album’s opening song, “Again,” about falling love with his husband over and over again. As mentioned, D.C.’s delivery style is very theatrical, so a touching song like this brings to mind a solo performance on a stage, just the singer in a spotlight, delivering a heartfelt appeal at a crucial moment in the storyline. Or, perhaps, a closing monologue-type song, one that reflects on the play’s happy ending after a night of twists and turns on the stage. Regardless, it’s easy to place this song on Broadway, even though it’s not.

“Market Girl” is a song I enjoy for a very different reason. It’s plucky and playful. As is D.C.’s rendition of Cole Porter’s “You Do Something to Me.”

D.C.’s voice soars on songs like “A Tree” and Harry Chapin’s “Mail Order Annie.”

D.C. serves up serious, powerful stage vocals on tracks like “I Am Anger” and “I Am the Dream.”

“Twenty Twenty Three” is styled more like a folk song, though D.C.’s vocals assert his position as an emphatically emotional troubadour when he plays that role.

Then there are other songs, like his ominous cover of Bob Dylan’s “Dark Eyes,” styled like a sad pub drinking song. Similarly styled, from a pub dirge perspective, is “Sully’s Pail,” an enthralling vocals-only cover of the Dick Gibbons-penned lyric that was put to music by Tom Paxton several decades ago. (You can hear Paxton’s version here.)

D.C. touches upon some heavy topics that can make for some rugged listening. “When I Get Quiet” is thoughtful and pensive. “I’ve Come Looking For You” is heart wrenching, as is “Night, June 1988,” a song with an interesting arrangement that’s split between interspersed spoken-word and musical delivery. “I Must Know You” is intensely delivered from the point of view of someone suffering memory loss. And “Epilogue,” while less difficult than the other songs I mention in this paragraph, is an Andrew Ratshin-penned song about a man looking back on his life from his funeral; it’s less difficult because it’s not anguished and the music is a bit more upbeat. Still, though, a heavy topic.

The penultimate song on Sharing the Night with Darkness is D.C.’s exquisitely voiced cover of “I’ll Never Find Another You.” D.C. notes, in that Facebook link I suggested you read above, that it’s his tribute to The Seekers’ Judith Durham. D.C.’s version is, of course, more melancholy than the original, which is further emphasized by his a capella delivery.

The album closes with “Such Fine Things,” with vocals about as close as you can find to crooning in this collection.

In all, with so many dark and/or heavy songs on this exceptionally crafted album, a particular frame of mind is required to choose to listen to Sharing the Night with Darkness. When that sort of introspection and depth of thought and emotion are what you seek, though, this album offers a well-designed vehicle for that experience.

image courtesy of D.C. Anderson

More Recently

On January 16th, D.C. released the single “Twenty Twenty Four,” planned to potentially be the title track of D.C.’s next album. Recorded with Luke Wygodny, who lent his guitar-playing to the single and shares songwriting credit for creation of the music to D.C.’s lyrics, “Twenty Twenty Four” places a strumming, folky guitar beneath D.C.’s vocals, moving from soft and thoughtful to loud, quivering, and somewhat angry, as it contemplates the power of love to bring an end to war, or at least its power to yearn for peace and its resolve not to stay silent. You can find a lyric video for “Twenty Twenty Four” via this link.

Looking Ahead

Well, there looks to be a new album on its way. Twenty Twenty Four. As of the eponymous single’s release a few months ago, a spring release date was targeted.

If you’d like to catch D.C. in person, he is scheduled to appear with Ritt Henn at noon on June 1st at the Upstream Gallery in Hastings on Hudson.

Beyond that, I’m not sure of the best way to remain abreast of D.C.’s latest goings-on, but a good place to start would be to follow him on social media: Facebook, Instagram, and X.

Album Review: Emma Wilson – Memphis Calling

Posted on by

image courtesy of Frank Roszak Promotions

Album Review of Emma Wilson: Memphis Calling

What a voice! Emma Wilson‘s Memphis Calling is a powerful rhythm and blues record. While I’d primarily classify it as blues, it is a very soulful blues with some pop-friendly melodic playfulness. In any case, I can see why Emma’s press material refers to her as rhythm and blues rather than simply blues, and I’m convinced by this record that it’s an appropriate distinction.

But about that voice? Emma shows it off throughout the album, but she wastes no time getting the listeners’ attention, showcasing its texture, power, and versatility in the catchy “A Small Word,” with the singalong lyrics “Love is just a small word. Why is it so hard to say?” Ooh, yeah! “A Small Word” is one of the four songs (out of Memphis Calling‘s nine) on which Emma has a songwriter credit.

Mid-to-up-tempo “Water” follows, starting slow but quickly building to power, showcasing Emma’s soulful vocal power with playful blues instrumentation supporting her. It’s an update of singer/songwriter Eddie Floyd’s 1968 original. I gave the sixties original a listen, and it’s impressive how modern that original sounds; Emma didn’t have to update it much to make it sound fully modern, and she duplicates Eddie’s vocal power. Indeed, it was a perfect selection for her voice. The song’s playfulness is engaging, its recurring instrumentation hooky, and it will quickly become a favorite.

“Watching You Leave” is a good choice for a third track. After two such energetic numbers, it changes the pace a little. I mean, the horns quickly establish that it’s not a true ballad, but it is slower paced and smoother than the two more dynamic numbers preceding it. And Emma restrains the urge to showcase her vocal runs, mostly, sticking to remaining dynamic within the song structure. The following song, “I Still Love You,” is an even slower number, a true ballad.

“What Kind of Love” features Don Bryant as guest vocalist, and the pair’s vocals meld well in this funky, playful, moderately-paced blues strutter.

“I’ll See You in the Morning” is the first song to operate at the high end of Emma’s range, a raw, ragged, thin, emotional vocal that serves this song well. Even the early/mid-song guitar solo adds to the feeling of a weary day, a little emotionally strained to match Emma’s vocals. Oh, and I’ve gotta mention the cool organ coming in at the end adding that final touch.

“Drug” is a thicker-textured song, with some heavy horns and a funky beat, while “Hoochie Coochie Mama” is a full-on return to the blues, a gender-swapped update of the Willie Dixon-penned Muddy Waters standard, “Hoochie Coochie Man.”

Emma then ends Memphis Calling with her understated rendition of the slow, slow crooner “Since I Fell For You,” with the organ giving the song a bit of a Gospel blues feel.

Emma Wilson’s voice and versatility make Memphis Calling an exceptional blues recording, beginning to end. My favorites are the two energetic album-openers, “A Small Word” and “Water” – and, aside from the ballads of course, those are probably the two songs with the biggest crossover appeal beyond core blues fans – but if your stylistic tastes differ from mine, you may find your favorites elsewhere on this strong, solid record.

Looking Ahead

Emma has several concerts, all in the UK, currently listed on the “Shows” page of her website. Tonight, March 23rd, she’ll be performing at the
Beastie Fest Blues and Rock Festival at Boom in Leeds, with her next show scheduled for May 23rd in Sunderland. Check Emma’s website for more information about those shows and the others on her calendar.

Album Review: Lara Herscovitch – Highway Philosophers

Posted on by

photo by Austin Fenn; photo courtesy of Lara Herscovitch

Album Review of Lara Herscovitch: Highway Philosophers

Lara Herscovitch is a folk singer-songwriter with a relatively straightforward top-shelf singer-songwriter delivery and damn fine songwriting skills. As a singer, you can feel the emotion in her vocals. As a songwriter, well, her songs are detailed and variety, comfortable and chance-taking. Her creativity flows throughout Highway Philosophers.

cover photo by Joy Bush Photography; image courtesy of Lara Herscovitch

I first listened to Lara’s music in the run-up to 2023 New England Music Awards, where she was nominated in both the Roots Act of the Year and Americana Act of the Year categories. (I make it a point to sample some music from every nominee before casting my NEMA ballot.) She has received numerous accolades over the course of her career. To me, I think the coolest was her 2-year stint as the Connecticut State Troubadour. That would be for the whole state of Connecticut… except for Stars Hollow because it already had a town troubadour. And, of course, because it’s a fictional town. Honestly, though, just scroll down to the bottom of Lara’s electronic press kit to see her impressive list of honors.

Lara kicks the album off with one of her best songs, a song with broad appeal, the song that answers the questions “When? Where? What?” Of course, I’m talking about “Now Here This.” Musically, every time the song settles down, it kicks back up again. Now, that’s a matter of perspective, as the tempo never gets particularly kicked-up, but the tempo changes, modest as they are, do amp things up slightly but impactfully.

You want tempo? You’ll find a bit more on “Angels.” This is simply a well-written song with spots where the lyrics become more emphatic, where the music sweeps upward in intensity. I can imagine it with a variety of different arrangements. On this disc, of course, the arrangement is folky singer-songwriter, in fitting with the delivery style Lara performs so well.

photo by Katie Settel; photo courtesy of Lara Herscovitch

“Highway Philosophers” has kind of a travelin’ song tempo. “Careful Porcelain Doll” is an empowering song about not fitting stereotypes. And “You USA” is nostalgic and hopeful, in a way.

“Sailing to Newfoundland” is an encouraging number that uses harmony vocals quite well, and there’s a tiny bit of well-placed meandering electric guitar in the mix that gives it a really cool sound that stands out, at least to the extent a few seconds in a mellow song are able to stand out. (Just listen for it, eh? I like it.) “Fault Lines,” next, carries a hint of discomfort through its sweet sound, hinting at but not straight-out mentioning the song’s real topic.

Next up is “Shine Sister Shine,” a catchy song with a singalong chorus and uplifting message. It comes with a storybook that’s purchasable here, though you can read in greater detail about the project here on the original kickstarter page. Also, the animated video is a must-see. I think we can all be relieved that the sun got her groove back.

“Castle Walls” is a smooth, reminiscent tale that tells a story. But the next song, “The Tiger & I,” tells a tale, an enthralling, fun, clever one about a true friendship with a tiger who, one can only hope, is a better driver than Toonces. Yeah, it’s kinda silly, but the song is entertainingly detailed, the music is cheerful, and there’s gotta be a deeper message in there, right? Well, actually, there is, and it would a great theme song for an animated buddy movie (working title: Lara and the Tiger), but I’m focusing on the silliness.

Lara Herscovitch & the Highway Philosophers; photo by Alex Carpenter; photo courtesy of Lara Herscovitch

“Rise” has a foreboding tone to it, despite the song’s liveliness. It’s an emperor-has-no-clothes type of song, noting, though, that “the sun will rise again.”

“In Your Corner” is an uplifting song that includes the lyric “remember, you’re not in that ring alone.” It’s a really comforting, encouraging song, moreso after each successive listen. “Wingspan (Acoustic),” following, is another hopeful number.

Finally, “From a Dream” is the song I was referring to when I said Lara took chances. I really get the storytelling method of spoken-word over a music bed with background vocals. For me, it’s a miss, but it’s a technique that will find a 0% success rate with me, so that’s not fair. The technique seems effective, but when I listen to the CD in the car, I usually just skip this one and restart the disc after the end of “Wingspan.”

The songs on Highway Philosophers are mostly very deeply personal – or, at least, touch on subjects that are typically deeply personal. I’m sure that’s part of what will direct you to your personal favorites on this disc. And I’m sure you’ll have favorites.

Lara Herscovitch is a talented singer and storyteller, with the sort of emotive voice that defines the best folk-based singer-songwriters… or, I suppose you could call them, troubadours.

More Recently

Highway Philosophers was a 2020 release. Since then, Lara has released 2021 single “I’d Do Anything” and, just this past fall, “Italian Balconies.”

image courtesy of Lara Herscovitch

“Italian Balconies” is a song with a cool harmonic vibe, soaring vocals and an echo that somewhat recalls a church choir. Or perhaps the echoes of Italian streets, as this song was inspired by the story of Italians stepping out onto their balconies and singing together during the early days of their COVID-19 quarantine. (If you’ve forgotten this story, here’s a video to remind you.) Lara’s song, inspired by that occurrence in Italy, recalls that time and some of the positive lessons learned.

Looking Ahead

The “Tour” page of Lara’s website lists her next performance as Saturday afternoon, April 6th at the Cheshire Public Library in Cheshire, CT. After that, she has shows scheduled from April through December, ranging up and down the east coast from Maine to Georgia, including a December 7th stop in Bluffton, SC, where I always insist on having lunch at The Cottage Cafe whenever I’m in the area… which has been at least eight or nine years now, unfortunately. But I digress. In any case, be sure to check Lara’s website periodically to see if/when she’ll be playing near you and for new shows, as they’re added.

Album Review: Thorslund – Thorslund

Posted on by

photo by Will Cook; photo courtesy of Nothing’s Shocking Media

Album Review of Thorslund: Thorslund

Thorslund are brothers Jeff Thorslund (vocals, guitar, bass) and Tom Thorslund (drums, backing vocals), with Charles Horin handling live bass duties.

The band performs classic, timeless, guitar-driven hard rock music. You hear elements of ’70s rock, but with updated tone, riffs, and production values. In its bio, Thorslund notes the influence of the melodic elements of grunge on the band’s music. I’m not convinced that influence, necessarily, comes through in an obvious sense, but if it’s an influence, then the music is well-served by it. The band’s self-titled debut release was self-produced by Jeff and Tom and mixed by Nick DiDia (Stone Temple Pilots, Pearl Jam, Dirty Honey).

image courtesy of Nothing’s Shocking Media

The gritty, heavy, bluesy hard rock riffs that begin album-opener “Firecracker Man” establish Thorslund as a modern, classic-styled hard rock band that’s clearly first-tier. When assembling an album, especially as a new band, put your best song – especially your best song in your trademark style – right up front. Thorslund has done that here, and it works well. Within the first few seconds of “Firecracker Man,” I knew I’d like this album, and I knew I’d review it. Yes, this twisty, hooky, singalongable (“I’m the long-awaited… firecracker man!”) song is still my favorite, but, as expected, Thorslund is a strong album beginning to end.

“Hours to Go” also kicks off with a catchy guitar hook that leads to a fun, riff-laden, classic guitar rock song. It features enough hooks to be enjoyed by a rock ‘n roll fan, with enough impressive axework to be a musician’s favorite track, too.

“Wildfire” features a sidewinding hook, not completely unlike “Firecracker Man” but with a lighter classic rock feel. Something about one of the guitar flourishes reminds me of “Rocky Mountain Way,” and while the entire song doesn’t sound anything like it, I can see the two songs being seamlessly played side-by-side by a cover band somewhere because “Wildfire” really does have a bit of that ’70s vibe to it.

photo by Will Cook; photo courtesy of Nothing’s Shocking Media

“New Light” is a heavy rock thumper with a catchy, repetitive overriding rhythm and bluesy classic rock guitarwork plus the sort of psychedelic rock fade-out one might expect from Enuff Z’nuff or “Green Tinted Sixties Mind”-era Mr. Big.

Change-of-pace, lighter number “I Got Time” is an intense strummer that is lighter, fresher, and acoustic, eschewing drums until the very end.

“So It Goes” is more mid-range classic rock, still guitar-driven but more along the lines of what you might hear from Rick Springfield (but with a ’70s rather than an ’80s vibe) and ending with a seriously fun extended guitar solo.

And “Armageddon Tonight” is another AOR-era guitar rocker, this one with a cool recurring rhythm.

photo by Will Cook; photo courtesy of Nothing’s Shocking Media

Finally, to close, the rhythm of album-ender “Rocker” reminds me a little of Helix’s “Heavy Metal Love,” and it certainly has that modestly wild-yet-contained Helix vibe, though the vocal harmonies in some spots are reminiscent of the richer harmonies of other ’80s rock bands. Notably – and enjoyably – the axework that sits atop the beat is of the flamboyant shredding variety found on a variety of ’80s album rock tracks.

Guitar-based classic rock fans are sure to enjoy Thorslund’s self-titled debut LP. My favorites remain “Firecracker Man,” “Hours to Go,” and “Wildfire,” but yours may be different.

Looking Ahead

The “Live” page of Thorslund’s website doesn’t list any upcoming shows, but check back for dates as they’re added.

Album Review: Matt Smith’s World – Into the Light

Posted on by

image courtesy of Rock Rose Music

Album Review of Matt Smith’s World: Into the Light

Austin, Texas-based Matt Smith has released acclaimed CDs with his band Matt Smith’s World going back more than a decade. The band’s latest release, Into the Light, is a collection of funky rock ‘n roll music that’s good-natured, jammin’, and groovy, the sort of thing you might enjoy while lounging in a bean bag chair staring at the lava lamp. In other words, it’s straight outta the 1970s. And it covers a lot of musical territory while still remaining a cohesive record.

photo courtesy of Rock Rose Music

The album kicks off with its title track, “Into the Light,” which has a Jimmy Buffett-esque party band vibe, moreso than the rest of the album. Not that the other songs aren’t party-friendly; rather they display more rock influence than the title track.

“Why Can’t We Have a Good Time” is more of a straight-up alt-funk rock song, a little more typical of the songs on this disc, though none of the songs are what I’d necessarily call typical.

“Still Not Dead” is a horn-heavy, vocal-driven song with a seventies pop-rock groove.

“Water of Life” strikes a more foreboding tone, with the song progressing rhythmically as if with a beating pulse, with a jazzier horn line than in preceding tracks.

photo courtesy of Rock Rose Music

“Measure of a Man” recalls the ’70s, when rich instrumentation lifted what might otherwise be folk songs up to the pop-rock consciousness with a fuller sound. Heck, parts of “Measure of a Man” sound like a jazz band, a guitar jam, and a big musical theater number. I think Sgt. Pepper would be proud of this song. It’s also worth noting the primary lyric of the song, the universally true phrase, “The measure of a man is in the tracks you leave behind.”

“Make the Most of Your Life” is a funky, bluesy pop-rock number. (Why do I feel like Fat Albert might have been willing to sing this song on Saturday morning TV?)

“Possibility” is a lighter, happier, more encouraging jazz-meets-blues crossover delight. It’s followed by “My Baby Likes to Ya Ya,” a light, playful blues-pop/rock number, the fun tone portrayed well by its lyric, “But that’s just her way, she’s like sunshine on a cloudy day.”

photo courtesy of Rock Rose Music

“A Change in Me” is an energetic blues-rocker. Not too heavy, not too light. Just right. And it includes a nice wailing jam toward the end for good measure.

The album concludes with “Life Ain’t Easy (And Then You Die),” a funky, jammin’, contradictorily upbeat song about how all things must end. In this case, the record ends, too.

Matt Smith’s World’s Into the Light is an enjoyable listen, cohesively recalling classic music styles, touching upon a variety of genres. So kick back and listen. It’s one of those albums where no song in particular jumps out (to me, at least), but the album is a fun, pleasant way to spend almost three-quarters of an hour. And it suggests strongly that a Matt Smith’s World concert would be a whole lot of fun. So, you know, check out the album, and if you can catch this band live, definitely do it!

To keep up with the band’s latest happenings, be sure to follow Matt Smith’s World on Facebook.

 

Album Review: Luke LeBlanc – Places

Posted on by
Luke LeBlanc – Places album cover. Image of a man standing along the railing of a bridge. Passersby walk in front of him but are blurred and out of focus.

image courtesy of Michael J. Media Group

Album Review of Luke LeBlanc: Places

Luke LeBlanc is an Americana-ish singer-songwriter whose raspy, emotionally-connected voice and unique musical style literally jump out of the speakers and demand your attention. Figuratively. I meant figuratively. But from the first song on his newest release, Places, it’s clear Luke’s music is among the best of its genre and would interest many of us who don’t usually listen to this style, too. In the end, though his songwriting is complex and well-conceived, it’s Luke’s voice that’s so memorable and appealing. A uniquely identifiable emotional everyman, his voice is the calling card that’s recognizable from well-written song to well-written song.

My favorite Places ditty is its album-opener, “A Place,” a song that energetically bounces along like a moderately-paced hoedown and then slows down to wax melancholically nostalgic. The music is intricate without being plush, assembling engaging musical bits and pieces into a song that’s an attention-grabber. Attention-grabbing songs are, of course, the best way to start a record. They convince the listener to continue, setting up more subtly interesting songs to follow.

“No Good” shows Luke can slow things down to a mellower pace, though the song never really sits there, as it’s always powered forward by intertwined instruments and twangy country-ness. Next up is “Own It,” which has a mildly energetic folky singer-songwriter vibe and tempo, but the groovy horns add a bigger-stage energy. Then “Honey Rebel” is kind of a confident little strutter of a song, with Luke’s delivery carrying a Matthew McConaughey-like pacing and tone.

My other favorites on the album are “Never Met You at All,” which is old-school country filled with attitudinal coolness, neat picking, and smooth fiddlework; “Break My Wall,” a sassy, sentimental tempo-changer; sweetly-crooned “Hazy”; and the insightfully edgy yet clever “Right Way,” which is lightly instrumented throughout but builds from low intensity at the beginning to slightly less low intensity by the end. It just seems like it’ll be a nifty low-voltage crowdpleaser, and it’s definitely a great way to end a disc.

If I had to put my finger on what makes Luke LeBlanc’s Places such a pleasant enjoyable listen, it’d be his identifiable voice, his deceptively intricate song stylings, his range that covers every corner of the seemingly modest real estate that is singer-songwriter Americana, and his music’s good-natured, sometimes playful sincerity. This result of this variety of standout features is a record that clearly outclasses most of its peers. If you give it a listen, you’ll be glad you did.

Random Thought

Luke is Minneapolis-based, as is Blog favorite Dan Israel. I’m not sure if they’ve ever played together, but their sounds are so complementary, they absolutely should. Just sayin’. It’d be a killer double-bill.

Looking Ahead

The “Shows” page of Luke’s website lists his next gig as Friday, April 26th at The Burr Oak in Madison, Wisconsin. He also currently has six more shows scheduled in Wisconsin and Minnesota during May, June, and July. Be sure to check his website for details about those shows and additional performances, as they’re added.

Album Review: Peter Storm & the Blues Society – Second

Posted on by

image courtesy of Naked/Big D Bookings

Album Review: Peter Storm & the Blues Society – Second (Naked)

Portuguese blues band Peter Storm & the Blues Society delivers guitar and harmonica-driven blues and blues-rock, generally raucous except when it’s mellow, always sincere and engaging. The band is comprised of João Belchior (vocals, guitar), José Reis (bass), Bino Ribeiro (harmonica, rhythm guitar, percussion), and Jorge Oliveira (drums). The current album, Second, was released about a year ago. It’s the follow-up to the band’s debut release, First.

“Write Down the Blues” kicks things off wailingly. “Blame” follows much more softly with a bit of a syncopated rhythm, with ethereal musical support offering some prime real estate for the electric guitar to dance lightly through the soundbed.

Track three, “Go Down & Play,” is a rhythm-driven, thumping, moderately fast-tempo blues-rocker, with harmonica and distorted electric guitar serving as the driving forces.

“Meditation Blues” then slows things down to a a crawl, with rich, full vocals supported by very sparse guitar, bass, and drums. At 6:11, it clocks in as the longest track on Second. With its snail’s pace, that’s hardly a surprise, but it goes down so smooth!

The oft-covered blues/R&B classic “I Feel Like Breaking Up Somebody’s Home Tonight” follows, with a confident, funky blues rhythm and a matter-of-fact, cool to the point of being cold, smooth blues-vocal snarl. I also think this is the first I’ve heard a talk-box used on this record. Nice effect! Energetic spoken-sung storytelling “52nd Avenue” follows, picking up the tempo a little bit.

“Blackhole” sports a heavy blues-based rock riff; it’s a soft but heavy blues rock banger that could find a crossover audience among ’70s classic hard rock fans. “Blackhole” has a slow, booming tempo but sports a ripping ’70s classic rock-reminiscent guitar solo, not to mention the distorted bluesy rock guitar throughout.

Next up, “Beatrice,” a rowdy number based on the Sam Rivers classic, is a raucous mid-tempo jam, with vocals, sax, and guitar all serving up energetic howls. It’s also an inspired album-placement choice because it’s a faster tempo than the preceding song, but it’s a straight-up jamming blues entry rather than blues rock. It’s kind of as if “Blackhole” tees the listener up for this memorable jam. Though I like pretty much all of the songs on this album, “Beatrice” is one that would draw me into a club if I heard it playing while I was on the sidewalk walking past.

“I Told You (Not to Treat Me Wrong)” slows things down quickly, with a very slow, steady pace and a relatively lightly instrumented soundbed that allows the listener to shine an mental spotlight on the emotional, oh-so-blue vocals.

The band picks up the tempo one last time for Second‘s final song, “Show Me Your Love,” a gritty, growlin’, relatively fast-paced rockin’ blues number that’s perhaps the hookiest song on the record, replete with a jammin’ harmonica solo; it’s a tune that would liven up blues and rock clubs alike, filling the dance floors. A very cool way to end an album.

With Second, Peter Storm & the Blues Society serve up a versatile blues record that appeals to a broad audience. The album is varied enough to keep the listener’s attention while remaining attention-grabbing even when it slows down. It’s one of the best pure blues records, beginning-to-end, that I’ve heard in a while.

If you’re just going to sample, my pick-three are “Show Me Your Love,” “Beatrice,” and “Meditation Blues,” but you’re likely to enjoy just settling in for a cover-to-cover listen.

Looking Ahead

I haven’t heard anything about the band going into the studio, but after the band’s first two albums were entitled First and Second, what do you think is the odds-on favorite for their third album title?

It looks like Peter Storm & the Blues Society announce their shows on their Facebook and Instagram pages. I don’t see any upcoming dates listed at the moment, but be sure to follow them on social media to watch for gig announcements.

Album Review: Anton O’Donnell – Tomber Sur PRW

Posted on by

photo by Neil McKenzie, Keep it Creative; photo courtesy of Broken Jukebox Media

Album Review of Anton O’Donnell: Tomber Sur PRW

Gritty, heartfelt, immersively engaging Americana from Glasgow, Scotland. Anton O’Donnell’s voice has an emotional, cracking edge that’ll recall for you the old west. His music is what you might expect to hear a big, old-fashioned country music dancehall. And his songwriting cuts a broad swath across the portion of Americana that stretches from traditional country to perhaps a slower version of rockabilly. There are additional, apparent influences that help provide varied appeal to the album, with alt-rock and blues influences rearing their heads from time to time, as well. Of those we’re reviewed at the Blog in the past, I’d place Anton on the Americana spectrum somewhere between The Chapin Sisters and Adam Lee, a good fit to perform on the same bill as either or both.

I get so many submissions of good Americana music that it’s rare to hear something that sounds different and new, but Anton’s Tomber Sur PRW is most definitely special. Perhaps it’s because Anton’s voice could fit with gritty rock ‘n roll, as well, sometimes reminiscent of Tom Petty. Combine that mix of influences and uniquely identifiable vocal style with Anton’s clever, articulate, thoughtful songwriting, and the result is a record with potentially broad appeal.

image courtesy of Broken Jukebox Media

The album kicks off with one of its most appealing songs, “Kindness.” Anton’s voice conveys a unique tone on the song, with a nasal, cooler-than-you edge that may be the edgy Americana equivalent of Tom Petty’s slower, folkier tracks from his Full Moon Fever record.

“Skulduggery” carries the same cool vibe as its predecessor but has a bit more energy, while the lyrics pull no punches about the song’s very serious topic: “No, you feel no god around here, just the devil in man.” Then “Roots” slows things down again, with a wide-open-spaces, soaring, mildly haunting twang.

“Dreams Fade Under the Weight” has more of a sittin’ ‘n pickin’ singer-songwriter flavor, once again mixing things up, providing another of those twists that makes Tomber Sur PRW so hard to describe, even when painting with a broad stroke. But if you haven’t figured out by now that this album is a unique original, you’ve not been paying attention.

As the album rolls on, the songs continue to be similar but different. “Shine a Light” haunts. “It Never Lasts” has a rock ‘n roll vibe driven by a big ’50s/’60s recurring riff, an alt-rock-ish noisy soundbed, and a country-rock guitar jangle. “Set It On Fire” sports a palpable tension and an echoing openness that are surreally unsettling. “Madman on the Loose” marches along resolutely if a little off-kilter, grabbing the listener’s attention, reminding me quite a bit of the big, straightforwardly twisted sound of Love Love, a band I’ve reviewed here at the blog.

The 9-song album ends with “DJango,” a soft, methodically advancing song that leans heavily into fiddle and pedal steel for its soaring, swaying Americana tempo and texture. And, with a closing fadeout, Tomber Sur PRW lands softly.

The album is a great beginning-to-end listen, while the first two tracks and “It Never Lasts” remain my favorites for one-off listens – they’d be my picks to be released as singles. Anton’s voice is larger than life, very much rock ‘n roll but in a folky, country way. It’s unique and identifiable, as is his style, which permeates every nook and cranny of this album, even with its broad variety of influences. So yeah, it’s a very cool album.

Looking Ahead

You can follow Anton O’Donnell on Facebook and Instagram to keep up with his goings-on, such as these shows today and tomorrow in Glasgow.

EP Review: Best Not Broken – If It Feels Right

Posted on by
Best Not Broken

photo by Jeffrey Pirozzi (Roze Photography); photo courtesy of Best Not Broken

The Backstory Behind This Review

You know, one of the neat things I’ve been doing lately is proactively discovering great local music again. I get so much unsolicited material in my overflowing inbox that it’s easy to fill the blog with amazing music that just shows up in my inbox. And yes, I discover some amazing music that way, but last fall I decided to reach out to several of the bands that blew me away when I was sampling music from the New England Music Awards nominees, and I’m finally reaching those reviews in my queue. I reached out to bands like Eddie Japan, Major Moment, and Best Not Broken, leading to reviews of three of my favorite new albums this past year. It’s not like they’re new bands, either – Eddie Japan and Best Not Broken have been releasing kickass music for a decade. Even so, because of my huge backlog of music awaiting review, I only reached out to a few of the great bands I discovered this fall. My NEMA vote for Best New Band, for example, went to All Sinners, and I haven’t tried to get in touch with them yet. I’ve also started increasingly reaching out to other artists I dig, not just in-region, further lengthening my playlist. So much great music, so little time.

But that’s enough backstory; you’re here to read my Best Not Broken review, so I’ll delay it no longer. Without further ado…

EP Review of Best Not Broken: If It Feels Right

Best Not Broken is a versatile rock band, infusing a fresh enthusiasm into its brand of timeless, pop-friendly rock ‘n roll. The band’s music is varied and fun, keeping things interesting in the mid-range pop-rock lane of the rock ‘n roll highway. If I had to name comparables – or, rather, bands you’ll probably also like, since none really sound completely like Best Not Broken – I’d probably suggest Smash Mouth, Bowling For Soup, Weezer, and the All-American Rejects.

album cover of Best Not Broken's If It Feels Right EP

image courtesy of Best Not Broken

If It Feels Right opens with a sure-fire good-time hit, “I Don’t Belong.” The video certainly is fun! So much so that it earned a “Video of the Year” nomination for the 2023 New England Music Awards. The audio is heavy on the rhythm, tunefulness, and singalongability. My favorite lyric? The much-delayed final word of the phrase “I don’t belong… here.”

The next song, “Human Emotion” just made its radio debut this week, on Tuesday. It’s nearly as catchy as “I Don’t Belong” – an impressive feat! – but it flows through its prominent beats with an almost crooning vibe in its verse’s vocals and cool lyrics like “Can’t stop human emotion. We all got something that’s broken. Don’t take this the wrong way, but you’re all messed up, and it kind of reminds me of me.” Sense a theme? Playfulness and cheerfulness about not being perfect or, in “I Don’t Belong,” not fitting in. So, yeah, catchy af music and the kind of songs that’ll make you feel good, even when you’re inclined not to.

“That’s the Way She Likes It” is probably the smoothest pop-rock song in this collection, not balladic yet sporting a soft touch. It’s uniquely original, of course, and expresses dysfunctional shyness, but it’s still kind of sweet.

“Lying Awake” starts slow and builds, reaching singalong status with a thumping beat and the rhythmic line “shouldn’t’ve stayed up, shouldn’t’ve stayed up.” Best Not Broken does a good job of keeping the instrument mix simple, but I feel like I’m oversimplifying this song’s appeal. For example, musicians and detail-oriented music fans will appreciate the supporting instrumentation on “Lying Awake,” notably noticing some of the background guitar lines that add variety to the music bed.

Finally, “Low Lights” closes the disc, dare I say, with another hook-filled entry, propelled by a reggae-influenced rock ‘n roll rhythm.

So that’s four hooky songs and another sweetly enjoyable one on a 5-song EP. Leave ’em wanting more, I guess, eh?

Best Not Broken

photo by Jeffrey Pirozzi (Roze Photography); photo courtesy of Best Not Broken

Looking Back

Best Not Broken has been doing this for a while, which is to say they’ve been releasing quality, fun pop-rock songs with a playful edge for a decade now. Some of my favorites among their older songs include “What the Night Has Left” (and not just because of its cool video with Boston residents dancing in the subway), the playful “Brain,” and the energetically hopeful “I Won’t Stop Loving You.” If this is your first exposure to Best Not Broken, be sure to also explore the band’s back catalog.

Looking Ahead

You can keep up Best Not Broken’s live performances on the “Events” tab on its Facebook page or via the band’s Bandsintown listing. Well, in theory, at least. Neither currently lists any upcoming shows, but check back periodically to see new dates as they’re added.

Album Review: Houston Bernard – Ditch This Town

Posted on by
Houston Bernard

photo courtesy of Houston Bernard

Album Review of Houston Bernard: Ditch This Town

Houston Bernard has that radio-friendly country music voice, deep and strong but emotional and textured. If and when he gets widespread exposure he’ll be a star. He certainly has the ability, and he puts in the hard work. Until then, though, there’ll just be a subset of us who will know about and enjoy the music of one of country music’s most talented male vocalists.

Ditch This Town is a solid disc throughout, ranging from uptempo, dancefloor-filling numbers to heartfelt ballads to all of the usual country music tempos in-between. There’s never any doubt that a Houston Bernard album with become a favorite. It’s really just an exercise in finding your favorite songs, playing them endlessly, and mixing in some full-album listens because there are never any weak spots, and sometimes it’s worth riding the song-ordered train Houston has placed on the rails for you.

Houston Bernard – Ditch This Town album cover

image courtesy of Houston Bernard

Houston opens the album with the title track, a hooky, uptempo number about moving on to new adventures and opportunities. “Should I stay here or go?” This whole song ponders that decision, energetically and with a soul-searching bridge and instrumental solo here and there for variety just to keep things interesting. “Ditch This Town” is a radio-ready potential hit, my personal go-to listen in this collection, and a great way to kick off this album of the same name.

“Pretend” is one of those more thumping, rhythmic country numbers where the verses are spoken-sung in a great country music tradition that extends back much longer than I’ve been on this earth. The instrumentation is a little more classic country-styled, too, though there’s a classic rock-inspired guitar run in the middle of the song that somehow fits quite neatly into the song structure.

Houston continues to mix things up – because he and his band aren’t just one-trick ponies. They’re, I guess, multiple-trick ponies? Anyway, “Darkest Water” is an intense, powerful ballad that’s rich enough to fill the hidden crevices of a room. It’s a heavy song of internal struggles (“I’ve been guarded, I’ve been hardened, I’ve been knocked down by the waves…”) and reaching out for help and love (“help me through the darkest water”). Goosebumps. A lump in your throat. The music alone can make it happen, but if you listen to the lyrics, you’ll feel it tenfold.

“Ain’t No Friend” is another excellent number, a more uptempo, rockin’ country number, but its subject matter is old-school country, so if you’re a lyric hound it might not be the spirit-lifting entry it seems. The music sure it energetic, though.

Houston Bernard

photo courtesy of Houston Bernard

Houston is teasing “In My Blood” as his next single/video. It’s written like an autobiography – and I don’t know Houston well enough to know the extent of its real-life basis, but I’m sure that’ll be a question he’ll get frequently in interviews. The song is heartfelt and emotional, a mid-tempo number that slows down and then builds to power (rinse and repeat). I can see why “In My Blood” is a current fan favorite and the next planned video.

“Ain’t Like Me” grabs attention with a strum-and-drum opening before adding strong vocals and guitars. It has that downhome, regular guy feel, telling a tale of finding himself possibly actually in love: “I’m givin’ up, givin’ in, baby I’m down on my knees. That ain’t like me.” It’s a mid-tempo song that’ll brighten the room and maybe evoke a knowing smile or two.

“All We Are Is Memories,” next, is a mid-to-slow tempo reminiscent number, while “Carry That Torch” is a slower-paced song of lifelong, married devotion, with the nifty lyric “I’m going to lay my head down so I can wake up and carry that torch for you.” Also probably the first song I’ve ever heard reference a ball-peen hammer, but maybe I’ve just lived a sheltered life.

photo courtesy of Houston Bernard

“Wild Desire” picks up the energy a little, with a fair bit of twanginess, as is I think a requirement whenever you sing a song that mentions Abilene. The tempo is not super-fast, but “Wild Desire” is absolutely a windows-down, driving-down-the-highway song. Of course, some of that might be the travel-related lyrics.

Houston delivers a tone on “Come Undone” that I only really ever hear in his songs. It’s a Houston Bernard special. It’s semi-uptempo with a thumping rock ‘n roll bass line, a steady beat, and a mix of countrified and rockin’ guitar riffs, both in the typical lead role and dancing occasionally through the background. But it’s more than just that, it’s a tempo through the verses, punching some words and phrases forcefully and others softly, a little variance to the pacing, and an almost subtle touch on the key chorus line. You may have other favorites on this album, but this is the song that’s most singularly representative of a Houston Bernard recording.

Houston brings things to a close by bringing the energy down with emotional ballad “Broken.” It’s an ode to those who’ve had a hard life, those who grew up in difficult circumstances, an understanding of how they’ll never fully escape what happened to them, that it will forever color their lives. A powerful song and an engaging one, a song that’s an enjoyable listen if you don’t pay close attention to the lyrics, a more intense, still beautiful listen if you do.

With each new album, Houston Bernard levels up another notch, seemingly reaching a peak, then exceeding it with future releases. Ditch This Town is a strong record, with music covering a wide range of country song styles, all guided by Houston’s quintessential deep country music voice and charisma.

photo courtesy of Houston Bernard

Looking Back

Of course, we’ve written about Houston Bernard several times at the blog. In addition to reviewing his live sets at the 1st and 2nd Annual Local CountryFests, we reviewed Houston’s “American Dream” single in 2020. Then, in 2021, we reviewed a trio of his singles: “People We Are,” “Small Town Way,” and “Without You Honey.”

Looking Ahead

The “Shows” tab of Houston’s website lists several upcoming shows. In Nashville, Music City fans can catch Houston tomorrow, Wednesday, March 6th via a BusCall Nashville show at Tin Roof. Houston will be back in Massachusetts for a Saturday, March 9th gig at Tempo in Waltham. The website lists additional shows over the next several months in Massachusetts, Maine, and New Hampshire. Be sure to check his website for additional details and for new shows as they’re added.