Category Archives: Single Reviews

Single Review: TT – “My Dear Woman”

Posted on by

image courtesy of DRPR

Single Review of TT: “My Dear Woman”

TT is a singer with a timeless voice, providing “My Dear Woman” with a delivery that’s equally suited to a concert stage or an intimate listening session, has passed a half million spins on Spotify since its June release, so I’m clearly not the only person who thinks this song’s something special. Indeed, TT has the vocal talent to perhaps the next singer-songwriter/actor to succeed in those dual roles.

“My Dear Woman” feels like it would have been an adult contemporary hit back in VH1’s heyday. A danceclubby beat – though without the requisite tempo – combines with TT’s smooth vocals and a rich soundbed that’s mostly steady but at times also big and orchestral. I can picture Tom Jones having a hit with a song like this a few decades ago, perhaps without some of the more modern flourishes of TT’s performance.

The song’s topic, too, is likely to strike a chord with a lot of listeners, covering the emotions and guilt surrounding breakups.

“My Dear Woman” was the first single released in advance of TT’s anticipated fall album release. You can hear more recent singles – and soon the full album (if not already by the time I proofread and post this review) – on your favorite streaming service.

 

Single Review: Split Keys – “Lightning”

Posted on by

photo by Samir Abya; photo courtesy of Inverse Records

Single Review of Split Keys: “Lightning”

Helsinki-based rockers Split Keys are Joona Mikkilä (vocals, guitar), Jyri Mikkilä (bass), Ville Keinonen (guitar), and Jussi Keinonen (drums). The foursome’s latest single is “Lightning,” a catchy, high-energy, broad-appeal rocker with some big-ass hooks.

image courtesy of Inverse Records

The song opens with drums and some playful instrumentation before jumping into its primary beat and style. The song features hints of Billy Idol’s sneer in the vocal delivery and has stylistic energy reminiscent of “Rock the Cradle” but with a modern rock veneer. That’s about the limit of the comparison, as the song structure is also a little more akin to radio-friendly album rock, with a classic rock-styled guitar solo. But it’s a catchy, danceable hard rock song with monster hooks, so I suppose that’s a little more in common.

Simply, Split Keys’ “Lightning” grabbed me early with hook after hook and has grown to be a highly-anticipated entry on my personal playlist. So if you like catchy rock songs, as I do, this will be right up your alley, a welcome addition to your music rotation.

Single Review: Atom Stone – “Isn’t Love”

Posted on by

image courtesy of Glass Onyon PR

Single Review of Atom Stone: “Isn’t Love”

Atom Stone‘s “Isn’t Love” is a compelling heavy rock/new metal single with a blend of metal power and pop-friendly finesse that’ll grab the listeners attention and simply won’t let it go. Falling somewhere between Daughtry and Blog favorite Major Moment, “Isn’t Love” has a sound that can appeal to multiple decades of heavy rock fans.

photo courtesy of Glass Onyon PR

“Isn’t Love” was the second single released in advance of Stone’s upcoming album Bad Decisions, and it gives listeners plenty to get excited about. On this song, cowritten by Stone and Nick Sturms, Stone is joined in the studio by Nick Sturms, Jeff Sturms, and Conner Kearns.

Stone’s vocals start as a tunefully hushed near-whisper, then rise to an edgy slightly quivering power as the song builds, doing a great job of expressing an angry pain, delivering lines like “isn’t love supposed to feel like freedom, isn’t love supposed to come with trust” that lead to the conclusion “this isn’t love.” I guarantee this song is going to touch a nerve with a large subsegment of listeners.

At the same time, it rocks heavy. Crunchy guitars for emphasis. Distorted instrumentation to give that big, new-metal open-space airiness. And hushed, intimate moments, occasionally with just light keyboardwork, though more often accompanied by the song’s recurring crunchy guitar riff.

The song feels like it has a faster pace than it really does, and that’s due to the music’s power. Prog rockers are good at this, but it’s less common in a more mainstream act, which is why bands like Daughtry and Major Moment, which I compare Atom’s sound on “Isn’t Love” with, are so special. Harder rock ‘n rollers, this song is an absolute must-hear!

Single Review: Siobhan Bodrug – “Monster”

Posted on by

photo courtesy of Cameron Carpenter

Single Review of Siobhan Bodrug: “Monster”

Toronto’s acclaimed rising star Siobhan Bodrug showcases her powerful vocals on the deep, dark, torchy “Monster.”

Indeed the topic of the song is heavy. Bodrug is quoted as explaining in her press release that “‘Monster’ tells the story of a toxic, complicated relationship. It deals with the mental torment of hiding behind an innocuous facade versus meeting the person head on. ‘One minute it’s love, the next it’s fire… Is it a cover for something? Or just the cold hard truth?’ The chorus ends with the most difficult question of all – as a child dealing with an adult situation – ‘will the monster take away my youth?’ The story however, takes an unexpected turn of self-realization in the bridge – ‘you’re a beast, you’re a beauty, and I’m just like you’.”

image courtesy of Cameron Carpenter

See, I told you it was deep. And dark. And heavy.

The song itself starts with a slow organ fade-in and Bodrug’s old-fashioned smoky jazz joint wails before adding other musical elements. Her voice sounds truly anguished but in a beautifully engaging way. It soars, and oh wow, some of the notes she hits! Then there’s the bridge and chorus. A powerfully engaging lead-in and chorus that’ll have you closing your eyes and soaking it in. Soulful. Memorable. And as I noted at the beginning, dark and torchy.

photo by Bronwen Lewis; photo courtesy of Cameron Carpenter

If you add this to your playlist, your ears will perk up every time you hear it begin because you know you’re in for a soak-it-in musical experience. And be sure to give it at least a few listens. It keeps getting better as you discover more nuances. Peel the onion. You know you’re a monster, too!

Looking Ahead

Bodrug has played on some big stages in the past year. Be sure to periodically check the “Shows” page of her website to see if and when she’s performing near you. At the moment, the website lists just 3 November shows in Canada, in the cities of Ottawa, Paris, and London, Ontario. (I swear to god, I’ve driven between Hamilton and London at least a couple dozen times over the years, and I never noticed Paris.)

Single Review: Charming Arson – “The Wednesday of My Discontent”

Posted on by

photo courtesy of Charming Arson via Knyvet

Single Review of Charming Arson: “The Wednesday of My Discontent”

Last year, I reviewed Charming Arson’s cool single “Saving Chelsea.” Well, this summer (technically, late spring, I guess), Charming Arson released a brand new, catchy, garage rocky banger, “The Wednesday of My Discontent,” featuring the same line-up: Stefano Bellezza (lead guitar, keyboards), David Cameron (lead vocals, rhythm guitar), Dave Gould (percussion), and Aaron Clark (bass guitar).

cover art design by David Cameron; image courtesy of Knyvet

The dissonance introduced by the song’s title – you know, its “something ain’t quite right”-ness – is embodied by the song’s opening harsh, distorted guitar riffs. Just when you’re about the reach the “OK, when will this end?” moment a minute into the song, musical tunefulness enters, and you’re hooked. In the end, it’s the sort of raw yet catchy, well-written alt-rock number capable of much broader appeal. The production and performance style are likely to appeal to ’90s alt-rockers, but there’s something in there for broader rock fans, as well. “The Wednesday of My Discontent” has the energy and melody of a power pop song, a kickin’ guitar solo just before the halfway point, and the engaging songwriting structure of a pop-rock hit. If you like any kind of guitar-based rock music, you need to give “The Wednesday of My Discontent” a few listens. The parts of the song that connect with your personal favorite niche of rock ‘n roll will hook you immediately; then the rest of it will grow on you until the song becomes a favorite.

As for the concept of “The Wednesday of My Discontent,” well, although “the winter of our discontent” may be appropriate for the grand themes of Shakespeare’s Richard III, I’ve gotta say this is far more relatable to everyday life. At least my life, seemingly Charming Arson’s, and – unless my readership skews a lot more heavily toward CEOs, world leaders, and other global movers and shakers than I think – probably also the lives of most of you.

Single Review: The James Clark Institute – “Reluctantly in Love”

Posted on by

image courtesy of Cameron Carpenter

Single Review of The James Clark Institute: “Reluctantly in Love”

The James Clark Institute is a Canadian pop-rock group fronted by singer-songwriter James Clark. The band is comprised of Clark (lead vocals, electric and acoustic guitars, harmonica), Tom Gibson (electric lead guitars), Tim Gall (bass), Greg Condie (keyboards), and Dean Carl Glover (drums and harmony vocals).

James Clark; photo by Sean Ryan; photo courtesy of Cameron Carpenter

The band’s single “Reluctantly in Love” sports a great big, rockin’, power pop sound and catchy guitar groove the make it a fast favorite. The jangly guitars at the beginning of the song call to mind first The Cars, then Green Day, and when the song eventually reaches its chorus, I can’t help but think of Counting Crows’ “Accidentally in Love.” The whole song is a smorgasbord of favorite sounds, comfort food for the ears. Buzzy guitars, an organ solo, ’50s-style old-school rock hooks. All wrapped in a catchy package with a singalong chorus. And then it delivers a hard-stop end, something you typically heard at least once on a record in albums’ heyday, varying of course by bands’ preferences.

Bottom line: Listen to this song. It has very broad appeal and is likely to become a regular on your personal playlist. for a while once you’ve heard it.

Also, notably, “Reluctantly in Love” was released just in time for Valentine’s Day earlier this year. So if you’ve not heard it yet, you have some new music for Valentine’s Day 2027, right? But maybe first make sure your valentine is OK with the inclusion of the word “reluctantly” in the sentiment.

More Recently

Since “Reluctantly in Love” came out, The James Clark Institute has released another song, “A Donkey,” as part of a split single with Rob Moss and Skin-Tight Skin, where each band performs a song written by the other. “A Donkey,” then, was penned by Rob Moss and Skin-Tight Skin, who performed the James Clark Institute-penned “Bettie Page Rides A Donkey.”

Single Reviews: Smitt E. Smitty & The Fezztones – “Big Ass American Car” and “Motor City Yankee”

Posted on by

photo courtesy of Smitt E. Smitty & The Fezztones via Knyvet

Single Reviews of Smitt E. Smitty & The Fezztones: “Big Ass American Car” and “Motor City Yankee”

This year so far, the incorrigible Smitt E. Smitty & The Fezztones have released a pair of loud, fun, in-your-face, catchy garage rock singles, “Big Ass American Car” and “Motor City Yankee.”

Both songs resonate with me, and for the same reason. The first release, “Big Ass American Car,” is the sort of song a Michigander like me can fully appreciate, while “Motor City Yankee” chronicles Smitty’s move from Michigan to Massachusetts, something that mirrors my own life history. So why don’t I get down to reviewing the songs themselves. OK, sure, I was just getting to that.

image courtesy of Smitt E. Smitty & The Fezztones via Knyvet

But first, Smitt E. Smitty & The Fezztones, on these recordings, are Smitt E. Smitty (lead vocals), James Melanson (guitar), Eddie Nowik (guitar), Andrew Padua (bass), Jonathan LaMaster: (violin), Johnny Sestito (drums), and backing vocalists JoEllen Saunders Yannis, Linda Bean Pardee, and Heather Rice-Fahey.

The first of the two singles, “Big Ass American Car” is a thumping, raucous ode to the American auto industry and Americans’ love of driving. Note also the shoutout to Kalamazoo, a neat but oft-overlooked Michigan city. As for the song, it’s loud, shouty, and obnoxiously fun, with some aggressively fun guitar riffs. It’s a high-production-value garage rock-styled anthem. It feels a little over the top at times, but in a lovable way, exactly what you expect from Smitt E. Smitty & the Fezztones and why you need their music in your collection, because there will be specific times when this is exactly what you need.

image courtesy of Smitt E. Smitty & The Fezztones via Knyvet

“Motor City Yankee,” next, is just as rowdy and stylistically similar. I’m not from Detroit, but it’s the biggest city in my original home state (and I was a member of the Detroit Musicians Alliance for a few years before I moved away), so to me, this Detroit-to-Boston story mostly rings true. I think, also shoutouts to city-specific locations and bands (Alice Cooper, MC5, for example) will appeal to those with roots in one or both cities. I’d love to have seen the band work Boston Coolers into the lyrics, but it’s hard to get Vernors in Boston, anyway, so I can deal with its absence. Musically, the song’s energy starts at 10 on a 10 scale, ramps up to 11, and stays there. A universally fun romp. Combined with the band’s preceding release, “Big Ass American Car,” it just serves to drive home that we all need more Smitt E. Smitty & the Fezztones in our lives.

Now, just like a ’90s/’00s romantic comedy, I’m getting to the end but find myself in a situation that I don’t know how to wrap. So I’ll just jump to the conclusion: Smitt E. Smitty’s two latest singles are great fun. You should listen to them!

Single Review: Chastity Brown – “Year of Twenty-Six”

Posted on by

photo by Elena Stanton and Joe Horton; image courtesy of September Gurl Music

Single Review of Chastity Brown: “Year of Twenty-Six”

This past winter in singer-songwriter Chastity Brown‘s neighborhood in Minneapolis, Renee Good was killed. In the days that followed, Brown channeled her emotional turmoil in the wake of that senseless event into a song, this song, “Year of Twenty-Six.”

Brown chose to write the song from the perspective of Good’s widow, with her powerful delivery and first-person approach adding incredible power. When Brown’s voice cracks, it hits especially hard for this very reason.

photo by Brad Ogbonna; photo courtesy of September Gurl Music

Brown’s sparse, deliberate pianowork marries with the cello and emotionally-delivered vocals to create a very mournful, touching, impactful work of art. You don’t need to know the story behind it to feel it in your heart. But, of course, we all know, and that just makes it hit harder… and more tragically.

If there’s one song that sums up 2026 so far, sadly this is it.

From a musical perspective – and I know this isn’t why she created this powerful piece – for those of us previously unfamiliar with Chastity Brown, this should cause us to want to explore more of her music, like her 2022 album Sing to the Walls.

As for the song itself, all proceeds from the song’s sale via this Bandcamp link are earmarked, per the press release and Bandcamp page, to go to “Minnesota-based Organizations that are working to help Minnesotans affected by the actions of ICE in their communities.”

Single Review: Eric Bibb – “Didn’t I Keep Runnin'”

Posted on by

photo by Jan Malmstrom; photo courtesy of Mark Pucci Media

Single Review of Eric Bibb: “Didn’t I Keep Runnin'” (Repute Records)

Eric Bibb is a Grammy award-winning bluesman. “Didn’t I Keep Runnin'” was the third single released in advanced of Bibb’s winter album release, One Mississippi. Musically, the song is catchy, with a deeply engaging rhythmic groove, the uplifting of spring of frequent fiddle work bowing its way through and offering well-placed flourishes, Bibb’s occasionally emphatic banjo playing, and vocal depth lent by a the song’s backup singers. And, of course, Bibb’s vocals, tuneful even when often close to being spoken word.

image courtesy of Mark Pucci Media

Throughout, the song maintains a feeling of being off-balance, with the swift entrance and exit – over and over – of different instruments lending to the unpredictability, while still remaining tuneful and cohesive. All the while, the steady, relentless rhythm carries forward the feeling that there’s a pursuit in progress. And indeed, in the lyrics, there is a chase going on. Bibb summed up the story behind the song in his quote from the song’s press release. Said Bibb about the song, “This song was inspired by an old photograph, depicting a peg-footed banjo player, who was surely a slave who had tried to escape. Runaway slaves who were captured after unsuccessful attempts to flee, were often punished with the amputation of afoot to prevent further flight and to discourage other slaves from trying. As I see it, we’re all still on the road to freedom.” That’s some heavy subject matter for such an enjoyably engaging song.

The musicianship plays a huge role in this song’s appeal, so it’s worth mentioning the performers. On “Didn’t I Keep Runnin’,” Eric Bibb (lead vocals, 6-string banjo) is joined by Robbie McIntosh (slide Angelus guitars), Zosha Warpeha (hardanger fiddle), Glen Scott (drums, percussion, bass, electric guitars, backing vocals, handclaps, string programming, keyboards), and Sara Bergkvist Scott and Shaneeka Simon (backing vocals, handclaps).

I’ve heard some of the other tracks that appear on One Mississippi. Great songs, too, but whew, I was really drawn to “Didn’t I Keep Runnin'” and wanted to give it its own review. (Also, I’ve simply listened to this song so many more times than the others that it’s the only one I can really do justice in a review.) Whatever draws you to this song – and there’s so much to appreciate – I suspect a broad swath of music fans will really enjoy it. And from the brief sampling I’ve done of the rest of the record, if “Didn’t I Keep Runnin'” piques your interest, you may want to check out the full album, where you’re likely to find other new favorites.

Single Review: Savvy Haze – “Hip Thrust”

Posted on by

photo courtesy of Savvy Haze

Single Review of Savvy Haze: “Hip Thrust”

Nayla Savannah is a versatile creative force whose music, as she notes, combines hip-hop and grunge, as well as a variety of other influences for an original, edgy sound. Her talent is readily apparent to anyone who spends a lot of time with cutting-edge creative artists, as you can hear from her solo recordings Savy World and Be Free, as well as Savvy Haze Live, the latest full-length recording from her band Savvy Haze. “Hip Thrust” was shared with me this spring, as it was being released to popular streaming platforms, and I knew I was listening to something special.

image courtesy of Savvy Haze

Indeed, while a description of Nayla’s might make it sound as if it inhabits – and perhaps invents  a niche subgenre – Savvy Haze’s initial single release, “Hip Thrust,” is a broad appeal song you absolutely have to hear. The studio single, separate from Savvy Haze Live, is an aggressively catchy earworm. Not just casually catchy. I’m talking the kind of song you hear played at sports arenas during breaks in the action where everyone stands up and dances. Or maybe struts; that’s really more what I do when I listen to the song. It’s an awkward, weird strut, but I’ve got a great big ol’ smile on my face.

The song is primarily one big, long, hooky, plucky, funky groove. Add a thumpin’ rhythm section. And Nayla’s – er, Savvy’s – vocal stylings on top. There’s even some mid-song guitar shredding for guitar rock fans. But the rhythm is so memorable I always forget it’s even in there. The production is a little raw, but that’s all just part of this song’s appeal. Trust me, you’ve never heard anything quite like “Hip Thrust.” And it’ll be stuck in your head for days after each listen.

Not only will “Hip Thrust” appeal across most musical fanbases (anyone who likes unadulterated fun, really), but like any good hit single, it also gets the listener accustomed to the artist’s sound. Now, personally I’m not a fan of live albums, so I’m not likely to get past the external noisiness I heard upon a quick sample of Savvy Haze Live – that might appeal to you if want to capture the atmosphere of a live performance, though, so if that’s you, check it out – but Savvy Haze also has a second guitar-infused funky hip-hop studio single, “Section,” that I find more enjoyable with each listen, in part because I play it back-to-back with “Hip Thrust,” and it’s slowly becoming a favorite, too.  So think of “Hip Thrust” as a gateway song. Everyone’s gonna get hooked on it. So start with “Hip Thrust” and see where it leads you. You know you want to.