Category Archives: Album Reviews

Album Review: Greg Nagy – Stranded

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Greg Nagy

photo courtesy of Greg Nagy

Greg Nagy – Stranded

Backstory

Greg Nagy is well-established as one of the top bluesmen in Michigan. But his star has risen nationally with his last two releases, Fell Toward None and Stranded. Now, I was on hiatus from writing when Fell Toward None was released, so I haven’t heard it, though I did catch Greg’s band live in the interceding years (February 2013, to be exact). While Fell Toward None received national praise, it’s Stranded that really launched Greg into the national consciousness, earning him additional global accolades, chart-topping results, and some high rotation on XM/Sirius radio. All of this acknowledgement of his talent is well-deserved… though I suppose I should have prefaced that with a “spoiler alert.” Then again, I hand-pick a lot of my favorite artists to review – people I think you’ll be glad I introduced you to, if you don’t already know them – so it probably isn’t a big spoiler.

Album Review of Greg Nagy: Stranded

Greg Nagy - Stranded

image courtesy of Greg Nagy

When you think about great blues, it starts with the voice, and Greg Nagy has that voice. It’s not a deep blues voice but more mid-range – and, technically, a mid-range vocal is probably a high blues vocal – but it packs in the emotion. You can hear the passion and, in Greg’s case, you get a consistently strong voice with just enough gravel to convey every feeling that goes with the lyrics. But it’s also about the music. And Greg’s guitar sings as soulfully as his voice. After hearing Stranded, you’ll learn what learn what Michigan blues fans – and an increasing number of blues fans nationwide – already know. If Greg Nagy releases a new album, be excited. And buy it. The guy’s a rare talent.

Greg Nagy

photo by J. Bowler; photo courtesy of Greg Nagy

Stranded opens strong, with Greg’s mid-high vocals filled with emotion, as “Stranded” has an almost country edge to its true blue soul. Oh, you’ll be singing along to this one quickly. It’s simultaneously playful and melancholic. Starting the disc with such energy is an auspicious beginning.

“Walk Out the Door” begins plaintively before adding a bit of energy mid-tune, morphing into a soft-but-rockin’ blues number periodically for the chorus before softening again during the bridges and verses; it’s the sort of song you’d possibly hear in a hotel bar scene in a movie.

Greg slows it down in multiple bluesy styles. His Nagy-fied version of Bobby “Blue” Bland’s “Ain’t No Love in the Heart of the City” is centered on a rich, full, soulful wail with a pulsing rhythm, while “I Won’t Give Up” builds and soars slowly, hopefully, and with a bit of a bluesy gospel rattle. And “Run Away With You” is a gospel-flavored, soft R&B-seasoned, yearning crooner.

Greg Nagy

photo by J. Bowler; photo courtesy of Greg Nagy

The collection adds a little more texture with funky Delta blues number “Long Way to Memphis.” “Been Such a Long Time,” meanwhile, adds playfulness to that funky blues.

Finally, “Sometimes” is worth mentioning, as Greg pulls together funky blues with an R&B backbeat and a guitar line that seems to speak, more like a supporting vocal than a guitar at all.

And, of course, any good blues album ends either in a blaze of instruments or a drawn-out ballad. Stranded chooses the latter with “Welcome Home,” a gravel-vocalled, heart-on-his-sleeve, soft-touch keyboard and guitar driven slow fade into the sunset, ending the disc with the musical equivalent of a satisfied sigh.

Greg Nagy

photo by Geoff Wilbur

In summary, Greg Nagy’s Stranded has earned its spot at the top of various 2015 top ten lists. It landed in my top three. This dude hits every note, puts emotion in every word, and all the while comes across as cool as the other side of the pillow. I don’t have many blues albums on my personal playlists, but this one earns its spot with every song.

Looking Ahead

Greg has a couple gigs currently scheduled later this month – Friday, August 19th at Slo Bones Smoke Haus in Frankenmuth, MI, and a pair of afternoon sets on Saturday, August 20th at Fritz Park in Grand Haven, MI.

Beyond that, Greg’s site currently lists a couple Moriarity’s gigs in Lansing this fall (Fridays, October 21st and December 16th) and a Saturday, November 12th gig at the Backyard Blues Festival at Buckingham Blues Bar in Fort Myers, Florida.

Greg is planning to return to the studio this fall with the goal of a new album release in early 2017. The dude’s a workhorse, though, so I’d suggest also checking his website regularly to watch for additional live dates.

Album Review: The Triplets – Independence Road

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The Triplets

photo courtesy of The Triplets

The Triplets – Independence Road

The Backstory

I first reviewed a Triplets album in 1991, the group’s Mercury Records release …Thicker Than Water, for the New England-based regional publication College Monthly. Then, this past spring, one of those 25 year-old songs popped up on my phone’s playlist – yes, I still have a couple of those tunes on my playlist – and I was inspired to search for “whatever happened” to The Triplets. The timing was fortuitous, as it turns out they were planning to return to the recording industry and release a new album as The Triplets. So I reached out them, and they were kind enough to allow me to review an advance copy their new disc. Spoiler alert: We should all be glad they’re back!

Album Review of The Triplets: Independence Road

The Triplets - Independence Road

image courtesy of The Triplets

The Triplets, in the ’90s, were a group of extremely talented pop singers, Vicky, Sylvia, and Diana Villegas. In the interim, Sylvia and Vicki have left L.A., embraced Kentucky life, and, as per the title of one of the disc’s songs, become “Countrified.”  (Though third Triplet Diana doesn’t perform with the group, she does still co-write with her sisters.)

Indeed, while Independence Road, scheduled for a September release, plays to The Triplets’ vocal strengths and does hint at their pop harmonies of the past to varying degrees on different tracks, the album’s country flavor clearly comes from the heart, representing their current passions.

The title track kicks off the disc engagingly with a train theme, opening the music with acoustic strumming and a gravelly vocal that bleeds emotion, merges into a harmonic duo, and builds to power. The picking will get you grinning, and the rhythm will keep you swaying, while a bit of western-style guitar-picking adds texture. Welcome back to the recording studio, Triplets!

The Triplets

photo courtesy of The Triplets

The next cut is full-on country – the aforementioned “Countrified.” Old-fashioned country style is augmented by fiddle and slide guitar, while the lyrics tell the story of the sisters’ transition from big city starlets to heartland country girls, lauding the pleasures of small town country life, at one point singing “I’m a born-again rock-and-roller with a brand new attitude…” After a few listens, you’ll catch yourself singing along to some of the fun parts of this uptempo charmer.

“Night Like This” follows, energetic, harmony-filled, with an uplifting key change and upbeat melody that’ll leave the listener smiling. Next is “Every Breath You Take,” on which the Villegas sisters deliver a bit of a happier-sounding melody than ol’ Sting did, though even with the sweeter harmonies, the song is still just a tad morose.

“Coyote” is one of my favorite songs on Independence Road with its wide-open feel; it’s a contemplative track, with its lyrics well-suited to the open spaces of its musical arrangement. It’s followed by “Wild-Eyed Child,” a mid-tempo number with a sax line and some energetic vocals.

Next up is “Crazy Moon,” probably my favorite track on the album, a high-energy, dance floor-filler with a catchy beat and expressive fiddling that fills the speakers with a country dance party atmosphere.

The Triplets

photo courtesy of The Triplets

“Magnolia Street” is a nostalgic track with a cheerful pop energy, while “Maybe Tomorrow” utilizes some of the group’s soft pop instincts in a western-flavored, Latin-tinged ballad.

A really cool nod to The Triplets’ old fans is a slightly countrified reimagining of the group’s biggest hit from the early ’90s, “You Don’t Have to Go Home.”

The disc closes on yet another high note: “All I Need” is a great remake of The Hollies’ “The Air That I Breathe,” showcasing the depth and breadth of The Triplets’ vocal skills – harmonies, smooth transitions, and heartfelt crooning abound.

Independence Road is a terrific return to the music scene by this mysteriously underappreciated, talented group that teetered on the verge of breaking big a couple decades ago. The Triplets’ transition from their old incarnation as instantly-identifiable, harmonizing, song-driven pop singers to instantly-identifiable, harmonizing, song-driven country singers is not as dramatic as you might guess. After all, I only changed one word in my description. Sure, the songs are maybe a bit wiser, but that’s true of most of us two decades on. I’m glad to have The Triplets on the scene again, and the country music scene will be a richer place if they stick around and stay a spell. “Get your boots on!”

Follow and Contact The Triplets

You can like The Triplets on Facebook or e-mail them at TheTripletsBandRocks@gmail.com. Reach out to them to inquire about receiving a signed advance copy of the CD.

You can also check out The Triplets’ website, where you can sign up for their mailing list.

Album Review: The Accidentals – Parking Lot EP

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The Accidentals

photo courtesy of The Accidentals

by Joe Szilvagyi, Contributing Blogger

EP Review of The Accidentals: Parking Lot

This year’s vacation included a summer getaway to Onekama, Michigan. It’s a tiny tourist town along the north coast of Lake Michigan without so much as a stop sign to interrupt drivers enjoying scenic Route 22. Drivers might notice a small park with a platform that the generous might call a stage. Through the summer, Onekama brings the community together with lawn chairs and picnic dinners to enjoy free concerts. I was fortunate enough to be in town when The Accidentals took the stage.

The Accidentals - Parking Lot

image courtesy of The Accidentals

Free concerts are a fairly common occurrence in small towns throughout Michigan. Typically, they’re fun events where one of the more talented bar bands plays old favorites for the crowd. It’s the sort of thing that people like to remember as part of a summer vacation when looking back at good times spent with family and friends. The Accidentals gave us the good time we were expecting and more.

One of the things that sets The Accidentals apart from the regular crowd is that two of the band members only recently reached drinking age with the third waiting impatiently to catch up. Their talent has landed them concerts in bars that they’re too young to hang out in, leading to the title of their latest release, Parking Lot.

The Accidentals

photo courtesy of The Accidentals

The six songs collected on this EP are the next thing that make The Accidentals different from traditional summer park fare. The music is a little more poppy than folk but a bit too folksy to be considered pop. Electric cello, violin, guitar, bass and drums work together, supporting intelligent lyrics about life on the road in that awkward age where high school has ended but you still can’t order a beer.

As a trio, The Accidentals have traveled coast to coast, catching the attention of music critics and sponsors. Rated as one of the top seven breakout artists at SXSW last year, The Accidentals qualify as one of the most talented acts to grace a summer concert stage. On top of being talented, they are humble and grateful for the chance to perform their own music in front of so many people.

The Accidentals

photo courtesy of The Accidentals

Summer concerts have always been something I look forward to because they’re usually a good time. The Accidentals have set a new high-water mark for these summer shows. I expect the next time I get to see them will be at a larger music festival or even headlining a big show. Thankfully, I have their CDs to keep me company until that next show.

Here’s their soon to be released song, “On the Shoulders of Giants,” as seen at Onekama’s Concert in the Park on July 11: https://youtu.be/xPnOubVrojU

Check out their web site at www.theaccidentalsmusic.com to enjoy more great music.

Album Review: Suit of Lights – Break Open the Head

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Suit of Lights – Break Open the Head

Suit of Lights/Joe Darone

photo by The Lonely Doll; photo courtesy of Planetary Group

The Connection

Formerly of the Fiendz and The Rosenbergs, Joe Darone founded Suit of Lights in 2003. David Fagin of The Rosenbergs was interviewed by Pam West in the August 2001 Industry Edition of Geoff Wilbur’s Renegade Newsletter. That connection – the fact that my former publication interviewed Joe’s old band – was enough to pique my interest.

Album Review of Suit of Lights: Break Open the Head

Suit of Lights - Break Open the Head

image courtesy of Planetary Group

Break Open the Head, the follow-up to Suit of Lights’ critically acclaimed Shine On Forever, gives the immediate impression of being a concept album. I haven’t examined the lyrics for a storyline – it’s not important, though it makes for interesting consideration – but the songs themselves are largely psychological and “inside the head” in nature, and the overall flavor of the album’s ebb and flow is that of a ’70s rock opera. The music soars, the drums crash, and the sonic rises and falls are akin to those of the late, great, overly-ambitious concept disc, with the songs correlated closely enough to serve well as a soundtrack album for a non-existent film.

Though the hoarse, gravelly, strained vocal style may not trade well with a broader, more mainstream listening public, it is tailor-made for Break Open the Head‘s edgy, experimental-ish, cutting-edge theatrical alt-rock.

Suit of Lights/Joe Darone

photo by The Lonely Doll; photo courtesy of Planetary Group

The album opens energetically with the title track. “Break Open the Head” is an attention-grabber, with tempo changes, meandering bridges, and harsh, dichotomous musical peaks and valleys.

A few other songs could also cross over to more mainstream listeners, though that isn’t the apparent goal of this artistic endeavor. For example, “Ritual. Routine. Control.” has a flowing, broader musical appeal within its irregular beat-driven soul. “Monsters” also catches the ear with its occasional hook among the rising, falling, and crashing that give the track its texture.

“Revolution of You,” particularly due to its song placement after the melancholy “Zero Camera,” provides an uplifting, ear-catching respite. Indeed, all of the songs seem specifically placed within the album to provide a flow or contrast with the tracks around them, and I’m not convinced this tune would stand out as much by itself if not for its specific placement within the ebb and flow of Break Open the Head.

Suit of Lights/Joe Darone

photo by The Lonely Doll; photo courtesy of Planetary Group

You, of course, may be drawn to other tracks, depending on your inclination toward a particular blend of rhythm, pace, and melody and, of course, placement among the rhythms and beats of this carefully-orchestrated alt-rock collection.

Overall, Break Open the Head is an experimental progressive rock fan’s dream; it’s the musical version of an auto manufacturer’s “concept car,” with uneven but interesting results that are likely to inspire creativity in others both within and beyond the the field of music. And that seems to be the point. Whether it speaks to you or not, there’s no denying Break Open the Head is an ambitious attempt to play at the edges of – and perhaps expand – the progressive musical envelope.

However this album strikes you, though, expect something different from Suit of Lights’ next. As Joe Darone noted in the band’s bio, “Some bands go for 30 years with one sound, and there’s nothing wrong with that. But that’s boring to me.”

The Band’s Links

The band’s main dot-com web address directs to a music, merch, and video page. Other band links are the Suit of Lights Wikipedia page and Joe Darone’s Instagram account.

Album Review: Desk – All-American Awesome

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Desk – All-American Awesome

Desk

photo by Tom Robeiro; photo courtesy of Desk

Album Review of Desk: All-American Awesome

Desk could be described as a “supergroup” of New England rockers, featuring members of Vary Lumar, Body English and the Ultrasonic Rock Orchestra, Downcity Armory, and AdaptorAdaptor. Musically, though, what is the end result?

I try to listen to new music without reading too much in advance of my first listen, and my immediate first impression of Desk was that I heard a heavy dose of early-era Kiss. If I had merely scanned the band’s logo, the Kiss influence would have been apparent. But I’ll resist writing too much about the band’s backstory, which you can read on the Desk website here, and focus on the music.

Desk - All-American Awesome

image courtesy of Desk

You can almost close your eyes and sense some healthy tongue-in-cheekness when listening to All-American Awesome, but the album quickly transcends that. Indeed, the songs will rock your face off, and upon closer consideration, the album is clearly much more homage than satire, transporting itself musically back to a time when power chords dominated arenas and rock was king. In the end, the album is best described as a tome of respect… with a smirk.

The seven-track album opens with “Wisdom of the World,” a classic arena-rocking album opener; it’s one of the tracks on the 7-song disc that clearly recalls 1970s, full-makeup Kiss.

Among other standout tracks, “Cowboys in Boston” is essentially a civic pride anthem… “because,” as the song insists, “we’re all-American awesome in Beantown.” Representative of Desk’s median state on this disc, “Cowboys in Boston” delivers rough-hewn, high power vocals, a pulsing beat, and a drum kit that is taking the beating of its life. Bonus points, by the way, for inventing the word “fixiation.” There’s a video for this song, too, which I can describe in three words: Fire! Fire! Fire!

Desk

photo by Tom Robeiro; photo courtesy of Desk

“Love” wallops with a sort of swamp rock boogie hook, tempo changes, a guitar solo, and vocal roars. “Great American Stupid,” meanwhile is more of a straight-ahead distorted guitar rock onslaught.

And the album closes with a raucous song that’s as stylistically Kiss-esque as the album-opener, “(You’re) Hot (But You’re a) Problem.” Screeching guitars, vocals that inspire listeners (and, I presume, concertgoers) to shout along, and powerful drums drive this song, while wild-dog howls end it. And the disc.

Initially, I wasn’t sure what I thought of this collection. It feels a little loose, the vocals sometimes at the edge of tunefulness. But after a few listens, I realized that unfiltered energy is the album’s greatest strength. Raw, unsweetened, ’70s-style hard rock. And now I have a hard time choosing just one or two favorites. Let this album rock you for a while. Like a bad seed, it’ll grow into a bad apple tree – one that’ll scream “Kiss this!”

Looking Ahead

The album leaves me confident that Desk kills it live. The only upcoming live gig listed on Desk’s website right now is this Saturday, July 16th, at The Midway Cafe in Jamaica Plain, MA. If you can’t make it, watch the band’s “shows” page for additional upcoming dates as they’re added.

Album Review: Debbie Hennessey – No Longer Broken

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Debbie Hennessey – No Longer Broken

Debbie Hennessey

photo courtesy of Debbie Hennessey

Album Review of Debbie Hennessey: No Longer Broken

Debbie Hennessey‘s music is folk-styled songwriting with an overarching country/Americana musical style, but her voice is that of a gravelly rock vocalist, and she augments that effectively with occasional mid-tempo rock electric guitar parts. It’s a combination that allows her to stand out from otherwise-similar artists.

Debbie Hennessey - No Longer Broken

image courtesy of Debbie Hennessey

In fact, the album begins with a rock beat and a guitar riff that dances through the rhythm, kicking off with soft rock-flavored “Every Song is You.” Like so many of Debbie’s songs, this one is simultaneously energetic and laid-back.

It’s followed by what may be the catchiest song on the disc, “Whiskey Charm,” with Southwestern guitar flair and a stop-and-start rhythmic beat complementing Hennessey’s persistent vocals.

Another song that jumps out is “You Can’t Unpull a Trigger,” featuring its harmonica and thoughtfully-constructed lyrics, forcefully delivered with attitude by Hennessey.

Debbie Hennessey

photo courtesy of Debbie Hennessey

Debbie slows things down nicely, too, with a mellow, western-tinged guitar line supporting the heartfelt vocals in “Let Me Go.” A purer country ballad is “Sugar and Rain,” where subtly dancing guitar lines combine a vocal touch that holds onto some lyrics just that extra split-second for emotion to produce a powerful, impactful country crooner.

The disc closes with “Woman,” a duet ballad in which Debbie’s voice is nicely offset by Lexie Hofer’s crisper, higher tone. A great way to end a solid disc.

In its entirely, No Longer Broken lands on the soft to mid-tempo rock end of the country music spectrum. Her songs would blend well on a playlist with the Eagles, Stevie Nicks, Karen Nash, and Foreigner. Such a strong album, of course, was to be expected from a singer like Debbie Hennessey, whose web page lists accolades spanning more than a decade.

Looking Ahead

There are no upcoming dates listed on Debbie’s concert calendar, but keep an eye out for future gigs from this talented L.A.-based singer.

Album Review: Dallas Cosmas – Farewell From the Lighthouse

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Dallas Cosmas

photo courtesy of Dallas Cosmas

by Joe Szilvagyi, Contributing Blogger

Album Review of Dallas Cosmas: Farewell From the Lighthouse

Dallas Cosmas - Farewell From the Lighthouse

image courtesy of Dallas Cosmas

Regular listeners of Radio Diego from the Netherlands are probably already familiar with Dallas Cosmas. He currently has two songs from his latest album, Farewell From the Lighthouse, climbing their Twitter Top 40 chart with “Where Did You Go” cracking the top 10.

Dallas’ experience from a quarter century in the Australian music industry is clearly evident as he uses music to express recent personal loss. Each song is a tapestry of guitars and synthesizers wrapping the listener in a sense of suburban angst. Even when dreaming of getting to paradise like the damsels and dragonflies, the music lingers in a sense of defeat.

Dallas Cosmas

photo courtesy of Dallas Cosmas

It’s easy to wallow in the rich production, restrained drumming, haunting keyboards, and emotive guitar work that fill this album. Tales of loss are told from a place of comfort while looking at an uncertain future. The only thing that mars the recording is Dallas’ singing, which is mostly flat and occasionally off-key. I guess this reinforces the middle class sensibilities that make the music easy to connect to.

EP Review: The Kings of Jade – Ready or Not

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The Kings of Jade – Ready or Not

The Kings of Jade

photo courtesy of The Kings of Jade

EP Review of The Kings of Jade: Ready or Not

The Kings of Jade - No Pain No Gain EP cover

image courtesy of The Kings of Jade

Rock. Hard rock. Melodic hard rock. The heyday of the Sunset Strip. The Kings of Jade recall an era when melodic hard rock ruled that stretch of Los Angeles real estate and dominated the American airwaves. Sure, it had been renamed “hair metal” by the end of its run, but this harkens back to a day – decade, actually – when it was all about the catchy, guitar-driven hard rock music, and musicianship was always more important than the genre’s accompanying flash and glitz.

Driven by the band members’ talent, The Kings of Jade are 1980s hard rock with a bit of a rougher edge. The band is reminiscent of bands like Babylon A.D., Dangerous Toys, and Hurricane, with a healthy dose of Shout at the Devil-era Motley Crue, Pornograffitti-era Extreme, Hurricane, and Trixter. Raucous, rattling, and rolling, No Pain No Gain is intricately fun to listen to and clearly suggests an amazing live show.

The Kings of Jade

photo courtesy of The Kings of Jade

First track “Ready or Not” opens with a classic melodic metal echo chamber buzz before the guitar builds and drums and vocals come crashing in. It’s a great way to draw listeners in and hit them with exactly the brand of power rock The Kings of Jade specialize in.

“Danger” utilizes another classic melodic metal intro technique, starting with guitar, adding drums, then launching into the energetic number, which features a fan-shoutalong-worthy “Danger!” opening its chorus and well-placed key changes throughout to maintain the energy. It increases the energy level a notch from “Ready or Not,” charging straight ahead without pausing to take prisoners.

The Kings of Jade

photo courtesy of The Kings of Jade

The third track, “No Pain No Gain,” mixes more nuanced hard rock guitarwork and vocal emotion but carries forward “Danger”‘s energy level. The energy level and lyrical content suggest this could be an ideal get-fired-up song for an athlete getting pumped up for a big game, a clubgoer preparing for a night out, or, really, anyone trying to get psyched up for another day of fighting life’s obstacles.

The Kings of Jade

photo courtesy of The Kings of Jade

All of the tracks feature energetic solos that fit within the song while showing off some flashy axework. “Ready or Not” showcases a blues-influenced solo, while “Danger”‘s is more straight-ahead blistering. “No Pain No Gain” features a more finesse-driven solo.

Talent. Versatility within the melodic hard rock/metal framework. Though still relatively new to the Los Angeles scene, The Kings of Jade are the complete package. This should be no surprise, if only because of the band’s frequent Whisky gigs and the high caliber of acts with whom the band has performed. But it’s easily confirmed by a single listen to this Tonio Ruiz-produced 3-song EP, Ready or Not.

The Kings of Jade

photo courtesy of The Kings of Jade

Looking Ahead

You can check out the tour dates section of The Kings of Jade’s website to keep up with the band’s upcoming dates. The band is opening for L.A. Guns on July 29th at Whisky a Go Go in Los Angeles. Watch for other dates. The Kings of Jade play regularly, so I suspect there will be other dates appearing on the band’s calendar soon.

Album Review: Parent – Parent

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Parent

photo courtesy of Parent

by James Morris, Contributing Blogger

Album Review of Parent: Parent

“Parent” is the album title and name of this acoustic duo featuring Rachel Kern on vocals and Jason Brown on acoustic guitar. They first met in a park in Manchester in the north of England in 2013. Their shared interest in music and the arts soon found them working together, initially playing live and then collaborating on the songs that would eventually become this debut album. Over a period of 8 months, new material was written and then bounced between them to see which ideas were most engaging to develop.

Building on their preferred style of acoustic guitar and vocals, one song was chosen for enhancement with string arrangements. Such was the impact of the finished piece, more of the songs were given this magical touch. It was an emotional moment for Jason Brown: “‘You’re Not Broken’ was the first one to get the treatment. The string arranger is my wife Sarah, which is handy for us! Sarah is proper old school, and everything was worked out on the piano and hand written. When she played me her ideas for ‘You’re Not Broken’ I was simply blown away.”

Parent - Parent album cover

image courtesy of Parent

Jason’s wife, Sarah Brandwood-Spencer, had the sumptuous task of writing all the string arrangements for the album, and it has been done with great delicacy. It’s as if each song had a secret that needed to be unlocked, and by letting her unconscious respond to their moods and lyrics, Sarah has been able to weave an empathic thread through the album, hearing the cry of each song’s soul.

Of the 12 songs on the album only “Tipperary” remained as it had been originally conceived, and it’s nice to hear that connection to the album’s creative origin.

In addition to the music, I must also say how I particularly liked the attention given to the package design. The use of the Paul Klee painting Burdened Children for the album cover is inspired and suits the mood of the music as well as being sympathetic to much of the lyrical content and, of course, the name of band and album itself.

The thoughtfulness of the album artwork is continued throughout the album’s musical content. There is a complex but relaxed air about this album, an assuredness of performance and a poised grace. The production is bright and the quality of sound belies its homegrown creation. It could be argued that the modern way for making great recordings is to forgo the traditional moribund studio approach and embrace a more natural organic experience that comes from recording in the comfort and familiarity of your own home surroundings. This is what Parent have done and it really makes for a well-worked and sonically satisfying album.

Parent

photo courtesy of Parent

Upfront and centre in this musical soundscape is Jason’s beautiful-sounding Taylor acoustic guitar, and from its resonant and rich roots everything else grows. As I already mentioned, the ideas for tunes and words have been passed between Jason and Rachel, and where interest for one or other party has been piqued, the songs have been developed and the sparks of mutual intrigue have ignited into wonderful dark songs of loss, betrayal and longing.

Woven in and around these songs are the aforementioned string arrangements of delicate intricacy and powerful emotion. You can hear the attention to detail and musicality of these unique arrangements and can instinctively tell, as Jason said, that Sarah has worked from the ground up, piano and manuscript, old style creativity. There are moments in the string arrangements that remind me of James Taylor’s first album, especially on the song “You’re Not Broken,” but these are fleeting and on the whole they sparkle with originality.

The combination of the strings with the bright acoustic guitar and dark lyrics sung with Rachel’s warm jazz tones and close harmonies have made an album of deep intensity. Sarah Brandwood-Spencer adds piano to the song “Until Then,” and Matt Steele plays piano on “Trying” and “Maneater,” whilst the whole album was recorded and co-produced by Mick Routledge and mastered by Paul O’Brien.

Parent

photo courtesy of Parent

This album has a luxurious resonance. I wonder if the songs are not some kind of cathartic personal journey of healing for the writers. An intense journey ending in a slightly unsettling but ultimately peaceful calm.

Parent by Parent is a work to be proud of and stands forthright as a modern way to make music. If you’re someone who needs a sound reference to hang it on, then I would suggest there is maybe a passing shade of ’80s album Eden by Everything But The Girl in the jazzy vibe and voice.

This album is artistically clever and, whilst thematically downcast, it has a voice both distinct and contemplative. It’s like standing in an overgrown sun-dappled wood in summer or walking along a desolate sandy beach at low tide as the sun sets on the sea. Moments in time that can regenerate the soul.

When Parent play live they are accompanied by a stunning string quartet, and their shows sell out fast. No dates to put in your diary at the moment, but the band specialise in “pop up gigs,” so you would be best advised to keep an eye on their social media links: Facebook; Twitter; Bandcamp.

The album is released as a CD and download album on the 17th June 2016.

Album Review: Analog Heart – Sun Here I Come

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Analog Heart

photo by Shivohn Fleming; photo courtesy of Analog Heart

Analog Heart – Sun Here I Come

Backstory

I first heard Analog Heart late last summer at Worcester’s stART on the Street festival. I rocked through the band’s entire set, grabbed the download card the band was handing out for “Merrimack Jane,” and drifted away. This was during that period of time during which I had committed to launching Geoff Wilbur’s Music Blog but was still keeping it quiet. As time passed, “Merrimack Jane” became a staple of my personal playlist, so when I assembled a list of bands I wanted to contact to offer reviews, Analog Heart was on that initial list.

The band’s backstory began in 2010 when singer Liz Bills placed a craigslist ad and connected with guitarist Jesse Cohen and drummer Austin Ferrante. In 2012, the band recorded its debut, self-titled album. That same year, Liz entered American Idol and made it to the Hollywood portion of the show, placing in the women’s top 30. The trio added backup vocalist/rhythm guitarist Guy Jerry in 2015. And they’re all joined onstage by “Greg,” the prerecorded bass tracks that have solidified a revolving-door bass player situation.

Album Review of Analog Heart: Sun Here I Come

Analog Heart - Sun Here I Come

image courtesy of Analog Heart

Distorted guitar hooks and power rock vocals. Analog Heart’s songs are much more than that, but those key elements are where everything starts. At its best, the band churns out songs that boom, rattle, rattle, and rock! (Yes, they rattle twice.)

The album cover sports a psychedelic look that meshes well with the first impression Analog Heart made when I caught last summer’s festival set. And, indeed, this disc blends a ’60s/’70s classic psychedelic rock flavor with a modern alt-rock vibe, hard rock power, and some down ‘n dirty swamp-rockin’-boogie guitar licks.

Sun Here I Come kicks off with rock ‘n roll authority. First is “Whoa,” a rollicking number that thumps, rattles, and rolls its way right from the get-go. It’s followed by “Merrimack Jane,” which adds a bit of Southern rock outlaw flavor to the mix.

Analog Heart

photo by Shivohn Fleming; photo courtesy of Analog Heart

By this point, the speakers won’t stop shaking, and it’s obvious guitarist Cohen and Bills may have discovered a modern, somewhat crisper, 2010s spin on Skynyrd-meets-Joplin with a hint of Hendrix-meets Ann Wilson thrown in for good measure. With Ferrante’s pounding drums and Jerry’s steady rhythm guitar rounding out the group (with, of course, “Greg”), Analog Heart is a barely-contained explosion whose music would fit well in a black-lit basement rock club or a weekend-long festival.

Analog Heart slows it down a bit, as well… to what most bands would call mid-tempo. In fact, there are a few mid-tempo songs on the disc that really stand out for me. Aside from the first two tracks, the other three I carry with me on my phone are: “Let It Go,” a song with a slow-build buoyed by a slick opening rhythm, Bills’ insistent vocals, and Cohen’s well-placed distorted guitar licks; “Try to Get Along,” which grabs the listener with catchy, distorted guitar and crisp, clear, emotional vocals; and “Sun Here I Come,” which again pairs powerful vocals with a monster guitar hook. The trend? Yes, guitar shredding with powerful vocals. That’s rock and roll.

Now, if you insist on a sensitive touch, there is a ballad on the album, “Like a Dream,” that showcases the powerful-yet-sensitive side of Bills’ pipes, though even while enjoying a beginning-to-end ballad, you can still feel the barely-restrained energy that’s what puts the “power” in a power ballad. But when “Like a Dream” is over, put your lighters away because Analog Heart is unabashedly a rock band. And songs like full-octane rock-fest “Flickering By” and “She’s Rock and Roll,” which mixes psychedelic and power rock, will remind you if you forget.

Analog Heart

photo courtesy of Analog Heart

At risk of stating the obvious, the power of Bills’ vocals and Cohen’s guitar licks, combined with the band’s ability to write songs that showcase those exceptional skills, ensure Analog Heart has an opportunity to be a festival, club, and arena favorite; the band’s albums (if Sun Here I Come is any indication) should appeal to modern heavy alt-rockers and psychedelic rockers alike. I’m looking forward to hearing a lot more from this talented ensemble in the future.

Live Gigs Ahead

Analog Heart lists four upcoming shows on its website: Saturday, June 11th at ONCE Lounge in Somerville, MA; Friday, June 17th at Luthier’s Co-Op in Easthampton, MA; Saturday, July 25th at the Byfield Music and Arts Festival in Byfield, MA; and Sunday, July 10th at Great Scott in Allston, MA. This is a great live band; get out to a gig if you can!