Category Archives: Album Reviews

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

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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

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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

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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

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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

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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

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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.

Album Review: Firefall – Friends & Family

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photo courtesy of Hello Wendy PR

Album Review of Firefall: Friends & Family (Sunset Blvd. Records)

A classic rock band delivers an album of classic rock covers. Yeah, it’s been done before. But when it’s done well, it can be a fun listening experience. As expected, Firefall delivers first-class renditions of, in this case, thirteen lucky songs.

You’ve certainly heard Firefall hits from the ’70s, songs like “You Are the Woman,” “Just Remember I Love You,” and “Strange Way.” Founding member Jock Bartley (lead and acoustic guitar, vocals) appeared on all of those hits. In the current Firefall line-up, Bartley is joined by Steven Weinmeister (acoustic guitar, backing vocals), Jim Waddell (sax, flute, keyboard), John Bisaha (lead vocals, bass), and Sandy Ficca (drums). Though Bartley is the sole original member in this line-up, all except Ficca have been in the band since the 20th century.

On Friends & Family, Firefall pays homage to several of its favorite ’70s bands by covering some of their hits. (Technically, the Heart song covered was a 1985 hit, but they were also a ’70s band.)

image courtesy of Hello Wendy PR

The thirteen tracks on this disc (and the original band) are: “Long Train Running” (The Doobie Brothers); “Part of the Plan” (Dan Fogelberg), “What About Love” (Heart), “Can’t You See” (Marshall Tucker Band), “In The Heart Of The Night” (Poco), “Angry Eyes” (Loggins and Messina), “Simple Man” (Lynyrd Skynyrd), “I’ll Feel A Whole Lot Better” (The Byrds), “World Turning” (Fleetwood Mac), “I Got A Line On You” (Spirit), “Chest Fever” (The Band), “Colorado” (The Flying Burrito Brothers), and “Ooh Las Vegas” (Gram Parsons). There aren’t any weak cuts on this disc.

If you’re a fan of the song being covered, unless you’re overly protective of the original, you’ll enjoy the Firefall version. Of course, I have some favorites of my own.

The opening guitar noodling of “Long Train Running” is a great way to start the record. Firefall’s harmonies serving this song well, as do Bisaha’s lead vox, with just enough gravel and power to push the song forward but the ability to deliver a light touch where song requires.

Firefall’s rendition of “What About Love” is very cool, with the flute opening – and the flute’s usage elsewhere in the song – offering a slightly different vibe from Heart’s version. Obviously, the male lead vocal is another difference, though that difference is much less impactful on the song’s overall feel, to be honest, than the flute usage. There’s a more midtempo flavor to the song overall when compared to Heart’s heavier-rocking rendition, and Firefall deploys some bigger harmonies. Upon casual listen, Firefall’s cover doesn’t feel very different, but when you take all the little changes one-by-one… well, that’s the cool thing about a well-done cover.

The bigger, richer, more rockin’ version of “In the Heart of the Night” is another of my favorite updates. The ever-so-slightly grittier lead vocals, fuller sound bed, and more prominent keyboardwork in Firefall’s version are my favorite adjustments.

photo courtesy of Hello Wendy PR

Firefall seems to be having a lot of fun during “Simple Man,” playing it with the fierce energy you’d expect from a live performance of this song, whether by Skynyrd themselves or by any of a zillion other bands covering it.

Finally, I love the way Firefall ends the disc with the raucous, party-atmosphere rockin’ atmosphere of its “Ooh Las Vegas” cover. Leave ’em smiling and wanting more? Firefall certainly does!

Those were my five favorites on the disc. I’m sure your top five would differ. Mostly, though, this album is a neat trip back to the ’70s. On the one hand, a music fan could just make a playlist of the originals. However, covers by a talented band like Firefall can bring new elements and different twists to great songs, and that’s why cover songs – and cover albums – can be so much fun.

Looking Ahead

Firefall has several upcoming dates listed on the “Tour Dates” page of its website. This month, the band is one of the acts performing on the ’70s Rock and Romance Cruise, sailing from Fort Lauderdale on March 15th. Other currently booked dates cover a broad swath of the United States, so check the band’s website to see if and when they’ll be near you.

Album Review: Floor Space – Maybe This Is It

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Floor Space

photo by @redhatjessy; photo courtesy of Big Picture Media

Album Review of Floor Space: Maybe This Is It

Every once in a while, there’s a new punk-influenced record that captures my attention, something with a freshness – a je ne sais quoi – that places it a notch above other good punk-based offerings. Floor Space‘s Maybe This Is It is a pop-sensible, hook-laden disc that does just that. Stylistically, it brings to mind Green Day and Good Charlotte on various songs, with a hint of chartable alt-rock (Jimmy Eat World?) in there, too. Yeah, this album recalls all your ’00s favorites but with a fresh, updated sound. The sound is aggressive and the lyrics are often complaining, but the songs aren’t plaintive; instead, there’s an energetic enthusiasm throughout the disc that’s infectious.

I hear a lot of pop-punk acts (I mean, I used to hear more several years ago, obviously), and it’s rare one piques my interest the way Floor Space does. There’s not a lot of separation among the very good bands in this genre, and when one stands out, it’s sometimes hard to put your finger on exactly why because it’s usually a combination of a lot of little things. Such is the case for me with Floor Space. This band is special, and I’ll do my best to articulate why as I progress song-by-song through Maybe This Is It.

“Spine” opens up a heavy rhythm section, an aggressive but catchy guitar line, clever verses, and the tunefully shouted, repeated phrase “I wish that you had spine!” It’s a good song. Not my favorite on the album, but it’s a great album-opener, letting the listeners know exactly what they’re in for. “Replay Buttons” is a little more of a Good Charlotte-esque sing-songy pop punk, with a groove you’re sure to sway to.

Floor Space – Maybe This Is It

image courtesy of Big Picture Media

The frenetic pace resumes on “Easier,” which sports the memorable lyrics “I don’t like you, but I don’t like me more” and “it’s real life, oh f*ck, it’s real life.” That second one maybe won’t stick with you as long after the song has ended, but you will sing along to it during the song, so, um, maybe don’t listen to this track at work.

Following, I like the stop-and-go guitar hooks in energetic “Ricochet” and the only slightly less frenetic “Smile While It’s Ending,” but the next track that blows me away is “Aren’t You Sick?”

“Aren’t You Sick?” has a slower, more deliberate pace, but the lyrics about being a band trying to get noticed are a great listen: “Aren’t you sick of the same damn routine? This whole machine. The same ten bands that run the scene, and the gatekeepers that don’t like me. Punk rock politics. Killing yourself to get more clicks…” The vocal rhythm is ideally paced and varied. There’s just enough blank space to draw attention. And the song is well designed to climax at the end with one final “aren’t you sick?” and a distorted guitar chord fade-out.

“Dibs” is the first mellow, melancholic song on the record, and it doesn’t appear until song seven out of ten. I suppose this is the song that’d be the big hit in the ’00s, since this is how bands like Simple Plan and New Found Glory scored their biggest crossover/breakthrough hits. What do I like best about “Dibs”? Gotta be the sax. I’m a big believer that there’s not enough saxophone in rock music anymore, so it’s especially cool to hear it on a pop punk album like this where it particularly unexpected.

“This Again” is an energetic, engaging song about getting over someone – rock song-topic gold, in other words. But it’s the following song, “Self-Destruct” that’ll be the next one to really jump off the disc at you. A different vocal cadence and funky rock rhythm will grab your attention, and a late-song, classic rockin’-almost guitar bridge will help hold it to the end.

The album ends with “Glass Dreams,” driven by a steady, prominent bass line, a playful, tuneful guitar line, and the ultimate singalong vocal line “I’m shitty I admit it when I am wrong.” “Glass Dreams” has the sort of rockin’ guitar-driven power you’ll find on pop-punk songs with staying power and crossover appeal.

Beginning to end, Maybe This Is It a great listen. A fun ride. A good album to get energized to when you’re feeling too mellow. A good record to work off some rage to. You know, whatever you need, as long as energetic music will get the job done. My picks for individual listens would be “Easier,” “Aren’t You Sick?,” “Dibs,” “This Again,” and “Glass Dreams.” OK, so that’s half the album, and I almost also added “Self-Destruct.” Like I said, it’s a really good album.

Looking Ahead

It looks like you’ll be able to catch Floor Space live in the Midwest, on tour with Goalkeeper this spring, starting March 28 at the Hoosier Dome in Indianapolis, running through April 6 at Mahall’s Apartment in Lakewood, Ohio. (Hey, when I used to attend Undercurrents Music Conference in the ’90s, the weekend shows were on Detroit Ave. in the blocks around West 117th in Lakewood. That’s a cool little Cleveland suburb. Shoutout to Lakewood!) In-between, the tour hits Minneapolis, Chicago, Tulsa, St. Louis, Nashville, Columbus, OH, and Pontiac, MI. Dates and venues are listed here on this Instagram post. Of course, check with your local venue for tickets and start times.

Album Review: Eddie Japan – Pop Fiction

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Eddie Japan

photo by Joshua Pickering; photo courtesy of Eddie Japan

Album Review of Eddie Japan: Pop Fiction

Eddie Japan is one of Boston’s top local rock bands. Stylistically, they’re a big stage-filling, theatrical rock act. At the same time, Eddie Japan is also simply a rock band, a very talented one with its own big style. The best comparison might be to Queen or Meat Loaf but more mid-tempo, closer to the middle than to the hard rock end of the rock spectrum. Eddie Japan is a band with a big personality, one you might dress a little nicer to go see in concert, even if half of the room is still dressed down.

The first five songs are a re-release of the band’s 2019 EP The Amorous Adventures of Edward Japan. But that’s not an EP I had heard before, so the songs are all new to me, and they’re impressive! Those first five songs from Pop Fiction could easily be the soundtrack album from a big Hollywood musical or a cast recording from a Broadway musical. A quirky musical, like The Rocky Horror Picture Show. Or, better yet, Little Shop of Horrors might be a better fit. The rest of the album is stylistically similar, and many of the songs seem thematically related, but they don’t fit quite as neatly and tightly as the first five. It’s just a slight disconnect that doesn’t affect the enjoyment of this beginning-to-end kickass rock album, not even a little, but once I discovered the EP, it made more sense.

So let’s talk about the music. Big songs, a theatrical delivery style for the most part, killer hooks that’ll have you singing the songs for weeks. Pop Fiction is an impressive release. It’s no wonder the band and album received some nominations during the 2023 awards season. At the 2023 New England Music Awards, for example, the band was nominated for Act of the Year. In addition, “Time Machine,” a song Eddie Japan recorded with The Cars’ Greg Hawkes on keyboard, was nominated for Song of the Year and Video of the Year, winning the Video of the Year category with this clever music video. Meanwhile, David Santos received a Vocalist of the Year nomination from the Boston Music Awards.

Eddie Japan is a big, dramatic rock band with an equally big line-up. Or, at least, many – seven! – band members: Eric Brosius (guitars), Emily Drohan (vocals), Chuck Ferreira (drums/percussion), Bart LoPiccolo (guitars) Charles Membrino (bass), Aaron Rosenthal (keyboards), and David Santos (vocals).

Eddie Japan – Pop Fiction

cover design by Todd Alcott; image courtesy of Eddie Japan

Greg Hawkes appears on a pair of the disc’s songs – “I Can’t Wait” and the award-nominated “Time Machine” – and has performed with Eddie Japan on occasion, including for performances of The Cars’ music. You can hear Hawkes’ progressive pop-friendly rock keyboardwork in those songs, but there’s a similar broad-appeal, quirky rock vibe on many of the other tracks, as well. I suppose that’s why the partnership works so well. Could Eddie Japan simply be The Cars but with a more prominent rhythm section and a pair of very different outstandingly talented vocalists? That may be stretching it a little, but they’d certainly have been an ideal pairing at a big arena concert.

The album itself begins with “Edward Descending,” kicking off with a relatively high-tempoed beat. This song leaves a strong first impression and brings to mind a movie musical dance number. Particularly at the end of the song, the vocals bring to mind – for me, at least – one of Meat Loaf’s more theatrical numbers. It’s also the sort of fun, concert-opening song that’ll get a concert hall onto its feet, dancing to the rock music if there’s room to dance. Probably even if there isn’t room.

“Summer Hair,” next, is a smooth, floating, soaring number that starts off innocuous enough but grows on you – as you discover the nuanced arrangement over the course of multiple listens – to become one of your favorites. The singalong lyric here would be: “Take my hand, the summer’s almost gone. I’d rather fall with you than stand on my own.”

It’s followed by an easy quick favorite, “If I Should Fall.” It’s musically and lyrically dynamic with an irresistible rhythm. And what’s creating that rhythmic, bouncy squeak? Is that a keyboard sound? Heck, it almost sounds like the theremin, which I’m only even familiar with because Sheldon had one on The Big Bang Theory. No, not exactly. Regardless, if I wanted to get myself pumped up for a night out or a big event or a competition or even if I was just looking for a song to crank up to fill the dancefloor, this would be my choice. And, let’s say, I wanted to dance around my house, with the shades drawn so none of my friends or neighbors could see me jumping around like a lunatic? Yes, this would be the song. (Not that I’ve ever done that, of course.)

Next, “The Dandy of Suburbia” is a slower-paced number, melancholic, and lyrically clever. Then “Undertow” with its singalong phrase “do you want, do you want, do you want, do you want me now” follows, serving as a solid lead-in to the first post-Amorous EP track, “I Can’t Wait,” with its pulsing rhythm, palpable tension, and periodic musical eruptions, climaxing twice with the lyrics “Oh oh oh oh oh oh oh oh oh! I get away!” in the middle of the song, before calming down a bit, but returning again near the end.

Eddie Japan

photo by Jenny Bergman; photo courtesy of Eddie Japan

Next up, “Lost Weekend” is a fun, Eddie Japan-ified mid-tempo rocker, one of my faves on this disc, that’d be one of the more charismatic songs on most rock bands’ albums but is almost tame compared to some of the more theatrical songs in this collection.

“Walk Away” brings a bit more energy and power, though its style is still straightforward rock ‘n roll, with plenty of raucous guitar and drums but also some of those nifty pop-infused quirky keyboard rock sounds you might expect from a Beantown band with a clear Cars connection.

“Time Machine,” which is accompanied by this award-winning video, is a peppy classic pop-rock number. You can hear Greg Hawkes’ contribution here, though the hand-claps and the steady guitar riffs also contribute to the song’s very ’80s pop-rock hit flavor, resulting in another broad-appeal favorite from this album.

Penultimate track “The Pull of the Moon” is slow, airy, and eerily dramatic (also, lyrically dramatic: “I will not dance with your cold lunacy…”), with occasional builds to power, though still just a soft power. Very atmospheric and cool.

“Rented Rooms” concludes the disc with a song that ties things together very… well, as Eddie Japan might say, cinematically. The song has a big sound, a bouncy rhythm, and intriguing lyrics, such as “And now she stands before me as naked as a flower, and I’m searching for my higher self in a room rented by the hour.” Indeed, just like the preceding EP, this song itself is an amorous adventure. And, musically, a fun final song to an album that’s a party-on-a-disc from beginning to end.

Pop Fiction is an engagingly fun listen. It’s well-written, elaborately instrumented, potentially interesting to audiophiles and casual listeners alike. With its crossover appeal, it’s one of those albums that will have an honored place in music collections of fans spanning a broad range of pop and rock subgenres because, while it does have that broad appeal, Pop Fiction is unlikely to be like anything else in your collection. If you’ve not yet heard the album, give it a listen.

Looking Ahead

The “Shows” page on the band’s website lists a Saturday, May 11th gig in Plymouth, MA and a Saturday, September 28th show in Malden, MA. Eddie Japan also performs the music of The Cars with Greg Hawkes. You can find several upcoming dates listed on the “w/ Greg Hawkes” page of the website, with the next show on Friday, May 3rd in Old Saybrook, CT (as confirmed by this Instagram post). Additional dates listed include Friday, June 28th in Sellersville, PA, Saturday, June 29th in Annapolis, MD, Saturday, July 13th in Natick, MA, Saturday, July 20th in Toronto, and a Saturday, August 10th show listed simply as “TBA.” The band also announces upcoming gigs on Facebook and Instagram, so those are alternative sources for show information. These are definitely must-see shows if you’re local to one of those cities or if Eddie Japan adds a gig near you.

EP Review: Summerlyn Powers – The Hive

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Summerlyn Powers smiles in this promo photo

photo by Mia Cervantes Photography; photo courtesy of Skye Media

EP Review of Summerlyn Powers: The Hive

Summerlyn Powers has a pure, emotional voice that’s ideally suited to the short collection of mostly folk-leaning storytelling country songs on her new EP The Hive. However, she’s an artist with a much broader musical palate to draw upon, as the variety on this 5-song EP showcases.

Summerlyn Powers – The Hive album cover

image courtesy of Skye Media

Indeed, there’s plenty of variety on this record, including a more traditional country number, some acoustic, folky country numbers, and even a bluesy country rocker. Summerlyn’s bio mentions influences ranging from Southern rockers like Lynyrd Skynyrd to ’70s folk singer-songwriters like James Taylor – those influences and more are apparent on The Hive.

Though the entire disc is solid, well-written, and exceptionally performed, my favorites are the first two tracks, “The Hive” and “Always On My Mind.” Then again, I tend to drift toward uptempo numbers, so your preferences may differ.

“The Hive” is a super-catchy, very original, uptempo, traditional country storytelling song. Well, it’s not exactly a story, but whew, it energetically paints a picture. In parts, it recalls something Dolly Patron might have sung. Lyrically, the song directs the listener to a house for music and fun using landmarks like a beehive and a “beware of the bear” sign. But the song is more than just a series of helpful directions for when your map app loses signal; it’s a rollicking good time!

Summerlyn Powers stands on a riverbank in this promo photo

photo by Mia Cervantes Photography; photo courtesy of Skye Media

The second song, “Always On My Mind” has a late ’60s/early ’70s folky rock flair with a little Beatles-y “Here Comes the Sun” vibe, particularly in the opening. Summerlyn churns through a lot of lyrics, probably moreso than the ’70s folky pop-rock style the song conjures up with lyrics like “babe, you were crazy hard to find, but you were always on my mind.” Well, “crazy hard to find” isn’t a phrase you’d have heard in the ’70s, but I suppose that just makes the song all the more original and intriguing.

“Healing Like I Am” brings the room down musically, with its soft tone and slower tempo, and it covers a topic that could easily also depress the room’s mood. But it doesn’t; it’s a post-breakup song that’s thoughtful and kind. The tune bops along pleasantly, and the sentiment is much warmer than the subject matter would typically indicate, pleasantly discussing the pain, the healing, and the path ahead.

Summerlyn Powers stands in a river or creek in this promo photo

photo by Mia Cervantes Photography; photo courtesy of Skye Media

“Nana and Papa’s House” is a thoughtful, melancholic number that’s both sad and pleasantly reminiscent about missing one’s late grandparents. It’s lyrically well-crafted and nostalgic, with accompanying sweet, soft music, though it’s not so slow that it doesn’t move. Indeed, there’s a little more tempo than you might expect. It’s a sweet, pleasant song that’s likely to cause a few sniffles and tears in the audience, particularly if sung in an intimate setting. Or, you know, listening to the song on headphones by yourself… I’m not crying, you are!

The five-song collection ends with another change of pace for the diverse Ms. Powers; it’s a bluesy country/Southern rocker! On “Let’s Roll!” Summerlyn deploys a surprisingly gritty edge to her vocals, pulling off just the right delivery for this jammin’, wailin’ tune.

With the variety on this EP, Summerlyn Powers is definitely a young artist to watch, someone whose variety of musical influences will allow her to create interesting music that incorporates elements of a variety of genres. If she continues down her current path, she can build a rich and broad but cohesive musical catalog, appealing to a diverse fan base, perhaps centered within country music but extending well beyond.

 

Summerlyn Powers stands on a riverbank in this promo photo

photo by Mia Cervantes Photography; photo courtesy of Skye Media

Looking Ahead

The “Tour Dates” page of Summerlyn’s website list shows in Tennessee, Mississippi, and Alabama from this week through April, beginning and ending with Nashville shows on February 29th and April 29th. Check her website for details and circle back to remain aware of additional tour performances as they’re added.

Looking Way, Way Back

Here’s a neat tidbit: Summerlyn’s music career began in 2012 when she was 11 years old and released “Alabama Kinda Girl,” complete with this video, which features an appearance by Pam Tillis.