Category Archives: Single Reviews

Single Review: Michelle Held – “The World Moves On”

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Michelle Held

photo by Robert Sherrow; photo courtesy of Michelle Held

Single Review of Michelle Held: “The World Moves On”

Michelle Held has been one of Metro Detroit’s most amazing folk singers for the last decade. (For a quick glimpse into Michelle’s background, I’d recommend this Detroit News “artist spotlight”.) I first reached out to her very early in the Blog‘s history to ask to be on her promo list whenever she next released music. She remembered, though I never dreamed it would be so long before her first-ever official release, the single “The World Moves On,” which dropped on November 17th. Needless to say, after more than a decade of performing and writing songs, Michelle’s first official release does not disappoint. Not that anyone would have thought it might.

Michelle Held – "The World Moves On"

cover art by Cara Dunning; image courtesy of Michelle Held

“The World Moves On” is a thoughtful contemporary folk song, ruminating deeply on the passage of time, the passing of heroes, the steady relentlessness of it all, and the personal emotions it evokes. Michelle’s strumming is steady, her vocals are warm with an edge that digs in and penetrates your consciousness. This song presents a few opportunities for Michelle to share her memorably one-of-a-kind warble, a vocal texture that helps secure a spot in the listener’s memory and sets her apart from other singer-songwriters in and beyond the folk genre.

The song’s arrangement is much grander than a typical folk song, sporting a mix replete with horns and strings that provide a soundscape that’s much more noticeable when you begin to specifically listen for it. When time has passed after my most recent listen to “The World Moves On,” my memory recalls a simple, heartfelt song; then, when I listen again, I rediscover how the horns offer a unique opening, the strings provide an early transition, and they all build throughout the song, adding to its weightiness and power. Michelle started with a powerful song, with just her voice and her guitar, then expanded upon that solid foundation to build a folk song with potentially a much broader appeal.

If you’ve not yet heard “The World Moves On,” you must give it a listen. Or two or three, and remember to listen for all the little things that combine to produce this widely accessible, powerful contemporary folk recording.

Michelle Held

photo by Stacie Huckeba; photo courtesy of Michelle Held

Liner Notes

The recording process for “The World Moves On” began when Michelle laid down vocal and guitar tracks during a recording session with Jim Rawlings in Berkley, MI. Then Savannah Buist and Katie Larson of The Accidentals added strings. [Side note: Several years ago, Blog contributor Joe Szilvagyi reviewed The Accidentals’ Parking Lot EP, then I covered an Accidentals concert in Cambridge, MA.] Later, C.J. Camerieri (Paul Simon, Bon Iver) contributed the horn arrangement for “The World Moves On.” The song was mixed by Eli Crews at Spillway Sound (Laurie Anderson, Tune-Yards) in upstate New York and mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston. The song’s animated video was created by Cara Dunning.

Looking Ahead

Michelle’s live performance talent has been an open secret for more than a decade. There are videos online – that’s how I discovered her so many years ago, since I’ve never seen her live – but if you can catch her in person, it would be an evening well spent. If you’re in Michigan this winter and spring, you’re in luck. The “Tour” page of Michelle’s website lists a few upcoming shows. (Be sure to check back for more as they’re added.) If you’re quick, you can catch Michelle today, February 18th, at 2:00 PM at a Songwriters in the Round concert at the Ferndale Area District Library. She also currently has shows booked on Saturday, March 2nd in Ann Arbor, MI; Saturday, April 6th at the Michigan Music Video Awards in Marshall, MI; Wednesday, April 10th in Hamtramck, MI; and Sunday, April 14th in Livonia, MI.

 

Single Review: Carissa Johnson – “Congratulations”

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Carissa Johnson

photo by Alex Bartole; photo courtesy of Carissa Johnson

Single Review of Carissa Johnson: “Congratulations”

Carissa Johnson is a highly-acclaimed, award-winning singer songwriter-slash-asskicking rock singer. Among Carissa’s more notable awards, she earned a Boston Music Award for Best New Artist in 2017, and she won Rock Act of the Year at the 2019 New England Music Awards. I’m pleased to get a chance to review Carissa’s latest single, “Congratulations,” which showcases her many, varied talents – songwriting, forceful yet tuneful vocal delivery, and, in this case, an engaging sarcastic rock ‘n roll tone: “Congratulations, you lost me good… Now you’ve got what you wanted.” Those lyrics, bookending the chorus, absolutely drip and are delivered exquisitely.

Carissa Johnson – "Congratulations"

Carissa Johnson

On “Congratulations,” Carissa serves up an “I Hate Myself For Loving You” (Joan Jett) edge with the opening guitar riffs, a hint of an Avril Lavigne smirk in the delivery, an insistent tempo reminiscent of Jimmy Eat World, and a strength and power that’s sort of alt-rock meets pop-friendly rock with a punk attitude. All the while, Carissa’s voice serves up a tone that’s all her own, identifying this song as quite specifically a Carissa Johnson number. And that’s what you want as a musician, for people to be able to recognize you within just a few notes. (I mean, yikes, her tone on the lyric “don’t you look behi-i-ind.” Shivers!) It’s helpful from the perspective of a music fan, too, because once you recognize her voice, you know the song’s gonna rock.

Among recent reviews I’ve written, I’d pair Carissa’s music most closely with Phil Jamieson’s, though she’d slip in easily alongside any rock band from alt-rock to classic rock. Among Boston-area rockers, she’d be the hard-edged pop alt-rock equivalent of more straight-ahead rocker Jennifer Tefft.

If the above has piqued your interest, check out “Congratulations” on YouTube (the song starts 48 seconds in, but it’s an amusingly, creatively cool video!), Spotify, bandcamp, or wherever else you consume music.

Carissa Johnson

photo by Alex Bartole; photo courtesy of Carissa Johnson

Looking Ahead

There are currently two dates listed in the “Tour” section of Carissa’s website: Saturday, January 13th with Shy Husky at The Middle East in Cambridge, MA and Friday, January 26th at the Two Bridges Luncheonette in New York, NY. Check back periodically for additional shows, as they’re added. And be sure to follow Carissa on your favorite social media – you can find those and other links on her linktree.

Single Review: Elliott Murphy – “This Christmas I Want Less”

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Elliott Murphy – "This Christmas I Want Less"

photo by Muriel Delepont; image courtesy of Leighton Media

I wasn’t planning to write a Christmas review this year – in part because I’m so backlogged that by the time Christmas songs began to appear in my inbox, I was already booked until February. But I’m feeling a bit of Christmas spirit at the last minute this year – it happens some years, but not every year – and there’s a song that hit my inbox this December that you really should hear and will certainly enjoy. So, without further ado…

Single Review of Elliott Murphy: “This Christmas I Want Less”

Critically-acclaimed singer-songwriter Elliott Murphy checks into this year’s holiday sweepstakes with “This Christmas I Want Less,” a Christmas song about not wanting more stuff in this crazy world. Then again, Murphy recants a bit during the song’s bridge with the pivot “‘Cause I’m clearly at an age where I can really say I’ve had enough. Give it a rest on Christmas Day. Well maybe there’s a few things you could do for me…” and asks Santa if he might have the gift of optimism in his overstuffed bag of presents. (Psst, Elliott, if Santa delivers on nixing the apocalyptic visions, I’d appreciate it if you could direct the jolly old elf my way next.)

Murphy’s voice is deep and convincing, almost Burl Ives-ish, if you need a Christmas reference, but deeper and more coolly rock ‘n roll. I guarantee you took the time to check out this song, with its worthy message and cool strum-and-spoken/sung delivery. I bet it’ll become an annual Christmas favorite.

More Elliott Murphy Info

Murphy’s most recent full-length release, Wonder, dropped in 2022. He also has several shows booked in Europe in 2024. Check out the “Tour” page of his website for dates and locations, plus more performances as they’re added.

Single Review: Abigail Rose Clark – “Just a Story From America”

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Abigail Rose Clark – "Just a Story From America"

image courtesy of Leighton Media

Single Review of Abigail Rose Clark: “Just a Story From America” (Murphyland Records)

“Just a Story From America” was the classic title track from Elliott Murphy’s 1977 album. Abigail Rose Clark is a talented vocalist and the daughter of longtime John Mellencamp drummer Dane Clark. When Clark’s vocal talents are applied to Murphy’s classic song, the result is an engaging, updated version of the original, containing the same emotion but delivered with a more modern, timely sound. It’s a well-composed revival that could serve to introduce this thoughtfully-crafted song to a brand new audience.

Abigail Rose Clark

photo courtesy of Leighton Media

The pace and tempo of this recording is actually reminiscent of a John Cougar Mellencamp song – something I noted upon initial listen before reading the press material and learning of Clark’s Mellencamp connection. Abigail’s vocals are brash, forthright, and engagingly enunciated, with a delivery that’s sometimes direct, other times playful, as the instrumentation requires. It’ll have you rocking along, likely so much that you frequently forget to listen to the words, thus necessitating repeat plays. This is, indeed, an engaging rendition of a ’70s classic. If you’ve not yet heard it, you really should to give it a listen!

More Detail

Clark’s cover of “Just a Story From America” was released by Murphyland Records back on March 16th, 2023, on Elliott Murphy’s 74th birthday. You can read about the release here on Murphy’s website, and you can click through to this short “preview” video showing Murphy enjoying Clark’s version of the song.

Single Review: Red Sammy – “Some Days I Feel Crazy”

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Red Sammy

photo courtesy of Red Sammy

Single Review of Red Sammy: “Some Days I Feel Crazy”

Bandleader Adam Trice started Red Sammy back in 2007. In Red Sammy, Trice performs with a rotating cast of bandmates, ranging from four-piece string ensemble to full rock band. On “Some Days I Feel Crazy,” you’ll find Trice (acoustic guitar and vocals) supported by Bruce Elliott (electric guitar), Greg Humphreys (bass), and Kenneth Noble (drums and percussion).

Red Sammy – "Some Days I Feel Crazy"

image courtesy of Red Sammy

“Some Days I Feel Crazy” is quirky, folky-yet-rockin’ Americana, a song that falls so squarely into the Americana style that I don’t feel compelled to attempt to identify a sub-genre; I suppose I already have by dubbing it “folky,” but it also has a distinctly rock ‘n roll vibe, as both the vocals and guitars have some rockin’ rattle to them. Trice’s voice is a little grizzled, with a laid-back smirk sneaking through his delivery, but his voice mostly, on “Some Days I Feel Crazy,” conveys a relaxed disposition befitting the song.

The accompanying instruments and rhythm evoke a laid-back, island vacation vibe, like this is the sort of song you’d hear at a festival on the beach or blaring at an all-inclusive resort’s poolside bar. The lyrics supports this notion, as the chorus – and the song itself – ends with the phrase “baby, I’m feelin’ fine.”

Adam Trice of Red Sammy

photo courtesy of Red Sammy

Looking Ahead

The “Upcoming Shows” page of the band’s website lists several opportunities to catch a Red Sammy performance in the coming weeks and months. This soonest currently-booked gig is for December 30th at The Filling Station at El Rey in Arlington, VA. Other upcoming shows include a January 12th gig in Pennsylvania, a February 12th performance in Washington, DC, and several shows in Virginia, Pennsylvania, and Maryland in June and July 2024. Obviously, be sure to check the schedule periodically – or follow Red Sammy on Facebook or Instagram – to remain abreast of new shows as they’re added.

Single Review: Reach NYC – “Ride or Die”

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Reach NYC

photo courtesy of BJF Media

Single Review of Reach NYC: “Ride or Die” (AFM Records)

“Ride or Die” is an explosive, catchy, melodic, guitar and drum-driven hard rock song from Reach NYC that’ll grab you by the throat from note one and have you rocking and singing along soon after (initially to the “ah-ah, ah-ah” in the chorus until you learn more of the lyrics). The song kicks off with a drum and guitar frenzy before unveiling its song-long sidewinding hook, supporting lead singer Rene Mata’s smoothly powerful, broad-appeal vocals.

You’ll be forgiven if you mistakenly think “Stand by You” is the song title, as I initially did, since the phrase plays a prominent role in the chorus, as in “Everything we’ve been through, I’ll stand by you. I won’t let them hurt you, desert you…” Using that lyric as an example, beyond the catchy music, it’s wordplay like the almost sequential syllable repeats in back-to-back “hurt you, desert you” that magnify the yo-yoing recurring guitar hook and help embed this song into the listener’s brain.

Simply put, “Ride or Die” is outstanding, catchy hard rock song. If you like this kind of music, as I do, you’ll love this song!

More about Reach NYC

Reach NYC has a long background in the New York alt-metal scene dating back to the late ’90s/early ’00s, then as Reach 454. You can read about the band’s past and its 2019 return from a decade-and-a-half hiatus here, at Reach NYC’s AFM Records band bio web page.

 

Single Review: Debbie Hennessey – “Last Call”

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Debbie Hennessey

photo courtesy of Debbie Hennessey

Single Review of Debbie Hennessey: “Last Call”

You’ve read about Debbie Hennessey here at the Blog before. Four years ago, Eric Harabadian reviewed Debbie’s single “True Me.” A few years before that, I reviewed her album No Longer Broken. Well, this seasoned, dependably good California country singer is back – by “California country,” I mean both the style and, in the case of this LA-based artist, her location. Debbie’s newest single, “Last Call,” is slated to be the title track of an upcoming EP whose release date is yet-to-be-determined.

Debbie Hennessey – "Last Call"

image courtesy of Debbie Hennessey

“Last Call” is a slow-tempoed ballad, with a steady, twangy acoustic strum supporting Debbie’s emotional, deliberate vocals. Her vocals are smooth and textured, rising and falling in intensity as the lyrics demand, with a subtly distressed cry reserved for moments when the lyrics are painting a lonesome picture, leading up to lyrics of acceptance. Except, of course, at the end of the song; there, you’ll discover Debbie has saved her most anguished wail for the lyric “I just can’t believe the call was our last,” before settling down for the final notes, fading with the closing strum. It’s a well-written, impeccably-performed song, one that’ll gain Debbie some new fans and will please existing fans who’ve been waiting for a new release.

Looking Ahead

I don’t see any upcoming dates on the “Calendar” page of Debbie’s website, but check back periodically for new shows to be added. And, as you’re enjoying this single, keep an eye out for the eventual release date of the Last Call EP.

Single Review: Sister Hazel – “Coconut Trees”

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Sister Hazel

photo by Paul Privette; photo courtesy of Skye Media

Single Review of Sister Hazel: “Coconut Trees” (Rock Ridge Music)

You may recognize Sister Hazel from the band’s #11 hit back in 1997, its first single, “All For You.” Sister Hazel has recorded two top 50 albums, as well, most recently with the band’s 2009 release Release. All told, the alt-rock/country-ish band has had a nifty career, earning consistent critical praise and enjoying the support of a supportive fan base that turns out to fill decent-sized concert venues. So, yeah, in case you weren’t aware, Sister Hazel is doin’ well.

Sister Hazel – "Coconut Trees"

image courtesy of Skye Media

The band’s new single, “Coconut Trees,” is a pleasant, light, playful tropical number, replete with steel drums, if I’m not mistaken. The vocals are cheerful and breezy, culminating in “It’s just you and me, baby, in the coconut trees.” The song is catchy, fun, and carries the feeling of being on vacation. It’s a nice addition to Sister Hazel’s songbook, and it might be a useful replacement for whenever you tire of overplaying “Margaritaville,” though it’s been my experience that nobody who listens to “Margaritaville” ever tires of it. So maybe there isn’t a large market for another song like this. Sorry, Sister Hazel. But hey, at least I dig the song. Joking aside, “Coconut Trees” is a cool little number with a feel-good, laid-back, vacation-at-the-beach vibe.

Looking Ahead

We just missed Sister Hazel here in Boston – they were at City Winery in Boston last night while I was at the New England Music Awards ceremony in Foxborough – but the “Tour” page of the band’s website lists several upcoming shows over the next few weeks. On Saturday, November 18, you’ll find Sister Hazel at the MIDFLORIDA Event Center in Port St. Lucie, FL. Additional dates are listed from November 30th in Indianapolis to December 9th in Rocky Mount, NC, with stops in-between in Marion, IL; Chicago, IL; Winston-Salem, NC; and North Myrtle Beach, SC. Check the band’s website for more details and for new dates as they’re added.

Single Reviews: Lansdowne – “Safeword” and “Bury Me”

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Lansdowne

photo courtesy of BJF Media

Single Reviews of Lansdowne: “Safeword” and “Bury Me” (AFM Records)

Hot on the heels of the band’s successful February 2023 album release, Medicine, Boston-based heavy rockers Lansdowne released “Safeword” on September 15th and, a few weeks later, “Bury Me” on October 27th. Well into the band’s second decade on the scene, Lansdowne’s sound remains fresh, its rock ‘n roll fast and heavy.

Lansdowne – "Safeword"

image courtesy of BJF Media

“Safeword” kicks off with an opening solo vocal that’s crisp and slightly growly, an attention-grabbing technique reminiscent of Nickelback, quickly adding a heavy guitar strum. About a half-minute in, the song reaches a seductive “safeword” vocal and crashes into a lightly-instrumented style of heavy rock with vocals that are a combination of the powerful, clearly enunciated  hard rock vocals of Shinedown and a rough-edged delivery that hints at Theory of a Deadman. There’s also a little of that funky, not-quite-on-beat tempo that Bostonians will associate with Extreme, but it’s updated with almost a sidewinding, hip-hop inspired rhythm. In all, “Safeword” is a cool, enjoyable song that’ll stick with you.

It’s worth sharing the band’s quote from the “Safeword” promo material: “We wanted to give our fans that familiar sexy dirty rock sound they love from [Lansdowne’s 2011 album] Blue Collar Revolver, but bring it into 2023 with some modern production ‘Safeword’ is really about embracing who you are when it comes to sex.
Everyone is curious, everyone has their kink. Don’t be ashamed… embrace it!” Well, OK.

Lansdowne – "Bury Me"

image courtesy of BJF Media

The more recent single, “Bury Me,” is a great follow-up to “Safeword.” The two songs flow easily from one to the next in a playlist. “Bury Me” somehow retains the heaviness – amps it up, even, with a little more frequent heavy wall of sound backdrop – while adding some poppier elements, like a catchier rhythm, a funky twist to the title lyric, “you bury me,” and some soaring symphonic elements. Also, listen for the clever lyric “Building castles in the sky just to watch ’em decay.” There are too many cool little elements in “Bury Me” to fully catalog them.

For “Bury Me,” too, Lansdowne shared a worthwhile band in its promo: “So many of us find ourselves in toxic relationships. The saying is true, ‘Hurt people hurt people.’ Loving somebody shouldn’t be painful and should never make you second guess your worth. Know your value. Know that you’re worth loving. Leave and never look back. You deserve better.” See, worthwhile.

Lansdowne

photo courtesy of BJF Media

To sum up, the band has, just within the last couple of months, released two kickass, catchy hard rock songs and dispensed a little wisdom in the process. If you’re not familiar with Lansdowne, these two singles are a strong entry point for you. “Safeword” will hook you; “Bury Me” will real you in.

Looking Ahead

Landsowne will soon be on the road in Europe with another kickass band, Thundermother. The tour kicks off in Munich on November 24th and runs through December 3rd, hitting several cities in Germany, plus Bern, Switzerland; Paris, France; and Utrecht, Netherlands. See the “tour” page of Lansdowne’s website for details.

Single Review: Erin Gibney – “You Made Your Bed”

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Erin Gibney

photo by Margaret Anna Media; photo courtesy of Skye Media

Single Review of Erin Gibney: “You Made Your Bed” (Rock Ridge Music)

I can’t get this song out of my head! It’s tempting to compare Erin Gibney to Taylor Swift because “You Made Your Bed,” which Erin cowrote with Mike Fiorentino, is a sassy, self-assured, peppy pop-rock anthem with cleverly-phrased lyrics that are well worth paying attention to. But there’s some Jimmy Eat World in the song style and energy, especially the more noisy, rollicking guitar parts, and particularly toward the end, that most reminds me of “Pain.” And there’s a kind of light energy that suggests a hint of Carly Rae Jepsen – notably the terribly-overexposed but, you’ve gotta admit, catchy vibe of “Call Me Maybe.” Erin’s vocals are persistent and insistent, while her tone is kind of snarky, helping deliver a song that’s oh, so entertaining. And, by acknowledging that cleverly biting wit and attitude, I’ve brought the review full-circle, back to a Taylor Swift comparison.

Erin Gibney – "You Made Your Bed"

image courtesy of Skye Media

It’s apparent that if “You Made Your Bed” had been recorded by an already-well-known vocalist, this instant earworm would be on hourly rotation at your favorite pop radio station. Instead, you’re presented with an opportunity to get in early on an artist with the talent to be a big deal one day. (And even if that never happens, well, you’ll still dig her music.)

As for this particular song, I guarantee you’ll thank me for introducing you to an energetically hooky, catchy song like “You Made Your Bed.” But after a while, you’ll probably hate me, too, because you won’t be able to get it out of your head. Either way, this song is a must-hear!

More About Erin

“You Made Your Bed” is Erin’s fourth single release of 2023 – on Spotify, at least. Erin opened the year with a silky smooth, acoustic version of her song “Naive,” then dropped the pop-countrier flavored “Exit Signs” (featuring Kris Allen) and “Take Me Out of Him” before releasing “You Made Your Bed.”

The “Shows” page of Erin’s website doesn’t currently list any upcoming gigs, but that’s (maybe) where you’d find them.

Finally, you seriously need to see what Erin’s been up to on YouTube. Particularly, the three “Shorts” that are sped-up snippets of “You Made Your Bed,” during which Erin lip-syncs to chipmunk-speed recordings of her own music. I’m sure they’re not as funny as I think they are, but I don’t care. (You can also find those same three clips on Erin’s TikTok, but they’re mixed in with a lot more other content.)