Category Archives: Single Reviews

Single Review: Eliza & the Delusionals – “You”

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Eliza & the Delusionals

photo by Kurt Skuse; photo courtesy of Reybee Inc.

Single Review of Eliza & the Delusionals: “You”

“You” is a terrific example of catchy, hooky, sunshine-drenched alt-pop well-suited to a summer day in the sun but versatile enough to serve the purpose of adding joy to a gloomy day.

From a songwriting perspective, it’s stylistically along the lines Taylor Swift, very much about the emotions of relatable romantic life issues. Sonically, it’s bright, shiny, cheerful, guitar-intstrumented vocal pop with an almost pop-punk vibe but more of a laid-back energy, kind of a mix of Paramore and Liz Phair’s more mainstream, crossover hits.

Eliza & the Delusionals - You

image courtesy of Reybee Inc.

Early this year, I wrote about the band’s fall 2020 single, “Sentimental.” Also this year, Eliza & the Delusionals released their current single, “Save Me,” and perhaps I should dig in and review that song, too, but “You” is the one in my review queue, and it’s a delicious bit of pop music, a pleasant addition to any playlist. (For the record, so is “Save Me,” with its slightly different, dreamier vibe and richer, more rock guitar-driven rhythm.)

Looking Ahead

Eliza & the Delusionals doesn’t have any remaining shows in 2021, but they have four January 2022 shows listed, all in Australia, in Sydney, Richmond, Brisbane, and Miami. You can find more information about those performances and others, as they’re added, on the “Tour” page of the band’s website.

Single Review: Lealiza – “We Americans”

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Lealiza

photo courtesy of Dog Ranch Music PR

Single Review of Lealiza: “We Americans”

Lealiza is a Michigan-based singer-songwriter with a soft, rich, sweet vocal delivery. In the case of “We Americans,” it was a song she felt compelled to write, expressing her disapproval at seeing the U.S. military leaving Afghanistan in a frantic, disorganized hurry. The song went live today, November 11, on Spotify.

The key lyric to the song is “We don’t leave our people behind. We’re Americans, that’s not what we do.” The story in the song begins twenty years earlier, with the event that sparked the war, then contrasts it with the images from earlier this year. You can hear Lealiza’s emotions in the sweet yet powerful vocals, tied tightly to the song’s lyrics: “Some day I’ll come for you sure as the sky is blue. We don’t leave anyone behind.”

Lealiza – We Americans

image courtesy of Dog Ranch Music PR

Poignant and topical, this is a powerful song from Lealiza, ably expressing the emotions she shares with so many fellow citizens as this past September’s withdrawal from Kabul unfolded. She talks of the feelings she felt that compelled her to write “We Americans” in this Facebook post. Beyond this song, if it leads you to explore more of Lealiza’s music – at her YouTube channel or on her website, for example – you’ll find her connection to singing Ladino songs, as well, and discover a multi-faceted singer who’s a sought-after performer.

Whatever Lealiza sings – from traditional-styled music to more current pop-styled songs, and in whatever language – her voice has the versatility and texture to capture your ear and hold on tight. So, while it’s worth giving “We Americans” a listen, don’t let your Lealiza journey end there. And if you’re in the Detroit area, watch for her shows. There’s nothing recent or forthcoming listed, but watch the “Events” tab of her Facebook page for listings of future performances as they’re scheduled.

Single Review: Susan Gibson – “Compassionate Combat”

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Susan Gibson – Compassionate Combat

image courtesy of Broken Jukebox Media

Single Review of Susan Gibson: “Compassionate Combat”

Susan Gibson released “Compassionate Combat” this past spring, in the middle of a spring surge of COVID-19. The single was released in conjunction with the Compassionate Combat website to help raise money and awareness to support nurses in thanks for their tremendous service during this pandemic.

I reviewed Susan’s last album, The Hard Stuff, here at the Blog last fall. As I discovered at the time, Susan is a celebrated songwriter with a deft touch at creating heartfelt, moving lyrics whose and a singer whose voice is exceptionally well-suited to delivering both the message and the emotion in her songs. “Compassionate Combat” is no exception. Musically, the song is softly instrumented, with soaring components supporting Susan’s heartfelt, emotional vocals.

Of course, Susan is an exceptional lyricist, and this ode to nurses during a time of crisis will warm hearts and jerk tears, from the verses to the chorus of “We ask so much of you. Leave your families and your homes for the work you gotta do. You are the miracle, the gift, pulling 18-hour shifts of compassionate combat. How do you thank someone for that?”

Whew! [sniff!] I’m not crying – you are.

“Compassionate Combat” was produced and engineered by Billy Crockett at his Blue Rock Studio in Wimberley, Texas. Billy is an exceptional singer/songwriter in his own right, widely revered for his talent as a musician, and his studio is a place where musicians and their talents are celebrated. Of course, regular Blog readers may recall a live Billy Crockett performance review and a review of Billy’s CD Rabbit Hole, both back in 2017.

Reflection

I received this single back in March, and once I began to fall behind on reviews, I assumed the topic would no longer be timely by the time I got around to writing the review. Vaccine rollout was well underway, and appointments were hard to come by, as millions of vaccines were being administered each day. I anticipated that by this summer our hospitals would no longer be overrun. And, though vaccination rates are high and hospitals are not in a state of crisis here where I live, that is not true everywhere. I hope the next surge we see is that of vaccinations, so serious illness rates will decline and, in the vein of this song, our valiant nurses and other healthcare workers whose emergency rooms are still under siege will soon get some relief from their… compassionate combat.

Looking Ahead

Susan has a few performances scheduled in Texas this month – tonight, Friday, November 5th in LaGrange and nightly performances November 17th-20th in Austin, Fredericksburg, Santa Fe and New Braunfels – in addition to a women’s writing workshop on November 6th and 7th in New Braunfels. You can find additional details about these events and a January 14th show scheduled in Austin (and others, as they’re added) on the “tour” page of Susan’s website.

Single Review: Tia McGraff – “What If”

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Tia McGraff – "What If"

image by Trespass Music; image courtesy of Tia McGraff

Single Review of Tia McGraff: “What If”

Tia McGraff is an accomplished singer and songwriter, and her single “What If” showcases some of those vocal and songwriting chops.

Tia McGraff

photo by Denise Grant; photo courtesy of Tia McGraff

Tia utilizes a slight rough edge on her otherwise smooth, rich, storytelling voice to amplify the emotional power of this heartfelt song. The music bed beneath is lush and flowing without being so full to overpower the vocals. And vocals and music combine to perfectly suit lyrics like: “There is a place where no one’s a stranger, and we can embrace each other like neighbors. I wanna go there, wanna take you there with me.”

“What If” is a flowing, enjoyable song that supports a powerful message of togetherness, love, and a better world. It’s a song that’ll wash over you if you let it. Give it a listen, and see how it makes you feel.

 

Single Review: Simon Scardanelli – “The Glittering Prize”

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Simon Scardanelli – The Glittering Prize

image courtesy of Simon Scardanelli

Single Review of Simon Scardanelli: “The Glittering Prize”

It’s no secret we widely appreciate Simon Scardanelli‘s songwriting and performance skills here at the Blog. Well, this single, “The Glittering Prize,” ranks among my favorites.

The song opens with a whimsical, carnival-style noodling, and this sort of offbeat flavor extends throughout, keeping the listener a little off-balance, a frequently used stylistic element on some of Simon’s songs.

Paul Walker’s clarinet playing is frequently used to advance the story forward and/or transition between song parts, often moving the song in and out of the chorus.

Seeming to be a story about pursuit of “the glittering prize,” it’s up to the listener to decide whether this fun song is insightful or not, but the song itself forewarns: “If you want it here’s a word to the wise, don’t believe a thing I say. I’m full of contradictions and contrapuntal points of view, and every clever song you thought that I wrote is just a load of words on play. Look at me now, still rhyming them with you.” So seek insight herein at your own risk.

Regardless of context, musically “The Glittering Prize” is a fun addition to any playlist, either to march along with and dance to in the summer sun – Simon’s website dubs the song his “new summer single,” – or to hold onto the summer as the weather turns cold. (It took me so long to write this review, that’s pretty much your only choice right now, anyway.)

Looking Ahead

Though there are no future performances listed at the moment, the “Concerts” page of Simon’s website is where you’ll find upcoming gigs, as they’re scheduled.

Single Review: beauty is the end – “helplessly hoping”

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beauty is the end

photo courtesy of beauty is the end

Single Review of beauty is the end: “helplessly hoping”

We’re reviewed the music of bandleader Clint Degan here before, in the role of Body English’s vocalist and guitarist, when I reviewed Stories of Earth. This, however, is a truly original, unique sound worth approaching with a fresh palate, featuring Cullen Corley on percussion and multi-instrumentalist Degan recording the remaining instruments and vocals. So grab some ginger and be prepared for a fresh musical dining experience on “helplessly hoping.”

beauty is the end – helplessly hoping

image courtesy of beauty is the end

This song is timeless. But beauty is the end delivers an updated version of this Crosby, Stills & Nash classic. The harmonies are replaced by instruments or perhaps just less volume, serving up a modernized sound, adding a hint of progressive instrumentation, softening the harsh harmonic edges of the original with a thinner, more sensitive vocal line and softened transitions. This version completely changes the feel of the song without touching the main melody, and in the process of modernizing, it actually recalls a completely different set of ’70s bands. Call it a two-way transportation through time, if you want, landing at a different destination.

Whatever it’s quite cool and really pleasant, enjoyable listen, gradually becoming a favorite on my playlist. To be honest, after acclimating myself to the beauty is the end version, I find it hard to listen to the original. I’ve come to expect this version’s softness to the extent that Crosby, Stills & Nash’s harmonies in the original startle me. Yeah, yeah, I know. I should show more reverence to the trailblazers, but I really dig this version. Check it out for yourself.

To keep up with beauty is the end, follow the band’s Facebook page.

Single Review: Troubleshooting Pandora’s Box – “Pyrrha’s Song”

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Troubleshooting Pandora's Box – Pyrrha's Song

image courtesy of Potter’s Daughter

Single Review of Troubleshooting Pandora’s Box: “Pyrrha’s Song” (Melodic Revolution Records)

The first song from the Troubleshooting Pandora’s Box project, spearheaded by Melodic Revolution Records founder Nick Katona, is “Pyrrha’s Song.” It features Dyanne Potter Voegtlin (keyboard, vocals) and Jan-Christian Vögtlin (bass, guitar, keyboards) from Potter’s Daughter (whose recent album I reviewed) with Jimmy Keegan (drums).

An edgy, symphonic-leaning progressive rock number, “Pyrrha’s Song” is purposefully tense and uncomfortable. Or, rather, never quite comfortable. Stray notes pop up suddenly and harshly within the melody to keep the listener off-balance and paying attention, while the drums crash and vocals test the song’s upper sonic limits, all set interestingly to a laid-back bass line.

This is what progressive rock is all about, putting great musicians in a situation to pursue a concept – not always an unsettling concept, but sometimes and in this case – and try to tell its story through music, typically in unexpected ways. “Pyrrha’s Song” is a cool song and a fun, interesting listen, though by necessity it’s an active listen. If you dig this sort of music, this Troubleshooting Pandora’s Box release is a fine example of it and well worth your listen.

More info about the project (Troubleshooting Pandora’s Box) and the song (“Pyrrha’s Song”) can be found here on this page of the Melodic Revolution Records website.

Single Reviews: Houston Bernard – “People We Are,” “Small Town Way,” and “Without You Honey”

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Houston Bernard – "People We Are"

image courtesy of Houston Bernard

Single Reviews of Houston Bernard: “People We Are,” “Small Town Way,” and “Without You Honey”

Houston Bernard is about the closest I’ve heard to a surefire-hit independent male country music vocalist in years. He’s doing a fine job building his fanbase on his own, but man, if I were a label looking for a fresh new voice within a well-worn, straightforward country music path, he’d be at the top of my list. He’s got just a little wriggle in his voice that makes it identifiable to get him attention, but his music fall smack dab in the middle of the eight-lane highway of male country vocalist.

Houston Bernard at Local CountryFest 2

photo by Geoff Wilbur

From Oklahoma but country-rockin’ from a home base in Massachusetts, Houston Bernard is the king of current-style male country music singers in the region, and I guarantee he’d be top-three in any country market. (Almost certainly still my personal fave because of his strong songwriting skills and his everyday, friendly vocal edge.) I’ve reviewed a couple of his performances at Local CountryFests. Last summer I wanted to review some of his music but was just beginning to dig out of my backlog, so I introduced Blog contributor Eric Harabadian to Houston’s music, and Eric enthusiastically reviewed the single “American Dream.” Eric has a more complete knowledge base in some areas, so I love reading his take on my favorite artists. But now that I have the time again, I’m reviewing Houston’s latest releases myself.

I enjoy reviewing multiple songs at a time because they allow me to talk about the breadth of an artist’s repertoire. In Houston’s case, he has been releasing singles lately, so I appreciate the opportunity to write about three of them in a single review. The first song, “People We Are,” dropped on January 15th and made some noise for Houston. The other two, “Small Town Way” and “Without You Honey,” were released on March 26th. Among the three, we have two uptempo, big-country anthems and a slower number, a ratio not too different from the mix of Houston’s recordings overall, showcasing his ability to shine across various tempos.

Houston Bernard – "Small Town Way"

image courtesy of Houston Bernard

“People We Are” is has a wideopen guitar hook that brings to mind sunny days and blue skies in this all-American anthem. “We’re a little bit of ‘hell, yeah,’ and a little bit of Amen. A whole lotta work hard, and throw in a little playin’.” It’s a big, enthusiastic song, and it’s easy to see why it garnered Houston some notice, the pedigree of its writing team notwithstanding. (“People We Are” was written by Kim Penz and Cole Taylor, whose credits include Luke Bryan, Florida Georgia Line, Jason Aldean, and Cole Swindell, among others.) The song is a bit of a summer anthem, especially for a song released in January, but I’m sure anyone who heard it in the dead of winter appreciated its big, bright power… while doin’ a fair bit more workin’ hard and a lot less playin’ than even in a typical January when the short days cause that to usually be the case.

“Small Town Way,” cowritten by Houston Bernard and Brandon Ray, is a cool take on small-town life, another song that’ll almost certainly tug at the memories and pride of fans from the heartland (where Houston and I both originally come from), as well as small towns we’re aware of in areas most people don’t think of unless they live there, like here in Massachusetts, where our small towns aren’t much different from small towns everywhere. Anyway, Houston’s voice carries its usual power and emotion, very clean and strong but relatable, while the music itself includes an uplifting tempo and well-placed guitar hooks. The song is a little less all about the “boom” than “People We Are” and has a little more git-along in its rhythm, if you know what I mean. It’s still got the punch to be a big hit, but it also has the additional complexity to its rhythm and music bed to give it staying power. With the right placement, this could easily be the small town, American-as-apple-pie song of the summer.

Houston Bernard – "Without You Honey"

image courtesy of Houston Bernard

“Without You Honey,” penned by Houston Bernard, Mary Haller and Adam Steinberg, showcases Houston’s ability to take on a softer tempo. Oh, this is one of those rockin’ ballads, with a dancing guitar solo in the bridge, a sad tinge to the supporting axework and the rhythm, and lyrics like “I’m a fast train runnin’ with nowhere to go without you, honey.” A perfect country music club slow dance song, whether with a live band or from a jukebox. And, of course, Houston’s voice sells it, as it always does. These slow songs really take advantage of the subtle boom at the low end of Houston’s vocal range.

This three-song collection showcases Houston’s broad potential fanbase. And that’s great. But if you’re reading this as a fan, all you really need to know is that these songs are straight-down-the-middle, radio-friendly country music with Houston Bernard’s trademark stamp on them, with a sound that immediately tells you they’re his song. If you’re any kind of a country music fan – or just a good fan of talented artists regardless of genre – you’ll dig these tunes.

Looking Ahead

There aren’t any upcoming shows listed on the “Shows” page of Houston’s website, but that’s where you’ll find them whenever live music returns in earnest. You can keep up with Houston’s daily goings-on on at Facebook, Instagram, and TikTok.

Single Review: Anne Harris – “Over”

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Anne Harris – "Over"

image courtesy of Frank Roszak Promotions

Single Review of Anne Harris: “Over” (feat. Markus James)

Chicago-based singer-songwriter/fiddle player Anne Harris is joined by critically acclaimed singer-songwriter Markus James on this single, “Over.”

“Over” opens with music that paints a vivid picture of a slow canoe ride through a swamp, with some loose picking supporting a slowly rising, building-in-power vocal. The strings sound a bit like they’re crying, as the power of the music rises, barely perceptibly but quietly defiantly. The song would serve as an ideal scene-setter early in a movie, perhaps as a slow-moving camera scans the slightly unsettling countryside while the opening credits are running… or, obviously, a slow canoe ride through a swamp.

For me, this is a quietly engaging song, one that’s ideal for an at-work playlist because it has interesting elements to it, but it never has those consciousness-piercing moments that’ll interrupt my work. Very cool vibe; be sure to check it out.

Looking Ahead

There are several live dates listed on the “Tour” page of Anne Harris’ website, beginning with a Saturday, July 10th performance at the North Atlantic Blues Festival in Rockland, ME.

Markus James doesn’t have any shows listed on the “Events” tab of his Facebook page at the moment, but check back to see if shows are added.

Single Reviews: Divine Astronaut – “Undone” and “Whither”

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Divine Astronaut

photo courtesy of Divine Astronaut

Single Reviews of Divine Astronaut: “Undone” and “Whither”

“Undone” was released as a single in late 2019, followed by “Whither” in the summer of 2020. These aren’t even Divine Astronaut‘s most recent singles, as “Voices” and “Ransom” dropped in the summer and fall of 2020, respectively, with a brand new video for the song “Only You”, showcasing perhaps DA’s softest side, joining them just a month ago. But “Undone” and “Whither” are the two MP3s that were sent my way last fall, and I’ve been enjoying in my playlist for several months now. So consider this an introduction to Divine Astronaut, and then go check out these two songs plus the group’s newer releases.

By “group”, I mean “duo.” Divine Astronaut consists of vocalist Livvy Holland and producer/multi-instrumentalist Moonhead. Livvy’s voice is that of a decade-spanning vocalist, while Moonhead’s music bed is a modern, buzzy, electronic wall of sound that simultaneously recalls ’80s New Wave and DJ-based modern electronic rock arena events. Indeed, the sound of Divine Astronaut is big enough, broad enough, and powerful enough to dub them an arena act, as it both fills the room and lends itself to the sort of light shows that would energize a stadium or a night sky.

Divine Astronaut – "Undone"

image courtesy of Divine Astronaut

It’s not surprising that Moonhead has cited as influences producers Trevor Horn and BT, as well as bands including Portishead, Bjork, Enigma, Peter Gabriel, Massive Attack, NIN, and Radiohead. The Bjork influence coincides just a touch with Livvy’s vocals, particularly in the sparser moments of “Whither,” though just a little, as her vocals are big, textured, and powerful, even when she sings softly. Livvy’s voice can slice through the mist, the fog, and a seriously dense music bed, as she displays more on “Undone,” between the two songs.

Turning specifically to these two songs, which are a bit yin and yang, showcase different sides of Divine Astronaut’s musical capabilities. The vocals on “Whither” advance timidly, tentatively, almost uncertainly, accompanying an understated music bed that relies on subtlety to convey strength and power, including a nice little bit of synthwork mimicking a ’70s classic rock guitar run during a late-song bridge.

“Undone,” meanwhile, will light up the arena and get a sea of fans moving, as it starts quietly, merely hinting at the power about to be unleashed. In my memory between listens, I imagine remembering Livvy launch into some serious power as she sings “when it all comes down,” but it’s illusion set up by the music and her voice gearing up and crescendoing specifically as she delivers those lyrics. Moonhead’s synthwork is louder and crunchier on “Undone,” though it’s again illusory, as the music never really builds to the power it conveys. Though I like both of these songs, this is perhaps my favored of the two, though for personal reasons rather than musical ones, as it recreates an energetic, packed concert arena abuzz with excitement and noise.

Divine Astronaut

photo courtesy of Divine Astronaut

Divine Astronaut has captured something special in the pairing of this duo’s talents, resulting in modern synth-driven pop-rock with broad-based appeal, music that’s cool, well-written, and performed exceptionally well, able to reach well beyond the band’s core set of listeners, offering the constant opportunity for breakout hits. On the Geoff Wilbur’s Music Blog spectrum, comparing Divine Astronaut to artists I’ve reviewed here at the Blog, I’d pair Divine Astronaut with ZagreuS and The Sweetest Condition, falling somewhere between the two but more likely to share a stage with ZagreuS.

An upcoming Divine Astronaut album, to be entitled Made Not in Berlin, is reported to be scheduled for a 2021 release, and I’m looking forward to hearing it. And catching a Divine Astronaut live performance. Whether in a large arena or a small listening room – hopefully with a great lighting system – I’d expect it to be an event.