Category Archives: Album Reviews

Album Review: Marina V – In V Minor

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Marina V

photo courtesy of Marina V

Album Review of Marina V: In V Minor

Long-time readers know Marina V is a Blog favorite. Her expressive, soaring, sweetly clear yet powerful vocals combine well with her frequently-flowing songwriting. And, while she can and does show versatility and range when she stretches herself to faster-tempo and stylistically different songs seemingly effortlessly, Marina does have a musical sweet spot. It’s a designated lane on the soaring pop ballad musical highway that’s reserved for Marina and no one else, and it’s where her legion of fans expect a majority of her music to reside. In V Minor spends most of its time in this lane, perhaps more than her recent albums do, but it’s really hard to complain, especially as she swerves around within the lane quite a bit. And it’s fun to hear Marina release an album of new material mostly within her “greatest hits” zone sometimes. Plus, there are those aforementioned cool twists she puts on her subgenre, too. With depth and darkness, most of the time, you’re not likely to expect; she always does that. She’s Marina V.

Marina V - In V Minor album cover

image courtesy of Marina V

The first song in the collection is the beautifully, hauntingly drawn-out “Cold Cold Winter.” Marina’s piano skills combine with the guitarwork of special guest Jim “Kimo” West and the most beautiful edge of Marina’s voice to deliver a memorable ballad.

It’s followed by the sole cover on the album, a Marina V-tempoed rendition of “We Belong,” the Pat Benatar hit that was penned by the songwriting team of Lowen and Navarro. Marina blows the lid off of this track, and it features a truly special guest, as she sings it as a duet with the song’s cowriter Dan Navarro.

Marina V

photo courtesy of Marina V

Next up is another treat, a fan favorite, a rare (well, infrequent) Marina-penned full-on love song, “143.” It’s sort of the warm side of “Cold Cold Winter,” suitably placed with “We Belong” serving as a transition between the two tracks that are simultaneously similar and polar opposites. (Polar… winter… get it? Yeah, maybe not.)

“Rain My Love” opens with a semi-haunting piano, vocal, and string arrangement, a broad-sounding, soaringly-building sound that hints a bit at Scorpions’ “Wind of Change,” hinting at that sort of power but reining it in and polishing it with a softer edge. (Marina does a powerful rendition of “Wind of Change,” by the way, but it’s not on this album; it’s on Marina’s extended 2017 release of Inner Superhero.)

The power doesn’t dissipate on “Talk to You Sometimes,” it’s just redirected. Another song about strength and emotion – something Marina excels at writing and performing – this song will undoubtedly put a lump in your throat lyrically, and then it contains the best three-syllable delivery of the word “steel” I can recall, which helps release the tension. It’s all about the details.

Marina V

photo courtesy of Marina V

The third weather-titled song of the first six, “Love is Like Snow,” is a bit lighter, more playful, and hopeful. Still a slow song, but one you could move around a dancefloor to if you’d like, and the occasional twirl wouldn’t be at all out of place.

Next up is one of my favorite songs on the disc, “LKD.” And fortunately, like most of us, I’m not out in public much these days, or you might be concerned when you hear me singing the lyrics under my breath, “Live. Kill. Die.” “LKD” sounds like is was specifically written for a James Bond movie, with a breathy, cold, calculated delivery. Or perhaps it was created as an entry into a competition seeking a new theme song for the KGB. I actually researched the answer to this. After noting the Bond-esque edge to the song, I checked Marina’s song notes to see what inspired this track, and indeed, as an assignment in a songwriting group, “LKD” was written to sound like an end-credit song for a James Bond movie. I’m not sure how I feel, now, knowing that it was contrived bloodlust – not the actual thing – driving this song, but I’m pretty sure the word I’m looking for is “relieved.”

Marina V

photo by Justin Higuchi; photo courtesy of Marina V

Next up is another tune I often find stuck in my head, the encouraging “Back to Sunshine.” In addition to its hooks, the tune has Easter eggs for hardcore Marina V fans, as she slips old album and song titles into the lyrics of this song. It’s an neat trick, accomplishing that while writing a memorable, hopeful tune that’s engaging and catchy even without the insider information.

Marina returns to the dark side next with “Sick Sick Love.” The song cleverly builds tension and suspense musically, vocally, and lyrically, proving interestingly compelling, with just enough enthusiasm to suggest the song’s protagonist may not actually be interested in leaving this sick, sick love behind. Given the subject matter, this song is much more fun than it probably should be; I may be wrong, but I envision a mischievous glint in Marina’s eye while she recorded it.

Marina V

photo by Arsen Memetov; photo courtesy of Marina V

“No Time to Say Goodbye” returns to a semi-haunting tone. It’s actually the theme song for Bill Adler Jr.’s novella of the same name, and its sad desperation rather well matches the emotion you’d expect from the book’s plot summary. (No, I haven’t read the book, but I’m intrigued.)

Finally, the album closes with two lullabies. First, “My Love Lullaby,” a sweetly encouraging song about unconditional love. And then the Russian-language “Лунная Колыбельная (Russian Moonlight Lullaby).” No, I don’t understand the song, but thanks to the translation, it’s also quite sweet, and very much a sing-to-your baby song.

Marina V

photo courtesy of Marina V

That’s it. Over too soon? In V Minor is yet another dependably strong Marina V disc, as she has perfected the ability to release only top-notch material. This one, again, resides mostly within her sweet spot when it comes to tempo and taking advantage of her soaring voice and piano skills. The tone and mood ranges from very, very dark to light – to be fair, its touch is mostly soft and generally hopeful, but the breadth of emotion makes the album complex and enjoyable, like an interesting friend. Definitely a pleasure to have this disc as a listening companion during a pandemic.

Of course, as I mentioned at the beginning of this review, Marina has long been a Blog favorite. For more Blog coverage of Marina V, see my 2018 review of her album Born to the Stars. Before that, in 2015, as article #5 of my Blog-launching “Road Back to Music Journalism” series, I reviewed Marina’s Inner Superhero album and a 2014 house concert.

Marina V

photo by Arsen Memetov; photo courtesy of Marina V

Looking Ahead

Marina does twice-weekly livestreams – “The Marina V Show” – on Twitch. Started during her pregnancy, Marina perfected the format well before the pandemic hit, interacting with fans via chat and playing old and new favorites. Husband/guitarist/cowriter Nick and “Baby V” make appearances, as well.

If/when live shows return, you’ll be able to find information on the “Tour” page of Marina’s website. Currently, you’ll find dates and times of the twice-weekly “Marina V Show” livestreams. Generally, Sundays at 12:30 PM PST (3:30 PM EST) and Thursdays at 7:00 PM PST (10:00 PM EST).

Marina has also been on Patreon for several years. Her “2 Songs a Month Club” gives patrons two new songs (one original and one cover) each month for as little as $1 per song ($2 per month). Of course, higher tiers offer additional membership perks.

Album Review: James Williamson & Deniz Tek – Two to One

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James Williamson & Deniz Tek

photo by Anne Tek; photo courtesy of Glass Onyon PR

by Eric Harabadian, Contributing Blogger

Album Review of James Williamson & Deniz Tek: Two to One (Cleopatra Records)

With the pairing of guitarist James Williamson and guitarist-vocalist Deniz Tek you’ve got some proto-punk/alternative rock royalty right here. Williamson, of course, played on Iggy and the Stooges’ Raw Power and Kill City records. And Tek carved his legacy in the alternative rock world decades previous in the Australian-based band Radio Birdman. But, interestingly, they both have ties to Detroit and Ann Arbor, Michigan, and that Motor City rock ‘n roll sound jumps out of the speakers loud and clear. As Williamson puts it, “This is a no-frills, good old-fashioned guitar album.”

This 11 track album kicks off energetically, with “Jet Pack Nightmare.” The guitars are full and really mix melodically well. Tek sings in a low register monotone that grabs you from the get-go.

“Progress” follows and further solidifies that blend of Detroit-fueled power pop and Southern California panache. “Take a Look Around” features an earnest Tek vocal laced, with a socially-conscious sentiment. Williamson’s taut and focused solos really support the overall mood. The backup vocalists Petra Haden and Andrea Wasse further perpetuate a cool pop vibe.

James Williamson & Deniz Tek - Two to One album cover

image courtesy of Glass Onyon PR

“Good as Gone” mimics latter day Iggy Pop in a loving way. There is an immediate and urgent groove as Tek unceremoniously sings “We had a few good times, the rest was just a crime.” In addition, Williamson throws in some tasty minor-ish Spanish-type motifs ala Dick Dale.

“Stable” is a strong single that borrows slightly from the feel of The Stooges’ “No Fun.” Tek sings a pretty tough and honest lyric, with “Can’t you see that I’m less stable, trying everything to see what works. You say you got me, but I’m falling. What makes you think it doesn’t hurt.”

“Climate Change” is about as topical and current as they come. Tek bellows “Sun beats down on the city streets. They got nothing to believe in but the heat. It’s dry as dust and the old folks calling for rain. All the kids talking about climate change.” The mid-section features a Beach Boys-like vocal backing that gives the song an ironic surf’s up kind of twist.

“Birthday Present” is a break-neck rocker. The rhythm section of bassist Michael Scanland and drummer Michael Urbano offer a really smooth and brisk tempo. The solo parts recall early Amboy Dukes mixed with classic Beck-era Yardbirds.

“Small Change” is a song about the power of personal evolution. Tek sings “It only takes a little bit of change and a great big heart.” Truer words were never spoken. The song has a somewhat blues and folky-type veneer and Tek plays some appropriate harmonica to top it off.

“Liar” is a driving power pop masterpiece. Tek suffers no fools and takes no prisoners as he belts “I’m standing in the rain but looking for the sun. She’s a liar, can’t survive her.”

“No Dreams” is poetic and somewhat dark, with tasteful and dense solos and rhythms. Tek talks and sings his way through this one. The bonus track is a song about a coquettish femme fatale known as “Melissa Blue.” It’s a smooth mix of acoustic and electric textures. It’s also a nice way to conclude this diverse, yet thoroughly rocking album.

Two to One is a powerful statement, with great songs and brilliant guitar work. Overall, it’s a mix of lyrical honesty and technical prowess that is sure to connect with fans and six-string aficionados alike.

Album Review: Patsy Thompson – Fabulous Day

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by Eric Harabadian, Contributing Blogger

Album Review of Patsy Thompson: Fabulous Day

Released in 2020, this album from singer-songwriter Patsy Thompson was 12 years in the making. Essentially, that’s because family obligations came calling as the Canadian-born artist took care of her ailing mother. With not much support from family, she felt broken and burned out. But in the nick of time her long-time friend and co-writer/producer/guitarist Chris Rolin stepped in to offer her a chance to complete this album and get her back on a career track.

Fabulous Day is a record that is very personal for Thompson. She co-wrote 9 of the 10 songs here, and they all are taken from various aspects of her life and experience.

Patsy Thompson - Fabulous Day album cover

image courtesy of Glass Onyon PR

The title track opens the album with a tale of hope and new beginnings. The mood is ebullient as she sings with incredible range and conviction. It features a strong chorus and lyrical hook. That sets the stage for an enticing musical ride.

“Neon Lights” is a classic song of love and longing. It spotlights Thompson’s stellar vocals and her knack for storytelling. “Picking You Up” is an obvious single that should register mighty strong at country radio. It’s an uptempo honky-tonkin’ party tune. This focuses on throwing all your cares to the wind and stepping out with that significant other for a night on the town. Thompson sings with an aggressive growl that grabs your attention.

“Dreamin’” sounds like a cross between k.d. lang and Patsy Cline. It has a very ethereal vibe and a timeless country feel. Again, this shows another side to this stellar female crooner. “I Can’t Be in Love With You Tonight” contains a sentiment many folks can relate to. It’s a song for anyone that’s ever had any conflict over giving their heart to someone. Thompson talks about love feeling so wrong, yet feeling so right. Yeah, you’ve probably heard that used as a narrative many times before, but this is genuine and from her soul.

Patsy Thompson

photo courtesy of Glass Onyon PR

“Misery and Gin” is the sole cover here, and it’s a good choice. Again, this contains familiar ground that really mines the human condition. She sings “Looking at my life through the bottom of a glass, all I see is a gal who’s fading fast.” There is a strong sense of melancholy here performed in the style of Tanya Tucker or Tammy Wynette. There’s a nice guitar break that supports a subtle jazzy/blues tavern-like atmosphere.

“Passion” is another Thompson original that is a bit different from some of the other fare here. This would be an appropriate song to dance the tango by. She sings a sweet romantic lyric atop accordion, acoustic bass and a pervasive gypsy feel.

“Someone to Blame” addresses the chaos an old flame can create when the former lover can’t leave well enough alone. Select fiddle work from Mike Sanyshyn and a rocking blues feel push Thompson as she sings “Bad news is coming down like rain as you’re looking for someone to blame.”

“Joy Ride” is a straight forward and simply stated country barn burner. It’s got a spry up tempo kick similar to “Picking You Up.”

Thompson closes the album with a Grand Ole Opry-influenced Christmas tune called “I Think About You.” It’s the kind of song that makes you feel good all over. Here she sings about all the things that remind her of the one she loves, like standing under the Mistletoe, the smell of pumpkin pie wafting from the kitchen, and all that sort of thing. This has all the makings of a modern perennial classic. There’s some nice guitar and fiddle work too.

Patsy Thompson is a terrific songwriter, as well as vocalist, that has opened for some of the biggest names in country music like Willie Nelson, Clint Black and Rusty Weir. She’s also appeared at SXSW and has recorded at Willie Nelson’s Pedernales Studios. This is a momentous release that’s sure to please, and filled with a treasure trove of memorable hits.

Album Review: Harmonica Shah and Howard Glazer – Ain’t Gonna Worry About Tomorrow

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by Eric Harabadian, Contributing Blogger

Album Review of Harmonica Shah and Howard Glazer: Ain’t Gonna Worry About Tomorrow (Electro-Fi Records)

Buddy Guy and Junior Wells, Smokin’ Joe Kubek and Bnois King, Sonny Terry and Brownie McGhee; these are just some of the famous duos, past and present, that have graced the American blues landscape. Although, perhaps not on that level of notoriety, Detroit heavyweights Harmonica Shah and Howard Glazer are certainly deserving of such stature. As a duo they’ve played their fair share of festivals and club dates throughout the U.S., Europe, Australia, and Canada. They’ve also had successful solo careers and partnered with other legendary blues figures like Emanuel Young, Honeyboy Edwards, Willie “Big Eyes” Smith and Mel Brown. They’ve also recorded together in the past, but it’s been far too long. However, that all changed when Andrew Galloway of Electro-Fi Records signed them to a deal and got them back in a Detroit studio in early 2020.

Harmonica Shah and Howard Glazer - Ain't Gonna Worry About Tomorrow album cover

photo by Gary Collver; image courtesy of Electro-Fi Records

Harmonica Shah is a one-of-a-kind character whose stock in trade is spinning off the cuff improvisational lyrics and hot harmonica fills to match. Howard Glazer is a master craftsman when it comes to the guitar. Whether it’s electric, acoustic, slide, Dobro, jazz, folk, rock, or whatever, he deftly works it all into his signature sound. Joining them are Detroit area vets Mike Blaszkiewicz on guitars, Steve Glazer and Ben Moore on bass and Skeeto Valdez on drums.

“Reality Blues (I’m Too Old to Be Your Man)” opens the disc in fine form, with a mid-tempo blues shuffle. Shah humbly sets the record straight with a woman in question that he’s simply too old to be carrying on with a relationship. Perhaps the generation gap is represented here in full effect.

They keep that mid-level groove happening with the next number, “My Bottle is My Bank Account.” This is an all too familiar tale of money changing everything. And fair weather “friends” will only be around as long as that money holds out. Shah has a folksy way of cutting to the chase with these kinds of human nature mini-dramas.

Sans drums, “Pretty Girl, Pretty Girl” almost puts the listener in a trance via Glazer’s oscillating and floating chords. Subtle harmonica shadings and Blaszkiewicz’s acoustic interplay give this a haunting swampy feel. “When My Wife Comes Home” is kind of a lighthearted tale. It’s a straight-up shuffle, with a humorous bent. In it, Shah entices his woman to stay the weekend and watch cable TV. But, ultimately, she’ll have to go Sunday night when his wife returns home. Uh, oh… there’s the rub! This features some tasty call and response soloing from the harmonica man and Glazer.

Harmonica Shah

photo by Gary Collver; photo courtesy of Electro-Fi Records

“Dirty Bastard Blues” has a really loose and live feel. It’s one of those self-effacing tracks where the band hits “record” and lets it fly. Everyone hits their musical marks, but Shah cracks up laughing in between lines of the song. It’s just got that nightclub vibe where you could picture him reacting to crowd response. Glazer really digs in here, with some great single note lines and incendiary leads. Fenton Robinson’s “Somebody Loan Me a Dime” is a classic that gets respectful coverage here. It’s a slow blues that features one of Shah’s better vocals and searing chicken pickin’ by Glazer.

“(I Just Wanna Be) Your Floormat” has a swing and shuffle to it. The rhythm section keeps a nice open pocket that gives room for some exceptional solos between the co-leaders. “Please Respect Me” finds Glazer really working various tonal registers on his axe. From a trebly single-coil attack to a grittier approach, he covers a stunning sonic spectrum. This is also Shah at his most vulnerable, where he pleads with his woman not to cheat on him. “She Penetrates My Mind” is another slice of life narrative where sometimes a certain kind of loving can be too strong. Shah sings “She’s got the kind of lovin’ that’s terrifying. Every time she loves me she penetrates my mind.” It’s a backwoods juke joint kind of song that will stick in your psyche for some time.

Chester Burnett’s classic “Who’s Been Talking?” is a spirited cover that gets a nice New Orleans swing feel. The mean, low down lyrics are offset by an uplifting and vibrant groove. Paul Marshall’s “So Many Roads” features a great Shah vocal along with some very agile harp runs. It’s a slow blues burner where Glazer employs great control and a skilled use of dynamics. “First Train South” is the sole instrumental on the album. It essentially spotlights the duo and really shows the strength of this co-led blues machine.

The title track “Ain’t Gonna Worry About Tomorrow” saves the best for last. It’s a hopeful sentiment that features a jazzy groove from Valdez and stellar interplay from Shah and Glazer. Anyone that follows the Detroit and Southeast Michigan blues scene should be very familiar with Shah and Glazer’s festival and nightclub work. But it has been many years since they laid any tracks down in a formal studio. Kudos to Electro-Fi Records. It was well worth the wait!

Album Review: Chris Pellnat – Rain

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Chris Pellnat

photo courtesy of Chris Pellnat

Album Review of Chris Pellnat: Rain (Houdini Mansions Records)

Artistry and songwriting skills. These are at the core of Chris Pellnat‘s Rain. His delivery is very singer-songwritery. Softspoken and matter-of-fact. The instrumentation is light and airy most of the time – its quirky cheerfulness often belying the seriousness of the lyrics – with occasional well-placed additional instrumentation.

Chris Pellnat - Rain

image courtesy of Chris Pellnat

Speaking of well-placed additional instrumentation, “Hold Me Now” opens the disc in carnival-esque fashion, with crashing waves of music providing emphasis. “Vie Vie Vie Vie Vie” follows with a tempo that suggests the song is walking along at an uneven gait, perhaps followed by all of the town’s children, as if a pied piper. Next up, “Black-Eyed Susans and Queen Anne’s Lace” continues that tempo, but with intriguing bridges tying the choruses to the subsequent verses.

Chris Pellnat

photo courtesy of Chris Pellnat

The harmonica lead-in to “It’s a Cruel, Cruel World” hints at a musical change of pace, though it’s just a modest one. I dig the lyrics, too; no sugar-coating.

“Turning of the Zodiac” is a quirky number – you’ll find yourself singing along with the “boop” sound, for goodness’ sake! – and sports brief sixties psychedelic instrument cameos, as if drawn by the word “zodiac” to this musical summer of love.

Chris Pellnat

photo courtesy of Chris Pellnat

On the back half of the album, I’m probably most drawn to a couple of the tunes. “Anything At All,” for its dark melancholy. And “Honor Bound,” though perhaps mostly because I dig the harmonica bits.

I also enjoy the final song, “Rain,” a memorable song with a bit of a hook that includes a hint of the musical crashing found to open the disc, this time in the form of storm clouds, providing a bit of a stylistic bookend.

Throughout, Chris’ original delivery provides a cohesive, memorable canvas for this collection of songs. The songs themselves are so tight and carefully written, they’d be equally compelling with different delivery styles and lusher production. As I mentioned at the beginning, the dude’s a songwriter. A talented one.

 

Album Review: The Doughboys – Running For Covers

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Album Review of The Doughboys: Running For Covers

Released late last year by New Jersey ’60s-flavored garage rock flagbearers The Doughboys, Running For Covers is an album of 13 cover songs, including covers of a couple of the band’s own old originals, all given an updated treatment in The Doughboys’ modern-yet-classic signature style.

The Doughboys - Running for Covers album cover

image courtesy of Howlin’ Wuelf Media

The album begins energetically with the classic-style guitar-buzz-driven “96 Tears,” a raucously enthusiastic – surprisingly upbeat, given the song’s lyrics – update of the ? and the Mysterians’ number one hit from 1966.

The rest of the disc includes The Doughboys’ renditions of the Kinks’ “The Hard Way,” The Band’s “The Shape I’m In,” the Rolling Stones’ “Play With Fire,” Herman’s Hermits’ “My Reservation’s Been Confirmed,” the Beatles’ “It’s All Too Much,” Lambert Hendricks & Ross’s “Moanin’,” Mose Allison’s “Your Mind Is On Vacation,” Neil Diamond’ “Solitary Man,” and more, plus reimaginations of The Doughboys’ own 1967 singles  “Rhoda Mendelbaum” and “Everybody Knows My Name.”

It’s a couple of the latter cover songs on that list that are really interesting, since they include particularly significant style changes. The Doughboys take blue jazz number “Moanin’,” for example, and infuse it with a timeless ’50s-meets-garage rock energy to completely change the song’s energy without disrupting its mood. And on “Solitary Man,” the band marches forth confidently, delivering this standard with a buzzy, almost Johnny Cash-meets-Hawaii Five-O flavor.

Other favorites include “Your Mind Is On Vacation,” with its bluesy style and harmonica bursts; the fast-paced adrenaline-filled, sped-up, wailing version of David Essex’s “Rock On,” a song also covered by Michael Damian, though still not at The Doughboys’ tempo; and the tunefully mid-tempo “Everybody Knows My Name.” The whole disc is solid, of course, and as a result, my personal favorites tend to change with my mood, so pay attention during your test drive because your mileage may vary.

You know, I always struggle with reviewing cover albums because, well, what do you say about them? About the good ones, you can say something like this: The Doughboys have delivered a disc full of great rock ‘n roll music, putting their distinct sound on classic songs, both famous and obscure. So, even though cover collections are difficult reviews, I really enjoy listening to this record, and I couldn’t resist sharing it with y’all. If you’re a fan of timeless, kinda raw but really tight rock ‘n roll, you owe it to yourself to take The Doughboys’ Running For Covers for a spin.

More Recently

Of course, Doughboys drummer Richard X. Heyman has assembled a renowned career as an independent singer-songwriter. I reviewed his 12th album, Incognito, in 2017. This past fall, he released the single “Choices We Make,” which you can check out via this YouTube video, from an unnamed upcoming 14th RXH solo album. I can’t wait.

Looking Ahead

When live gigs return, you’ll find The Doughboys’ on the “Events” page of the band’s website.

Also, here’s an interesting little nugget from the band’s bio, for those of us not old enough to have first-hand knowledge. The Doughboys were the house band of the legendary Cafe Wha? back in their heyday. I know this sounds like “looking back” rather than “looking ahead,” but this bar in the Village is one of the few remaining (surviving) iconic live music venues on my personal NYC “must see” list. Assuming it survives the pandemic, it’ll be a stop on one of my future trips to the City, visits I sorely miss right now and am looking forward (i.e., looking ahead) to resuming when some semblance of normalcy returns. So, in this paragraph, I’m looking ahead to my future, not the band’s.

EP Review: Sam Sherwin – Left In

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Sam Sherwin - Left In EP cover

image courtesy of Media Stew Public Relations

EP Review of Sam Sherwin: Left In

Left In is the follow-up to Sam Sherwin‘s full-length album, Iodine Cocktails, which I reviewed here three years ago. It’s a great continuation of the vibe in that prior release, perhaps skewing a bit more toward the live blues-rock joint vibe than the big stage rock show flavor of the prior release. Still, one can’t help imagining “The Wells Run Dry” rocking a stadium crowd, too, so my comparison is a bit of an oversimplification.

Sam Sherwin

photo by CE Katz; photo courtesy of Media Stew Public Relations

The songs are tuneful and catchy. Sam’s vocals have the ability to cast a rough edginess that suggests real-life experience and emotion while still powerfully hitting all the notes. Very New Jersey rocker-ish, appropriately.

The keys and background vocals add a richness and playfulness to EP-opener “Can’t Depend On You,” balancing the earnest growling blues-rocker song style. A great introduction to the depth and breadth of Sam’s music, this song is a well-chosen first impression.

“Johnny Got Soul” follows, with a bit of a bemused feel to the vocals in the first verse, providing a matter-of-fact descriptiveness that serves the song well. The bridges divide the song into sections, providing a breath of fresh air and break in tempo that helps the listener focus on and enjoy the vibe – the soulful, bluesy vibe, natch – of the verses and chorus.

Sam slows things down with the mellow, wistful “Losing My Faith.” Driven instrumentally by piano with well-placed organ, the music bed well-supports the aching vocal delivery in the verses and chorus and is supplemented by backing vocal bridges, soaring both high and low, in the second half of the track. I know it’s a dorky music-reviewer type of thing to say that one of my favorite things about a song is its arrangement, but I’m playing that card here.

Sam Sherwin

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

The fourth and final song on this all-too-short disc, “The Wells Run Dry,” brings back the energy. A gruffy, seedy juke joint kind of energy. Fun, with instrumental runs and a wry delivery. Picture a big auditorium, a well-choreographed lighting sequence, and a rollicking jam band feel, all in a well-structured bluesy rock song package. A great closing number to a well-bookended four-song collection.

I always dig a Sam Sherwin release. Granted, it’s generally a little hard to describe, but at its heart, it’s good, old-fashioned rock and roll with a pop-friendly flair, rooted in multiple decades of the classic rock era, with influences from a broad range of other musical genres. In this case, lots of blues, but not just. I know it’s only rock ‘n roll, but I like it.

Looking Ahead

When live music returns in earnest, one place to look for upcoming gigs would be the “Shows” tab on Sam Sherwin’s ReverbNation page.

Album Review: Burnt Out Wreck – This Is Hell

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Album Review of Burnt Out Wreck: This Is Hell (Cherry Red Records)

This is crunchy, soaring, hard-driving ’80s style melodic rock ‘n roll of the very best kind. I reviewed Burnt Out Wreck’s previous album, Swallow, back in 2017. Now, I’m finally getting a chance to review the band’s 2019 release, This Is Hell. As I mentioned in the previous review, Burnt Out Wreck has an ’80s pedigree, with lead singer Gary Moat having served a the drummer in ’80s rock band Heavy Pettin, and with Burnt Out Wreck Gary’s every bit the energetic, raucous rocker now that he was “back in the day.”

Burnt Out Wreck - This Is Hell album cover

image courtesy of BJF Media

This new disc starts out with high energy right from the start, as “Dead or Alive” romps from the get-go. I hear the AC/DC comparison I mentioned in my last review, but there’s a high-screaming, tuneful, frenetic energy that also recalls Kix’s Steve Whiteman. Much headbanging and air-drumming on this fun, rockin’ album-opener.

The album contains a fair bit of good ol’ rock ‘n roll-style raunchy good humor, with tracks like “Paddywack” turning clever phrases and featuring singalong-ready verses. And, of course, later on the disc, “Rock Hard Sticky Sweet,” which is driven by a gritty, bluesy rock guitar line with some Cinderella-like chord progressions (from their really good bluesy hard rock songs), as well as tasty soaring guitar solos during one particular mid-song bridge.

Burnt Out Wreck's Gary Moat

Gary Moat; photo courtesy of BJF Media

One of the more direct anti-love songs you’ll find on this disc is the catchy “Headfuck,” with vocal screams and crashing drums and vocals reminiscent of Headhunter-era Krokus.

Surprisingly, if know how much I dig lyrics, probably my favorite song on this disc is lyrically simple. “Guitars Electrified” is all about the energy, rhythm, and guitar hooks. It grabs your attention from the first note and pulls you in as the instruments join one by one and the power builds. It’s a song all about rockin’ – and it does rock – with vocals, at times, a bit of a blend of Steve Whiteman and Jack Russell, though really just 100% Gary Moat. Much like Autograph’s “Turn Up the Radio,” this is a good, old fashioned, energetic rock and roll party song.

Really, though, every song on the disc has a reason it might be your favorite. “Just a Dog,” for example, has a bluesy rock flavor, and for some reason it reminds me just a bit of ZZ Top’s “Dirty Dog,” though this Burnt Out Wreck tune is much slower-tempoed and grittier. Perhaps it’s because the tunes have a similar attitude… and the word “dog” in them.

Burnt Out Wreck's Gary Moat

Gary Moat; photo courtesy of BJF Media

And the final song on the album, “Snow Falls Down,” closes things out with all of the vocal, drum, and guitar elements that make This Is Hell so much fun.

Another top-shelf, fun, melodic hard rock disc from Burnt Out Wreck, This Is Hell is a great follow-up to Swallow. Though the style is familiar, the songs are fresh and new, and the enthusiasm and energy are genuine. This is a disc that harkens back to the days when rock ‘n roll was all about screaming vocals, guitar and drum runs, and fun, headbanging live shows. This may be greedy on my part, but I’m already hoping there’s an album number three in the works.

Looking Ahead

Burnt Out Wreck has several gigs booked next year through July of 2021. You can find the gig calendar on the “tour” page of the band’s website.

Album Review: Susan Gibson – The Hard Stuff

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Susan Gibson

photo by Bill Ingram; photo courtesy of Broken Jukebox Media

Album Review of Susan Gibson: The Hard Stuff

The Hard Stuff is a collection of familiar-sounding, easy-to-get-into, memorable songs. Not surprising, given Susan Gibson‘s songwriting pedigree. “The Hard Stuff” and “Lookin’ for a Fight,” for example, feel like songs you might hear from the (Dixie) Chicks. That what my first impression, made before reading Susan’s bio, which tells me that Susan’s song “Wide Open Spaces,” was a hit on the Chicks’ 1998 major label debut.

Susan Gibson - The Hard Stuff album cover

image courtesy of Broken Jukebox Media

Released in 2019, The Hard Stuff was Susan’s first full-length album since 2011’s Tight Rope, with EP Remember Who You Are filling the void in 2016.

There are so many potential hits – or, at least, potential personal favorites – on The Hard Stuff it’s hard to know where to start, so I’ll start with the first track, “Imaginary Lines,” with thoughtful verses that ebb, flow, and surge interestingly, leading to a heartfelt, memorable, catchy, emotionally energetic chorus.

Next, there’s a nice, forward-moving energy – kind of an almost Barenaked Ladies tempo – to “Antiques,” whose chorus reveals the song’s topic: “Gettin’ older ain’t for the weak. It only happens to the strongest ones. They aren’t useless, they are precious antiques. Better treat ’em like one.” As is so often the case on The Hard Stuff, the song is a lyrical goldmine atop an engaging melody that’s easy to enjoy even if you’re not paying attention to the lyrics.

Susan Gibson

photo by Dave Hensley; photo courtesy of Broken Jukebox Media

“The Hard Stuff” is a rhythmic tune with attitude. As I mentioned earlier, it reminds me of a Chicks song in style, tempo, and (of course) attitude.

“Lookin’ for a Fight” has a more ominous tone and western flavor to it, sporting the singalong-able chorus: “Hey, Jack, you’ve got something to prove. You think your dirty looks will make the mountains move. ‘Out of my way!’; that’s your attitude. There you go lookin’ for a fight.”

“The Big Game” showcases a precision of vocal delivery and lyrical wordplay, and not just the obviously clever “Why ya gotta make it so hard for me to be easy?”

As I mentioned, the disc itself is full of songs that will be personal favorites, varying wildly by person, and the next two are likely to fit that description for a decent subset of of listening audiences. “Diagnostic Heart,” I know, will appeal to some with its introspective noodling. Others will be drawn to the nostalgically delivered tale of troublemaking pasts, “2 Fake IDs.”

The disc’s energetic mid-speed musical motor returns on “Hurricane,” a song that’ll have you bobbing and weaving in your seat a little while listening thanks to its engaging tempo.

Susan Gibson

photo by Dave Hensley; photo courtesy of Broken Jukebox Media

“Wildflowers in the Weeds” is next; it’s yet another song I expect to be a frequent fan favorite, a pleasantly melodic tune that may particularly hit home for those who identify parts of themselves in the lyrics.

And the album concludes with “8 x 10,” a banjo and fiddle-powered, down-home reflection on home, history, and memories of loved ones no longer with us.

The entire collection, The Hard Stuff, is a truly exceptional disc, with the songwriting, the emotion, and the performance composing an enjoyable, heartfelt whole package. If any of what I’ve written appeals to your musical tastes, check this music out; you’ll be glad you’ve given Susan’s album a spin.

Looking Ahead

There are no upcoming live shows listed on the “tour” page of Susan’s website; that’ll be where you can find her gigs when there are some. You can also keep an eye on the “events” tab on Susan’s Facebook page.

Album Review: ZagreuS – ZagreuS

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ZagreuS

photo by JZ Zurawski; photo courtesy of ZagreuS

Album Review of ZagreuS: ZagreuS

Adam Sloan and Laurel Marsh are highly-regarded industrial/electronic music duo ZagreuS. ZagreuS’ self-titled album is a follow-up to their 2016 debut EP.

ZagreuS album cover

logo by Michael Hanson; image courtesy of ZagreuS

Beginning to end on this album, ZagreuS combines a raw energy reminiscent of ’90s/’00s Detroit industrial metal luminaries Forge with the tunefulness and pop-friendly vocals of Blog favorite The Sweetest Condition to forge a sound that can only be ZagreuS.

The disc opens with “Times of Change.” On it, vocally, Adam delivers a raw industrial croaking growl, which trades on and off with Laurel’s soaring, Annie Lennox-reminiscent vocals with a steady beat and an ’80s new wave keyboard style wrapped in a wall-of-sound, musical blanket as its musical backdrop. This song opens the disc “big,” an advance sample of this album’s powerful musical character.

ZagreuS

photo by JZ Zurawski; photo courtesy of ZagreuS

But there are other flavors and techniques deployed on the album, as well. Not surprising, as any top-shelf industrial/electronic group worth its salt experiments.

On “Possessor,” a catchy, driving beat and a sneaky rhythmic hook make this a very likely dance club favorite, with dueling vocal styles proving particularly complementary.

“Illuminate” is much more Eurythmics-meets-Thompson Twins than anything else on the album, with accessible beats, soaring vocals, some attention-grabbing spoken-word interjections, a very radio-friendly “we can have it all” transitioning vocal bridge… and, most of all, again, that rhythmic, danceable beat.

ZagreuS

photo by JZ Zurawski; photo courtesy of ZagreuS

And while “Illuminate” particularly interests me from a song-structure, intellectual perspective, it’s the following track, “Punishment,” that I’m much more likely to remember a few hours later. Specifically, phrases like the tunefully-sung “you get what you give” offset against the gruffer “get what you give” (sans preceding “you”) and the less frequently used but more croakily growled “you wanted it” are delivered memorably – and perhaps repeated frequently enough to drive the point home – amid a mostly beat-driven rhythm with relatively sparse instrumentation. Even the song’s title “Punishment,” when sung, has its own barking style. Indeed, the contrasting, battling vocal deliveries are the driving factor that makes this is one of the more memorable tracks on ZagreuS’s self-titled album.

“A Whisper” is mostly rhythmically standard. Enjoyable but not a standout, except for the piercingly beautiful “Na na na na…” vocal overlay. Very cool. And am I the only one who hears it, or does Laurel have just a hint of a George Michael tone during some of her vocals in this song?

ZagreuS

photo by Leanne Williams Photography; photo courtesy of ZagreuS

My remaining favorite track in this collection is its penultimate entry, “Prisoner of Missing Persons.” It blends the soaring-haunting vocal overlay with a stoically aggressive (if that’s possible) vocal croak, atop a catchy, just-slower-than-really-danceable beat, well-placed synth accents, and musical sound effects. Just a really cool mix of elements that create a memorable song.

And the disc closes darkly with “Withdrawn,” a somewhat foreboding track that signals the end… of the album, at least.

In its entirety, ZagreuS is an enthralling album from its namesake performers, a duo comprised of a couple of the top industrial, experimentally adventurous artists in Massachusetts, whose talent helps them stand out in what’s often a less visible genre in most local music scenes, beyond its core audience. Occasionally, an outfit like ZagreuS transcends genre to garner more widespread attention, usually deservedly so. Definitely deserved, in this case, for the talented duo of Adam Sloan and Lauren Marsh.

Keep Up With ZagreuS

Keep up with ZagreuS’s goings-on at the band’s Facebook page or its Instagram page.