I could make this review simple: Jon Anderson‘s second solo album, 1980’s Song of Seven – the first album released after his first formal split with Yes – has been remastered and re-released, “expanded” with additional songs.
We all know about Jon’s amazing vocals, and whether or not you’re familiar with this disc already, you already know what the songs sound like. I will, though list my favorites: Catchy disc-opener “For You, For Me,” which is the sort of progressive rocker that was typical of prog’s crossover hits of the ’70s and ’80s; the energetic “Some Are Born,” with its sunny disposition and cool horn parts; “Don’t Forget (Nostalgia)” and “Heart of the Matter,” which have a very ’50s sock-hop influenced style and stands out as unique on this record; and “Take Your Time,” a sweetly swaying slow song that has a twangy-Americana-meets-the-carnival musical undercurrent.
One thing I might add, as well, is that if it’s been a long times since you last played some of these old progressive rock albums from the late ’70s and early ’80s – if, for example, like me, you’re a lifelong rocker but not a progressive rock superfan/historian – you may have forgotten just how varied the influences can be from song to song. Though I knew to expect greatness from Jon Anderson, Song of Seven was a much more diverse, interesting listen, beginning to end, than I had remembered or expected. Indeed, I listed my favorite individual songs above, but the entire disc was a great, nostalgic listening experience.
By the way, the “expanded” part of this addition is the inclusion of additional, “U.S. promotional” versions of “Some Are Born” and “Heart of the Matter,” expanding the album’s song count from its original nine to eleven.
Hardcore Jon Anderson fans might also enjoy this 13-minute YouTube video in which Esoteric Recordings’ Mark Powell interviews Jon Anderson about Song of Seven, coinciding with the timing of the album’s re-release. (Actually, even if you’re just a rock ‘n roll fan in general, it’s a pretty good interview you may enjoy.)
Looking Ahead
The remastered edition of Song of Seven was released on November 27, 2020. Next, on March 26, 2021, Esoteric Recordings will release a remastered and expanded edition of Jon’s very first solo album, Olias of Sunhillow. The remastered Olias of Sunhillow is already available for pre-order.
What do you get when you combine classic rock guitar legend Robin Trower, reggae/R&B icon Maxi Priest, and esteemed musician/producer/mix engineer Livingstone Brown? These big-name groupings don’t always work, but in this case, the trio seems to have completely bought into their creative work together, and you get a truly always-on-point recording with broad-based appeal that’s a very cool, easy, enjoyable listen from beginning to end, quite possibly a must-have for your music collection, regardless of which of the three musicians your tastes are usually most closely aligned with.
Trower, Priest, and Brown kick things off with the title track, a funky, smooth, mid-tempo R&B number that flashes what would be a little danceable (if faster) beat that adds character and some guitar parts that draw your attention by slicing right through the rest of the music bed. “United State of Mind” is a great introduction to the style of music these have created. It’s a catchy, laid-back groove worth listening to with your eyes closed, one of my many favorite songs on this album.
Another favorite, the very next song, “Are We Just People,” slows things down but adds some urgency and a massively engaging, rhythmic, sexy musical hook.
“Hands to the Sky” has a big, open, cheerful, sunny-day vibe. The vocals, the phrasing, the upbeat rhythm, and the placement of the horns are all calming and smile-inducing.
“Good Day” showcases the sort of very cool, slow-rockin’ blues guitar-playing you’d hope and expect someone like Trower to bring to this project. It’s just one of several spots on this record that Trower’s guitarwork emphasizes the blues aspect of rhythm and blues.
“On Fire Like Zsa Zsa” is the kind of uptempo, kind-of-danceable number you might hear in the background of a film, perhaps during a montage while the protagonist is strutting through town getting things done or, really, during any montage segment that moves the story along quickly.
Next, the heartfelt, soulful, slow “Bring It All Back to You” is a powerful ballad. “Walking Wounded” follows, just as slow and powerful, but with a much darker tone, captured perfectly by the phrasing and emotion in Priest’s vocals. “Sunrise Revolution” carries the slower tempo through to a third straight song, but this with a hopeful message (“Maybe the time has come, where we should stand as one”), though its a message predicated on the less-than-stellar reality as a starting point. And “Where Our Love Came From” keeps the tone mellow, closing out the disc with plaintive guitar wails, pleading vocals, and a nice, calm fade-out.
Though Robin Trower, Maxi Priest, and Livingstone Brown may be a somewhat unexpected grouping of musicians, the result is a welcome addition to the pantheon of rock/blues/R&B music. It features strong songwriting, too many musical and vocal standout moments to count, and a cohesive-but-varied collection of songs. This is a smooth, relaxed R&B album with good, old-fashioned, big, rich, lush production, but still very song and artist-focused, able to appeal to a broad musical audience. So put the headphones on, sit back, relax, and let your ears enjoy.
World Premiere of Nathans & Ronstadt’s New Music Video: “Strongman”
Before I dive into the review, Geoff Wilbur’s Music Blog is pleased to have the honor of presenting the official premiere of the very-cool video for “Strongman.” It’s the newest video from Aaron Nathans & Michael G. Ronstadt, featuring the song “Strongman” from their Shadow of the Cyclone album.
You’ve read about Aaron Nathans & Michael G. Ronstadt on these pages before. I was first introduced to this Philadelphia-Cincinnati duo just two years ago at a house concert in Massachusetts. With Nathans on guitar and Ronstadt on cello, these songwriter-storytellers are able to pave a surprisingly broad path through their part of the music world. On their website, they refer to themselves as “progressive folk,” and I’d be unable to improve upon that in two words or fewer, so I won’t try. From slow to uptempo, from cheerful to ominous to downright silly, their performances and songwriting are varied enough that you’ll find the time passing quickly, wondering where the next curve leads, whether you’re catching them live or enjoying their new album, Shadow of the Cyclone.
image courtesy of Aaron Nathans
“Ghost Writer” kicks off the album with a sound reminiscent of the early ’70s, broad, open-sounding, big-festival folk music you used to hear on FM radio back when I was little kid. Almost-country folk, the storytellin’ kind. Indeed, a lot of the songs on Shadow of the Cyclone are “the storytellin’ kind.” It’s a lane Nathans & Ronstadt fill well, and for their skill at that alone, this would be a noteworthy disc. But they’re more versatile than that.
Nathans & Ronstadt throw a little silliness and a tad more energy our way on the fun, clever “Haunted House.” You know, I think the song’s concept could be the premise for a TV show. Someone get Netflix on the line!
“Strongman” is a bit dark and deep, at least initially, interspersed with lively music with a bit of a circus freakshow (or Coney Island, as referenced in the song) element, packaged into a neatly enjoyable bundle.
photo courtesy of Aaron Nathans
There are many songs on Shadow of the Cyclone that couldn’t be performed without a cello. Notably, the opening to “My Only Leap,” which adds an ominous flavor that would be tough for more traditional duos – those without deep-sounding, bowed instruments that aren’t tucked under the chin, for example – to replicate.
Nathans & Ronstadt plumb the depths a little deeper on “I Go Low,” a deep-vocalled, thought-provoking barroom-swaying declaration of a song that’s a fun ride that really does… well, go low.
The sole cover on Shadow of the Cyclone is a booming rendition of Sting’s “Englishman in New York.” The duo played this when I saw them perform live, and I’m really glad they included it in this collection.
“Phantasmagoria” is an instrumental that explores Nathans’ & Ronstadt’s influences, ranging cohesively (somehow) from hillbilly to chamber music. “Just One Minute” contrasts its pleasantly moving-along rhythm with a lot of tension, which is introduced by tempo changes and instrumentation. “Come On Sun” blends elements of folk-country, mid-tempo Americana, and classic rock (notably, in the occasional distortion); a cool blend.
That’s not everything on the album, but I think you get the picture – really cool, varied stuff with originality you’ll continue to appreciate after eight dozen listens.
photo courtesy of Aaron Nathans
Shadow of the Cyclone ends with “Carry a Tune,” an odd, side-to-side, toe-tapping swayer with well-placed harmonies and big, sweeping orchestration at times that suggests a panoramic view displayed on a motion picture screen. Covering a broad range, the song ends abruptly. Album over.
Coupling well-structured, thoughtful, traditional songwriting with crisp musicianship and booming vocals, then adding this duo’s instruments of choice, Nathans & Ronstadt have a sound that’s familiar but unique and difficult to replicate. That’s their calling card, and it’s the reason you should check out their music. Even if it’s not your go-to genre – it certainly isn’t mine – there’s a very good chance you’ll really dig this exceptionally talented duo’s music.
photo courtesy of Aaron Nathans
Looking Ahead
You’ll find the duo’s live dates on the “Gigs” page of their website. There actually are a couple shows on the calendar at the moment. Don’t get too excited – the venues are doing online shows. But do get excited because they’ll be Nathans & Ronstadt shows. First is a Sunroom House Concert (Dover, DE) performance on March 13th; then a Linden Tree Coffeehouse (Wakefield, MA) gig on April 10th.
New England blues/blues rock group Dan Lawson Band kicks off its six-song CD with an old-school blues rhythm, groovy, shredding axework, and a seedy blues joint-worthy, half-spoken/half-sung, gravelly vocal growl on “Borderline.”
“Don’t Tell Me That You Love Me” is a classic blues jam, sporting only-in-blues lyrics like those from which the song title is drawn, “Don’t tell me that you love me, don’t be hanging ’round my back door.”
“Hell On Wheels” is that George Thorogood-styled, straight-ahead, attitude-filled blues rocker you’d expect from a good rockin’ blues group of the Dan Lawson Band’s caliber.
“Minor Issue” returns to slower, classic, poorly-lit club-style blues, much like “Don’t Tell Me…” earlier, serving up another tune built upon a classic blues rhythm, with wailing guitar supporting the emotional pleas of the vocals.
“Maryia” is the most classic rock-flavored song in this collection, with a ’70s or ’80s rock vibe. Striaght-ahead rock, “Maryia” brings to mind bands like the J. Giels Band, The Romantics, and the Michael Stanley Band. This tune would fall somewhere within the rock zone triangulated by that trio of rock mainstays.
“Turtle Soup” closes the six-song grouping with a frantic energy, sort of a rockabilly instrumental in blues-rock form. It’s as if the Dan Lawson Band is playing the patrons to the door, and indeed they are. The blues/rock club Abyssal Plain is closing for the night.
Throughout the disc, gritty, bluesy axework abounds, with all the energy of a top-shelf blues band at your favorite hole-in-the-wall dive bar packaged in album form. Thoroughly enjoyable beginning-to-end, I dig this disc.
Bonus
The band included its performance of “Santa Claus Wants Some Lovin'” in the review package I received. Available as a single, and dating back to 2014, I’ve gotta believe this groovy blues number is a favorite at the band’s holiday season gigs.
Looking Ahead
You can find where the Dan Lawson Band will be performing live via the “Calendar” page of the band’s website. There are currently 8 dates listed, in New Hampshire and Maine, from May through October, starting with a May 15th gig at the Kingston VFW in Kingston, NH. Check the website for details on currently scheduled shows and new performances as they’re added.
I’ve reviewed a lot of hard rock lately, so here’s a little balance for you. Zach Phillips is a soft rock singer-songwriter of exceptional talent, delivering in The Wine of Youth a well-constructed collection of songs and pleasant melodies delivered with his warm, welcoming voice. Its laid-back soft rock style incorporates healthy doses of soft Americana, more energetic roots rock and perhaps a hint of folk to create Zach’s unassumingly original sound.
Sometimes, as on “Spirits Rising from the Lake,” there’s a clear ’70s rock flavor to Zach’s music, maybe even a more modern Tom Petty flavor. It’s hard to place, exactly, since this song – most on this disc, in fact – just move along so pleasantly I catch myself bobbing my head left and right, tapping my feet, and enjoying. I’m sure you will, too.
Other times, like on “Stars Fading Behind Clouds,” the guitar picking suggests folk – just an example of one of the places I’m getting that vibe. In this instance, there’s an open-spaces, western, Americana flavor, as well.
photo via NAMM; photo courtesy of Zach Phillips
One of my favorite songs early on this disc, “Ladybird,” sports a different type of Americana flavor, with slide guitar (and the use of the word “magpie,” probably) giving it a down-home feel, though with a big, full sound like you might hear in a small-town concert hall.
“Cascadia” adds a little psychedelia – and much more volume – to Zach’s laid-back style. Then, next, as much as the power of “Cascadia” will shake you awake, “Stranded in the Sun” will let you drift off again. If you’re looking for the antidote to too much hard rock, this one of the recommended tracks, soft, meandering, and perhaps a little more thinly instrumented than most of the songs on this album. Introspective, as well, its deep thoughts conclude with “Please, would you take me as I am?”
photo by Gloria Taylor; photo courtesy of Zach Phillips
Other songs worth noting are “Cemetery Girl,” with a guitar and vocal style that are darker, producing an almost alt-rock vibe on what’s still very clearly a soft Americana style; “Caroline”, with a plodding pace that belies the song’s engaging, emotional slow build to power; and “Hey, San Diego,” which is a cheerfully uptempo ditty that lightly twangs, an open love letter to the city of San Diego.
The title song, “The Wine of Youth,” closes the album gently and nostalgically, a soft landing for an album that’s an ideal, welcome respite when you’re looking for a little calmness.
In total, The Wine of Youth is a sharply-assembled, enjoyable, laid-back soft rock album with the depth and breadth of underlying influences to pleasantly allow repeated listens. It’s a great addition to a broad-based music collection. I dig this disc.
Yes, you’ll know all of the songs. Or most of them, anyway. And we all know how cool popular songs can sound when exceptionally talented rockers give them a hard rock/light metal arrangement. This album does not disappoint. I always dig when hard rockers crank up the volume on covers of mellower tracks. When done well, you get… well, George Lynch & Jeff Pilson‘s Heavy Hitters.
Lynch and Pilson are joined on this album by Brian Tichy on drums and Wil Martin on lead vocals for most of the songs. Jeff Pilson takes the lead on “It’s the End of the World as We Know It (And I Feel Fine),” with Angelo Moore adding organ on that track. And Marq Torien provides vocals on “You Got the Love.”
The album kicks off with a delicious cover of Joan Osbourne’s “One of Us.” The big, open, slightly jangly sound of a George Lynch guitar opening is unmistakable, and the song builds slowly to power, pulling you in as you listen, loosening the reins just a little, and then delivering the goods with powerful guitars and vocals. Even though it’s a slow/mid-tempo number, it packs a huge punch and contains a dark, meandering guitar solo; it will soon be a favorite.
image courtesy of Glass Onyon PR
That’s followed by Lynch & Pilson’s renditions of Rufus and Chaka Khan’s “You Got the Love,” Carole King’s “I Feel the Earth,” Duran Duran’s “Ordinary World,” Madonna’s “Music,” OneRepublic and Timbaland’s “Apologize,” Martha Reeves and the Vandellas’ “Nowhere to Run,” Prince’s “Kiss,” R.E.M.’s “It’s the End of the World as We Know It (And I Feel Fine),” and Oasis’ “Champagne Supernova,” with Lil’ Richard’s “Lucille” as a bonus track.
Among those, in addition to “One of Us,” there are a few more standouts for me. (Your mileage – depending on your specific musical tastes – may vary.)
“You Got the Love” sounds like the sort of jammin’ funky metal you’d expect from Extreme – not the hits, the more adventurous album tracks.
“Ordinary World” is enveloped in one of those guitar-heavy music bubbles, with a little edginess in the vocals before hitting the big, open, feel-good chorus. Honestly, before looking at the album information, I forgot this was a Duran Duran song. With this arrangement, it seems more like something you’d hear from one of those ’90s post-grunge hard rock bands instead, though it was one of Duran Duran’s more guitar-rockin’ hits, so it didn’t need as big an overhaul as, say, “Rio” would.
“Music” is pretty true to Madonna’s original, except cranked up to eleven with Tichy beating the hell out of the drums, trying to knock them through the floor, keeping a heavy, steady rhythm, AM radio static-filled shout-sung-but-tuneful vocals from Martin, a notable funky bass bit from Pilson, and, of course, Lynch’s guitar wails. By the end of the song, you’ll forget the original wasn’t this heavy.
“It’s the End of the World as We Know It (And I Feel Fine)” is performed as a straight-ahead hard rocker, packing lots of oomph. And Lynch and Pilson mostly just add a full, rich, warm, rockin’ music base to “Champagne Supernova,” essentially turning it into the big-sound, six-and-a-half minute long slow-dance metal ballad on the disc… with the requisite late-song, super-long, shredding guitar solo, obvs. (Why do you think hard rock/metal guitarists are always so willing to do ballads?)
You’ll have other favorites, I’m sure, but those are mine. On the whole, this is a fun, really rockin’ album. George and Jeff have done a terrific job selecting songs that are well-designed for a hard rock/metal makeover. You know I love original music, but I also love super-original covers of great songs. If you do, too – especially when it’s George Lynch manning the axe! – grab a copy of Heavy Hitters.
Voodoo Blues is a collection gritty, energetic, good-time blues and blues-based rock ‘n roll that’ll grab you by the throat at song number one and won’t let go. Gráinne Duffy‘s voice reminds me a lot of blues-based hard rocker Joanna Dean, whose solo release Misbehavin’ – with its moderate hit “Kiss This” – and subsequent album Code of Honor with her band Bad Romance back in the late ’80s and early ’90s were a couple of my favorite hard rock albums during the tail end of the so-called “hair metal” melodic hard rock era. Code of Honor, in particular, leaned heavily toward the “blues” end of blues-based hard rock. Voodoo Blues is similarly positioned, though it may be just on the blues side of that line, at the rock end of hard rockin’ blues. Anyway, for me, “reminds me of Joanna Dean” is the equivalent of “must own this disc,” but I’ll dig into Voodoo Blues with a bit more detail.
The album kicks off with “Voodoo Blues,” an expansive, hot, hot desert-flavored opening that turns into a jangly rockin’ blues number, with wailing blues-rock guitar accompanying Gráinne’s rockin’, growlin’, oh-so-tuneful bluesy rock vocal howl. “Mercy,” next, accompanies that howl, guitar, and beat with some filthy, back alley blues-joint organ in ample support.
Pardon me, but doesn’t the opening guitar-driven rhythm of “Blue Skies” doesn’t have a hint of a country flavor to it? Or perhaps that line’s just been blurred by Shania Twain, who could also sing the hell out of this song with its big vocals and sass. Regardless of the comparison, Gráinne delivers it with a little more gravelly growl. Then, on “Shine It On Me,” Gráinne adds a little bit of a funky rhythm to the blues, as both guitar and organ drive this big-stage number.
Things slow down with “Don’t You Cry For Me,” an old-school, screaming, swaying, lay-it-out-there, preach-the-blues number. “Roll It” brings back the energy before “Wreck It” cranks it up to a full-on wail again; it’s a song with kind of a Fabulous Thunderbirds tempo, a hint of a wry Sheryl Crow-like hip coolness in the vocal delivery, and a George Thorogood-like pace on the guitar line.
Gráinne mellows things out with the smoother “No Matter What I Do,” a song whose tempo allows you to lean back, close your eyes, and sway. Kumbaya, rockin’ blues ballad style.
“Tick Tock,” the penultimate track, is a grimier number sung with serious attitude. And the disc closes with “Hard Rain,” a thumping, plodding, persistent, uncompromising, rockin’ blues tour de force that, I’m sure, fills the room with sound when performed live. And just like that, crash, the album’s over.
Speaking of catching a live show – and I’m just imagining here – if you’re around Boston, you’d hope to hear her in a premier blues listening room like 9 Wallis – a spot I love… and would love a lot more if it weren’t on the exact opposite side of the city from me. Of course, with her big sound and even bigger talent, she could just as easily be playing a large theater.
Anyway, I’ve been looking forward to sharing Gráinne Duffy’s music with you for a few months now. She’s one of those singers you know is special within the first five seconds. So, you know, give her five seconds to prove me right.
Kind of classic alt-rock meets dream pop with an edgy, indie attitude, Dead Rituals II is a really cool amalgamation of sounds that Dead Rituals‘ adept songwriting fits together quite well.
“Broken Memories,” for example, is primarily a catchy, hooky, mainstream classic alt-rocker that shifts about two-thirds of the way through into a floating dream pop number punctuated by rock drums as it merely prepares for its fade-out over the course of about 80 seconds. I wouldn’t recommend it as a songwriting style in general, but it totally works here, and it’s a great way to start this short collection of songs.
image courtesy of Dead Rituals
“Slow Down” has a more clearly ambient dream-rock vibe, mixing some classic new wave pop-rock rhythms with a very cool, buzzy, expansive rock sound. It’s this combination that gives the song its energy, a more rocking version of an album I discovered several years ago, the eponymous 2013 recording from the UK band Trophy Wife. Yeah, I know, I’m describing Dead Rituals’ sound – particularly that of “Slow Down,” by comparing it to a band you probably haven’t heard of. Sorry about that. But it’s a really cool sound; I’d love to pair Dead Rituals with Trophy Wife on a double-bill in college-town dive bar. Anyway, to keep us on our toes, “Slow Down” does the opposite of “Broken Memories”; rather than a long fade-out, the late tempo change in “Slow Down” is almost abruptly followed by the end of the song.
“When the Lights Are Out” again feels like it’s being played in a very big room, a slower-than-mid-tempo number that pings a bit like a guitar-driven, introspective, slightly-mumbling, college pop-rock band playing in an empty swimming pool. It’s a unique, engagin sound, and I’m sure my description hasn’t done it justice.
The four-song EP concludes with an acoustic version of “Slow Down” as a “bonus track.” It’s a fun deja vu, an altered version of the EP’s second song.
With a style that’s completely familiar yet creatively original, Dead Rituals II is a collection of music absolutely worth giving a listen to. Several, in fact, as it grows more comfortable and latches onto you deeper with each listen. Check it out.
Beyond the EP
Since releasing this EP in October, Dead Rituals released the song “2020 Eyelids” in December and “Broken Memories (Sight Telma Club Remix)” without a release date, though presumably after this EP, which contains “Broken Memories.” It’s an interesting reimagination of the track by Sight Telma Club.
Casually Containing Rage is a three-song release from progressive rockers Potter’s Daughter (Dyanne Potter Voegtlin on piano and vocals and Jan-Christian Vögtlin on bass).
Fans of progressive soft rock and ’70s soft pop-rock music might really dig this album. A jazzy flavor combines with experimental progressive stylings and a wide-open ’70s album-oriented soft rock vibe to comprise this three-song collection.
The first track, “To My Love,” is a new arrangement of a song that appeared on Potter’s Daughter’s 2018 debut album The Blind Side. Dyanne and Jan-Christian are joined by Amit Chatterjee (guitar), Patrick Carmichael (drums), and Tom Borthwick (soundscaping). The vocals are crisp and clear with a chanting quality and cadence. The music bed is airy and somewhat eerie, except for the third quarter of the song, which features a slow-jamming, softly wailing guitar solo. It’s an otherworldly combination; hence, my application of the descriptor “experimental progressive.”
image courtesy of Glass Onyon PR
Next, “Accidentally Like a Martyr” is a Warren Zevon cover. This one was recorded by just Dyanne and Jan-Christian, with Jan-Christian adding guitar and drum programming to his bassist role. It comes perhaps the closest on the disc to delivering a song you might have heard on the radio, namely a 1970s AOR radio station, but decade notwithstanding, it’s the song of the three that’s the most accessible to the broadest listening audience.
The final song on the EP, “We Could Be,” is a song about racial injustice, featuring bits from David Greene NPR broadcasts. It has a mildly funky, ’70s lounge-music groove, with news reports talking about George Floyd in the background behind the lyrics “We could be better than this. We could be so much better than this,” followed by news reports about Ahmaud Abery in the background during a musical bridge. We all know music can be impactful, and this is Potter’s Daughter’s song for social justice, with very much a ’70s soft rock flavor. It subtly builds in strength, just enough to add impact as it continues.
Casually Containing Rage is a great introduction to Potter’s Daughter’s specific progressive style. It’s worth a listen for anyone whose musical taste includes even a hint of any soft prog or ’70s AOR soft rock leanings.
Leah Belle Faser has one of the biggest, baddest, “how is she not a star already?” sounds of the young country artists I’ve heard lately. Just a few seconds into my first listen, I knew I would review this EP and share her music with you. And now, after several listens, whenever one of her songs starts on my playlist, I rack my brain trying to remember which famous country artist she is. That’s an easy way to tell you’ve found a truly special artist. And the lyrics and music are all Leah Belle Faser originals, too. She’s a complete artist.
image courtesy of Michael J. Media Group
The (boom!) massive hit of the disc is its third song, “Better Than Mine.” It’s a melancholy, dreamy number, performed more mid-tempo than slowly, but still not usually a breakout song tempo… oh, but the hooks! And the faster-and-slower tempo changes. And the lyrics! It’s a heartbreak, post-split song about the conflicting emotions after a breakup, when, even though it was clearly the right call – something portrayed by this song largely in attitude and briefly by lyric – it’s hard to see an ex moving on faster and, seemingly, better. And the lyrics in the chorus? Check this out (because you’ll be learning them and singing along): “When I said I wish you the best, but I didn’t know that would mean you’d be doing just fine, without me in your life, a new girl every night, I guess your best is better than mine.”
photo by Deborah Celecia Wagoner; photo courtesy of Michael J. Media Group
EP-opener “The Lift,” however, has hit potential in its own right. Leah’s voice raises strongly, lilts sweetly, and pushes persistently and convincingly through the lyrics of this song about finding love. Big-time country hit lyrics, to be sure: “Kiss me like you met me in the pouring rain, when I wore that Stardust t-shirt and it drove you insane…”
And “Second Hand Store” is an energetic, sassy pop-country number, with a cheerful tempo and small-town charm. On this song, it’s just some of the small turns of phrase that pull me in, from the catchy, unexpected rhyme of “With Burberry and Tiffany, you’ll have your epiphany” to the clever little “You finally realized the juice ain’t worth the squeeze.”
photo by Deborah Celecia Wagoner; photo courtesy of Michael J. Media Group
The third song on the disc is “Better Than Mine,” which I’ve already gushed about. It’s followed by “What Could Have Been,” that truly thoughtful song of missed opportunities, when you’re young and in love but are just passing driftwood riding divergent currents. No snark in this one. Just plenty of feelings, sweetly detailed vocals runs, and a textured depth of emotion, both when Leah stretches out the notes and when she quickly dashes through a lyrically-clever, fast-paced run.
The softness continues on “Back Home,” a memory-filled song about missing where you came from while pursuing your future far away. A song about sometimes wanting the life and surroundings you grew up with, about your home always being in your heart and missing what you’ve left behind. Leah’s voice roars, then softens, then roars again, taking you on a roller coaster ride that leaves you with watery eyes and a lump in your throat. (I’m not crying; you’re crying.)
photo by Deborah Celecia Wagoner; photo courtesy of Michael J. Media Group
Rock guitar kicks off “Play On Words,” and Leah’s voice reflects an attitude and edge that’s almost along the lines of Alannah Myles’ “Black Velvet,” but more country and with a little bit of that sassy Opry twang. Every time I hear this song I think it reminds me of a really famous song. And then I realize I’ve now heard “Play On Words” enough that it, in fact, is the song it reminds me of. Sign of a great tune.
Finally, Crossing Hermi’s Bridge concludes with “Ruled” a mid-tempo pop-country-rocker, that defiant number that’s almost a requirement of a young vocalist. Leah has shown a variety of sides of herself on this short, seven-song collection, but this song is the only one that displays this specific tone of very cool yet quite familiar defiance.
And… whew! Even without the well-crafted lyrics, with every word so cleverly and precisely chosen like an established veteran songwriter, Leah Belle Faser’s delivery would deserve a country music fan’s attention. But she’s a songwriter and lyricist of astounding caliber, too! Just wow! I realize I’m more than 700 words into the review, but I’m speechless… figuratively speaking.
photo by Deborah Celecia Wagoner; photo courtesy of Michael J. Media Group
Looking Ahead
You need to click on the “Tour” tab of Leah’s website to find her upcoming shows, and she has three listed. On February 13th, she’ll be at J. Michael’s Prime in Canton, GA. On March 5th, she’ll be at the Old Vinings Inn in Atlanta. And on March 13th, she’ll be performing at Engelheim Vineyards. If you’re venturing out, go hear her perform live. And if you’re not going out for live music right now, then check back at Leah’s website a couple weeks after you get your second vaccine.
Geoff Wilbur's Music Blog 