EP Review: Liz Bills – Liz Bills

Liz Bills

photo by Scott Bakal; photo courtesy of Liz Bills

EP Review of Liz Bills: Liz Bills

This brand new self-titled four-song EP – it’s scheduled to drop on Saturday, November 18th – is the first solo release by Analog Heart frontwoman Liz Bills. Liz has a voice you can recognize quickly. It’s powerful, versatile, original, and memorable.

When I first heard Liz with Analog Heart, I was impressed, but with each successive step, I’ve heard growth. In dynamic delivery, full utilization of her vocal tools, consistently strong songwriting and the ability to find unique hooks. Most of all, though, while conveying a confidence and feeling that she is exactly where she belongs. That has always been a strength of Liz’s (at least during the two-plus years since I first – and last – saw her perform); her presence just seems to get stronger with each recording.

Liz Bills EP cover

image courtesy of Liz Bills

You’ve seen reviews of Analog Heart’s Sun Here I Come album last year and, this past summer, the band’s “Not Good Enough” single here in the Blog. Those had a band vibe. Liz’s new, eponymous EP is still a rock album, but it really showcases her voice and personality within and beyond the music. And hits. It has hits. The first two tracks on the collection are immediate, smack-you-in-the-face with their catchiness kind of hits; the back end of the EP, meanwhile, is subtler in its hookiness, obviously good songs even at first, but they ultimately hit you sneaky-hard as you peel back their layers and discover their massive coolness.

The first half of the collection, which I’ll call the “instant favorites” half, begins with “Born to Wander,” a big song with energetic strumming and rhythm, monster hooky stop-gaps and tempo changes, big, powerful vocals that include Liz’s crystal clear highs, and plenty of engaging character.

It’s followed by “My Man,” another smack-you-in-the-face, memorable-from-the-first-listen, causes-music-journalists-to-overuse-hyphens tune. There’s a bit of a ’70s funky rhythm and some tempo-changing lyrical runs, but the most Liz Bills element of the song is a spoken word, conversational, encouraging/empowering-conversation-with-the-audience portion, something she does memorably well, a trick Analog Heart fans might recognize from “She’s Rock ‘n’ Roll.” Indeed, “My Man” is a song you won’t soon forget.

Liz Bills

photo by Jonathan Rummel; photo courtesy of Liz Bills

The “back half” of Liz’s EP contains a couple songs whose hooks are slightly more hidden but very certainly potent and likely with a more permanent impact. “Werewolf,” the first single from the disc, was released October 21st. It has a subtler, rhythmically nuanced vocal, a song that softly ratchets the intensity, punctuated by howls that are both appealing and a bit confusing, at least until you start to pay attention to the lyrics (or, at least the song title). Oh, the lyrics are well-crafted to tell the song’s tale, and they match the journey of the song as well as its vocalization and instrumentation, musically leaning on the rich texture and versatility of Liz’s voice while only hinting at its power. “Werewolf” is a thoughtfully-constructed, very cool rock ‘n roll song and quite possibly my favorite…

Unless my favorite is “Bomb Song.” It’s also lyrically clever. And, as with “Werewolf,” once you stop listening passively and pay attention to said lyrics, the unusual point of emphasis, “bang,” suddenly makes sense and becomes the lyric you sing along to the most, just as you start to howl after several listens to “Werewolf.” “Bomb Song” also sports a cool, rhythmic, not-quite-syncopated strum that, at the end, halts abruptly. Abruptly emphasizing the brevity of this four-song collection and making you want more. So, of course, this is an EP that has to be played on repeat.

In the end, yes, I’ve been in Liz Bills’ camp for a while now, intrigued the first time I heard her perform live. At the time, before I started blogging and just as “Merrimack Jane” was released, I thought Analog Heart had finally hit its songwriting groove, found its niche. The band rounded a corner with a strong album beginning to end with Sun Here I Come. And now Liz has managed to kick things up another notch with her eponymous solo EP. She’ll have to blow the roof off the proverbial joint to lift her game any higher, and I look forward to hearing her try. I bet she can. For now, though, I’ll just sing and howl along with her all-too-short solo EP, and I suggest you do the same. This rock ‘n roll singer-songwriter-bandleader is something special.

Looking Ahead

The “tour” section of Liz’s website lists her upcoming tour, kicking off with a Saturday, November 18th album release show at the Chit Chat Lounge in Haverhill, MA. The subsequent tour includes stops in Millvale, PA; Cincinnati, OH; Burns, TN; Nashville, TN; Louisville, KY; Richmond, VA; Lynchburg, VA; Baltimore, MD; and Brooklyn, NY before she returns to Massachusetts for a December 5th date at Atwood’s Tavern in Cambridge. Check Liz’s website for details and for additional dates as they’re added.

Live Review: Carmel Liburdi at Hamtramck Korner Bar

Carmel Liburdi

photo by Eric Harabadian

by Eric Harabadian, Contributing Blogger

Carmel Liburdi

Hamtramck Korner Bar, Hamtramck, MI

November 3, 2017

There was certainly a lot of love in the room as assembled fans and friends gathered to celebrate the release of Detroit area singer-songwriter Carmel Liburdi’s new CD Insomnia Slumber Party. Liburdi is a gifted lyricist and songsmith who knows how to connect with her audience. She writes tunes that are personal and somewhat confessional, with a broad appeal that most folks can relate to. Affairs of the heart, religion and self-reflection are some of the prime topics of her songs delivered with a sense of irony and whimsical introspection.

Carmel Liburdi

photo by Eric Harabadian

The place was packed and, after some introductory pleasantries, she jumped right into the title track to her latest release “Insomnia Slumber Party.” Armed with her trusty acoustic guitar, Liburdi dove into the folky, laid-back rhythms with ease. It’s a small tale—perhaps a personal account—of two people who find themselves fatefully together at the end of the night after the other partygoers disperse. She appeared to have the crowd dialed in from the get-go and followed that up with a wry and lighthearted tune called “This Song is About You.” The tune had a ragtime Tin Pan Alley vibe where she puts a cad in his place with the line “You dirty cowboy riding atop your trusty steed; I need you now, boy, but it’s a want more than a need.” Talk about turning the tables!

Carmel Liburdi

photo by Eric Harabadian

“Umbrella Tattoo” contains vivid imagery and a dream-like rapid stream of conscious lyrical delivery. As she refers in her own song, it’s like “grunge pop punk played on acoustic.” “Sewerstar” is kind of progressive in its structure and how it takes several twists and turns in mood and tempo. Liburdi whips out her ukulele for the cute and somewhat surreal tale “The Vine.” She cleverly observes various fruits and vegetables within a garden and gives them all human qualities, not unlike Simon and Garfunkel’s classic social observation “At the Zoo.” This woman can write about pretty much anything and give its characters purpose and integrity. Toward the end of this tune Liburdi also played “mouth trumpet” and brought the house down. “Zoe” followed and was another catchy piece, with a light rock and boogie edge.

Carmel Liburdi

photo by Eric Harabadian

The last two songs in her set really played to the emancipated woman. In “Not for Consumption,” she pulled no punches singing the line (after defending her position in an encounter with someone) “I’m here in the now. I don’t know why and I don’t know how.” “Genuine Creep” closed the main part of the show and was probably one of the more poignant songs of the night. Love is confusing sometimes as she sings, “I’ve shown I can love even if I can’t love you.” And then in the next breath she emotes, “When you think I’ve moved on and I came back to you. That’s just what I do.”

Carmel Liburdi

photo by Eric Harabadian

She concluded with an encore from an earlier release called “Ice Cream in Heaven.” It was a clever little number where she called up acoustic bassist Gwen McPhee and percussionists Mike Land and Phil Warren to help her out. Actually, at a few select points earlier in the performance, Liburdi received a little help from those friends as well.

Carmel Liburdi is a unique and singular talent. She can, essentially, carry her own as a solo performer and is totally authentic and believable. Aside from her obvious songwriting prowess, perhaps that is her biggest asset.

Album Review: Savoy Brown – Witchy Feelin’

Album Review of Savoy Brown: Witchy Feelin’

Yes, that Savoy Brown. Legendary British blues rockers you’d know mostly from the ’60s and ’70s, though they’ve been releasing music pretty steadily ever since. And by they, I mean Kim Simmonds and whoever is in the band with him, as he has churned through a significant number of bandmates through the years under the moniker Savoy Brown; Pat Desalvo (bass) and Garnet Grimm (drums) have been Kim’s bandmates since 2009.

Savoy Brown - Witchy Feelin'

image courtesy of Howlin’ Wuelf Media

Through the years, though, Kim’s bluesy guitar wail and bluesy vocals have been a constant, while his list of former Savoy Brown colleagues is impressive in both quantity and quality.

That telltale axework doesn’t take long to appear on Witchy Feelin’, as first track “Why Did You Hoodoo Me” kicks of with crunch and power, a deep bluesy vocal acting as a New Orleans-inspired booming siren call. It is a proper introduction to this old-school, classic blues rock album. Like fine wine, this disc just improves with age; it’s solid at first listen, but the attention to detail helps this collection dig its tentacles in like smoke from an old blues club filters its way through the seams and into the lining of your leather jacket. It’s loud, smelly, and worth the time to fully enjoy.

My other favorite track, closer to the middle of the collection, is “Guitar Slinger,” another crunchy guitar-driven, unforgivingly ploddingly advancing blues rocker, perhaps a bit George Thorogood-esque but with more fancy ’70s rock fretwork in some of the guitar runs.

Savoy Brown

photo courtesy of Howlin’ Wuelf Media

Those selections betray my preferences, though. If you’re more of a “Sweet Home Chicago” meets the Fabulous Thunderbirds kind of music fan, you might prefer “Vintage Man.” And the songs “Living on the Bayou” and “Memphis Blues” are additional standout tracks, each illustrating the source of its own particular blues roots in its song title.

“Standing in a Doorway” is a blues-soaked version of what might otherwise be a Dire Straits tune but crunchier and deeper vocalled. And the album ends with a suitable closing blues number, “Thunder, Lightning, and Rain,” a song that includes plenty of street cred-establishing jams, a bar-closing, “you don’t have to go home but you can’t stay here”-worthy spoken-blues delivery and noisy slow fade leading to an abrupt end.

I’m glad I gave this album a few listens. Its music starts off solid and grows on you by the sixth or eighth listen, a classic blues-rock album delivered by a talented veteran crew that really knows what it’s doing. Witchy Feelin’ is a welcome addition to my music collection; it’s a comfortable old-school disc I know I’ll reach for when in a specific mood for years to come.

Looking Ahead

Per the “tour dates” page of the band’s website, Savoy Brown is, indeed, on the road.  You can see them November 17th at Rams Head On Stage in Annapolis, MD; November 18th at the Sellersville Theater in Sellersville, PA; November 25th at The Montage Music Hall in Rochester, NY; November 26th at the Sportsmen’s Tavern in Buffalo, NY; December 1st and 2nd at Iridium Jazz Club in New York, NY; December 8th at The Upper Room in Albany, NY; December 15th at The Bull Run in Shirley, MA; and December 16th at Daryl’s House in Pawling, NY. Go to the band’s website for additional details and more live dates as they are added.

 

Album Review: Morosity – Low Tide

Morosity

photo by Andrew Vickers; photo courtesy of Morosity

by Eric Harabadian, Contributing Blogger

Album Review of Morosity: Low Tide

Morosity is a multi-faceted rock quintet from Minneapolis, Minnesota that began as an acoustic duo in 2001.  Childhood friends Jesse Albrecht (vocals/guitars) and Dave Rowan (guitars) adopted influences like Tool, Alice in Chains, Days of the New and Opeth into their sound. Feeling the need to expand their approach they gradually added Sean Bachinski (bass), Jason Wolfe (violin, guitar and mandolin), and Nick Johnson (drums). Their debut album release was Misanthrope in 2011. The follow up, Low Tide is their current focus.

Morosity - Low Tide

album artwork by Heather Albrecht; image courtesy of Morosity

The album Low Tide begins with a track called “Mind Over Matter.” It’s heavy on the drums and rhythmic vibe, conjuring up a world beat meets Gothic feel. The mood is dark, with unison-like vocals and a nice string accompaniment. “The Answer” continues a late ‘90s drop tuned tonality that is derivative of that time period, yet not clichéd.

“Ouroboros” is a piece that is very dense with the full depth and breadth of the band’s instrumentation. Wolfe’s violin and mandolin figure prominently, and it sounds like drummer Johnson adds some East Indian tabla-like elements to the fray, as well. A Distinct Middle Eastern essence on top makes for an interesting and exotic work.

Dave Rowan and Jason Wolfe

photo by Andrew Vickers; photo courtesy of Morosity

“Moon” follows and is a bit more straightforward as an acoustic kind of Alice in Chains inspired track. Albrecht and Rowan’s blend of guitars dovetail very natural and in sync.

“Smoke & Mirrors” has a laid back Soundgarden or Pink Floyd feel to it. Perhaps a lot of that can be attributed to the slide and ambient guitars a la Kim Thayil or David Gilmour.

The ominously titled “Death Grip” comes off as a kind of folk song, with haunting vocals and whistling from Albrecht. There is kind of an odd juxtaposition here of the light chordal backing and surreal delivery.

Jesse Albrecht

photo by Andrew Vickers; photo courtesy of Morosity

“Limbo” continues in an eerie sort of vein. There is an almost chamber choir matched with a stark and understated mandolin accompaniment. Wolfe’s light strings add a semi-classical effect.

The title track “Low Tide” is kind of bittersweet in approach and execution. The minor mode and pairing of acoustic guitar and violin almost suggests Kansas’ “Dust in the Wind” to a certain extent. The somewhat melancholy mood and dramatic character in Albrecht’s voice seem to evolve and build toward the coda.

Jesse Albrecht

photo courtesy of Morosity

“Adrift” appropriately concludes the album with the soft and tranquil sounds of ocean waves. Albrecht’s austere vocals paired with a dark and dream-like soundscape provide a short and sweet finale.

Morosity certainly draws from its musical peers and heroes such as Alice in Chains and Days of the New, but is so much more than that. Their use of world beat, psychedelia and traditional instruments liberally tap into Americana, progressive rock, and, on occasion, even blues. They are an interesting act with a somewhat familiar sound that is adventurous and diverse.

Morosity

artwork by Heather Albrecht; image courtesy of Morosity

Looking Ahead

The “calendar” page on Morosity’s website is currently blank, as is their Facebook “events” tab, but those are the places to look to see when and where they’ll be performing live.

Album Review: Sam Sherwin – Iodine Cocktails

Sam Sherwin

photo by Vincent Mineo; photo courtesy of Media Stew Public Relations

Album Review of Sam Sherwin: Iodine Cocktails

Straightforward rock ‘n roll from New Jersey. With roots in the ’70s and ’80s, Sam Sherwin‘s Iodine Cocktails is a bit of a rock ‘n roll, um, cocktail.

Sam Sherwin - Iodine Cocktails

image courtesy of Media Stew Public Relations

Sam Sherwin’s Iodine Cocktails showcases musical styles that recall rock ‘n rollers as disparate as Randy Newman and Bruce Springsteen.

Sam kicks things off with the cheerful, Randy Newman-esque “Anymore.” Picture a sunny day, two or three female backup singers adding emphasis, and a smile on everyone’s face, and you’ve captured the essence of this number. Moderately energetic with a laid-back, catchy, recurring guitar hook, “Anymore” has all the attention-grabbing elements perfect for an opening track, and it’s likely to become and remain a favorite.

Sam Sherwin

photo by Geoff Lee; photo courtesy of Media Stew Public Relations

But even within the sunny opening number, there’s a hint of regular-guy New Jersey in the song, and that’s a thread that’s found elsewhere in Iodine Cocktails, too. Notably on the mellow, slightly melancholy, harmonica and guitar-filled, most Jersey-esque rocker on the album, “Automatic Day.”

Sam Sherwin

photo by Dwyt Dayan; photo courtesy of Media Stew Public Relations

More prominent throughout the album, though, are the female backing vocals that add a fullness to the music. On “Without You,” for example, they’re paired with keyboards and well-placed organ for emphasis. Sam’s voice on “Without You” is smooth, melancholy, and gritty wherever the song calls for it, showing a range of vocal versatility within a five-minute song capsule.

“Well OK” features a John Mellencamp or Bruce Hornsby-ish tempo and well-suited harmonica intro, though Sam’s vocals have perhaps a smidgen more of a knowing sneer than you’d expect form Mellencamp, with maybe a hint of Springsteen’s grit. You’ll find the rich female backing vocals again on “And a Whole Lot More,” this time with more of the uptempo laid-backness of songs like “Well OK.”

Sam Sherwin

photo by Dwyt Dayan; photo courtesy of Media Stew Public Relations

That’s not to say that there isn’t the occasional outlier – the fun “At the Old Canal” is a bit of a barn-raising-ready, slow-tempo, almost-twangy Americana number. But even this has a bit of Sam’s rock ‘n roll show band flair to it, more of a fun, quirky number than a shift in his base style.

And, going the other way on the rock ‘n roll spectrum, “Lick Your Lips” starts with a George Thorogood-esque gritty intro before moving to a more energetic, accessible, gritty blues rock style for the rest of the song. Still rock ‘n roll. And, if you noticed, still “gritty.” A little of that is Sam’s vocals, but more, I think, is the recurring, wailing, blues-rock guitar hook.

Indeed, Sam Sherwin touches upon a variety of classic, mid-tempo, radio-friendly rock ‘n roll styles, infusing his music with elements reminiscent of a broad cross-section of top artists from that mainstream rock ‘n roll genre. A bulk of the songs, including those I failed to mention, fall within this range, providing a varied yet cohesive 10-song collection that’s a solid addition to any mainstream, multi-decade rock ‘n roll collection.

Album Review: Richard X. Heyman – Incognito

Album Review of Richard X. Heyman: Incognito

I’ve crossed paths with Richard X. Heyman a lot through the years. At least, I’ve crossed paths with his name. But I’m not sure I’ve ever reviewed one of his albums before. It’s greatly overdue. I think I may have ended up on his mailing list right around the time the ramping up of my real-life and career-job obligations caused me to stop publishing Geoff Wilbur’s Renegade Newsletter, so I’ve been following his career but haven’t had an opportunity to write about him for nearly a decade and a half.

Of course, even at the time, I was a bit late on-board, as Richard was already a household name in music circles. From his gig with The Doughboys to his solo career, which began in the late ’80s, Heyman is much revered in the industry. And it’s no wonder. Incognito is a diverse, engaging, catchy album. Songwriting is at the basis of the songs’ charms, with influences ranging from ’50s to ’80s (and beyond). These are timeless pop songs. At times, the delivery is a little ’70s folk-pop-rock in nature, sometimes there’s a hint of a punk influence, at times I hear Beatles (or Monkees) song influences. Incognito begins as an engaging album but slowly grows into a long-time favorite. I’m pretty sure this one’s going to have staying power, that I’ll still enjoy listening to it a couple decades down the road.

Richard X. Heyman - Incognito

image courtesy of Howlin’ Wuelf Media

The album opens with perhaps the catchiest song of them all, the title track “Incognito.” Or maybe it just seems to be the catchiest because it’s the first song I hear each time through. But it’s memorable. This is a slightly psychedelic, mid-tempo ’60s-style rock number with an insistent edge to Richard’s vocals. And yet it’s combined with a bit of an ’80s new wave melodic undercurrent. Not straight-up ’80s music, but rather an ’80s song paying homage to the late ’60s, a catchy rock ‘n roller with its own hybrid sound. It’s a great way to begin the disc, an instant foreshadow that you’ve begun a song collection that’ll be well worth your attention.

“A Fool’s Errand” follows with a more Beatles-esque ’60s vibe. Then “Chalk It Up” amps up the energy and volume, with a raucous, rockabilly-ish recurring guitar hook adding a little jangle to an otherwise straight-ahead, pre-George Thorogood-type fast-tempo rock ‘n roll ramblin’ song.

Another personal favorite, “And Then,” follows. It’s sort of a summer-of-love-era mainstream rocker. In other words, there’s a rockin’ folk edge to Richard’s vocals and to the instrumentation of the melody itself, with well-placed harmonies adding richness to this pop-rock number.

“Gleam” is an energetic number for which there’s an accompanying YouTube video. It’s an emotional travelogue, a heartfelt, road-music-styled love song, the road-music energy helped along by some well-placed finger-picking, with the rock ‘n roll edge driven home by some multi-instrumental enthusiastic chorus-crashing.

Richard X. Heyman

photo courtesy of Howlin’ Wuelf media

That’s followed by one of the catchiest, poppiest songs on a disc full of catchy pop-rock songs: “So What” is a well-crafted, songwriter-evoked musical smile. “In Our Best Interest” then brings the mood down a bit with a more heartfelt introspective musical and lyrical design, sung with a more gravelly delivery than found elsewhere in this collection.

“Her Garden Path” has a psychedelic ’60s guitar rock vibe. “Lift” carries that mood on, but with more of a grand presentation; in fact, it would probably fit nicely on one of Asia’s hit albums in the ’80s.

Dialing up yet another influence, “Miss Shenandoah Martin” is almost full-on folk, particularly in the opening before adding a bit more tempo. This is the most Americana song on Incognito; it would be the most pop-rock song on a true Americana disc. Again with the many influences; this album showcases a broad variety, suggesting that Richard X. Heyman is a connoisseur of good music, regardless of genre, that his songwriting and performance goal is the pursuit of a good song, while his identifiable voice and delivery serve to provide a cohesive, identifiable sound across an album’s collection of songs. Next up, “All You Can Do,” serves up another dose of folk influence, with organ providing an engaging, original edge.

Then the disc shifts again, to perhaps its highest-energy number, a fun Motown-meets-’50s-flavored rock ‘n roller called “Terry Two Timer.”

“These Troubled Times” circles back to a melancholy, introspective storytelling delivery, almost like you’d expect from someone like Bruce Springsteen.

Disc-ender “Everybody Get Wise” opens with a Talking Heads-ish jangle before bringing in some Motown-inspired harmonies, settling into a bit of enjoyable musical tension between the two songs, delivering an enjoyable, satisfying end to Incognito.

I have some favorites on the disc – “Incognito,” “And Then,” and “So What,” probably the pop-hittiest songs of the batch – but enjoy the variety of influences and deliveries throughout the disc. It’s a great beginning-to-end listen, a journey narrated by one of our time’s most versatile independent singer-songwriter storytellers.

EP Review: Cain Rising – Rear View Mirror

Cain Rising

photo courtesy of Cain Rising

by James Morris, Contributing Blogger

EP Review of Cain Rising: Rear View Mirror

Following on from their critically acclaimed self-titled debut album Cain Rising, the band have been back in the studio to record new songs for release on this 5-track EP Rear View Mirror, out today, October 10th, 2017. All the songs have been released as singles over the past few months providing exciting glimpses, one song at a time, of what the band have been working on.

Where the debut album displayed the breadth of their influences, from East Coast rock to raw folk, the five tracks on Rear View Mirror show a band whose confidence is growing and who are not afraid to let their music grow with it.

Cain Rising - Rear View Mirror EP cover

image courtesy of Cain Rising

Since we last heard from Cain Rising, there have been some personnel changes. The core of Jo Parry, Jez Parry and Jimmy Price remains. Incoming guitarist Ian Hopper is edgy and creative; Matt Crawford on Hammond and piano gives the band a touch of soul; and Mick Ivory’s drumming is its beating heart.

The title track of the EP, “Rear View Mirror,” is an effortlessly catchy, hit the road, summer song that drives along from the opening chords to the mariachi outro. This is the first time the band have experimented with a brass section courtesy of Rebecca Gibson Swift and Pablo Mendelssohn.

“Glasgow City Spires” has the band rocking out behind lyrics reflecting the alienation that can hit you when returning to your home city after many years. It’s a feel good bouncy tune, with swirling organ, warm snappy guitars and a driving chorus.

“Soldier” takes the tempo back a touch with a real retro feel. A touch of Andy Fairweather-Low, a touch of The Hollies and an evocative Gretsch guitar solo.

Cain Rising

photo courtesy of Cain Rising

“Walk My Way” is a swinging rock tune. Once again adorned with horns plus a call and answer bridge in a Billy Joel “Innocent Man” style, which gives it all a foot tapping, bopping and breezy sway.

Finally the mood is taken down with “Social Man,” a tense, raw, stripped-back piano song. It’s good to be shown that the band have a versatility and confidence beyond the airy summer rock, and this track provides a perfect natural conclusion to the EP.

As well as the music, I should also mention that the drawing behind the cover art for the EP and singles is by Julian O’Dell. Julian’s artwork has long been a favourite of the band’s and has created a unique style for this release. His work can be found on his website www.artattackoncancer.org. All proceeds from his sales go to the Action Against Cancer charity.

Cain Rising

photo courtesy of Cain Rising

My previous reviews of the first two singles from this EP (here and here) have extolled the virtues of this band. Now at last you can get the full EP. With these 5 tracks you get a satisfying, hit the freeway, window down, summer blast. Get up close and personal with a pair of headphones, though, and you’ll find an equally enjoyable and rewarding listen thanks to the great production – credit for which goes to Jamie Masters, who seems to be able to get right inside the band’s sound and bring out the very best of the songs.

Great tunes, great songwriting, great production, great band. If you like Springsteen, Dylan, Tom Petty, Beatles, et al, you should really listen to Cain Rising’s new EP and then go get the album for good measure. Here is a band influenced by the greats and who then turn their own creativity into new wonderful music for now and for the future.

Follow the band on Facebook or Twitter @CainRising or visit their website at www.cainrising.rocks.