Single Review: Harlem Lake – “Carry On”

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cover artwork: Illustration by Douwe Dijkstra, design by Janne Timmer; image courtesy of Big D Radio Promotons

Single Review of Harlem Lake: “Carry On”

Harlem Lake is a powerful Dutch blues/blues-rock outfit, winners of the 10th European Blues Challenge in 2022. The band features the powerhouse vocals of Janne Timmer and the musicianship of Dave Warmerdam (organ, Rhodes [keyboard], backing vocals), Sonny Ray Van den Berg (guitar), Benjamin Torbijn (drums), and Kjelt Ostendorf (bass, backing vocals).

“Carry On” is my first exposure to Harlem Lake’s music, and this song really packs a punch. It has a psychedelic ’70s guitar style, soulful blues vocals that are sensual and/or booming as required in the moment, a bit of a Beatles’ “Come Together”-ish vibe (I keep expecting to hear the lyric “juju eyeball”) except much louder and harder rockin’, and a huge, pounding, rhythmic beat that circles back onto itself, sequentially building in power, exploding into the lyrics, more powerful each time, “Carry on, baby. Carry on, and be a bad, bad boy.” Following the big musical outburst just past the song’s mid-point, “Carry On” devolves (or, perhaps, progresses) into an orgasmic organ and guitar-fueled jam. The song softens one more time, making room for just one more verse, before ending with one final explosive instrumental jam.

The Beatles reference notwithstanding, Harlem Lake’s “Carry On” is akin to the kind of powerful, pulsing blues-rock you’d expect from the likes of George Thorogood, perhaps with a bit of Janis Joplin thrown in for psychedelic good measure. Beginning to end, “Carry On” is a powerhouse song, one that concludes far sooner than you might expect at just 3:09, especially since it seems like such fertile ground for big instrumental solos and jamming – something I’d hope happens live in concert, at least sometimes – but that’s plenty of time to leave you, the listener, exhausted yet ready for just one more ride, if you don’t mind.

Harlem Lake bills itself as Americana blues rock, but “Carry On” is just a whole lotta rock, a fair amount of blues, and not so much Americana. I look forward to digging deeper into the band’s catalog to get a better sense of its full musical range.

Looking Ahead

Harlem Lake has a packed schedule of concert dates this spring and summer, according to the “Shows” page of the band’s website. On Saturday, March 16th, the band will be performing in Purmerend, Netherlands. After that the band’s website shows several more concerts in France, Germany, Switzerland, the Netherlands, and Norway, running from now through summer, with a few fall shows booked, as well. You can find additional details at the band’s website. Of course, be sure to check back periodically as more shows are added.

Album Review: Luke LeBlanc – Places

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Luke LeBlanc – Places album cover. Image of a man standing along the railing of a bridge. Passersby walk in front of him but are blurred and out of focus.

image courtesy of Michael J. Media Group

Album Review of Luke LeBlanc: Places

Luke LeBlanc is an Americana-ish singer-songwriter whose raspy, emotionally-connected voice and unique musical style literally jump out of the speakers and demand your attention. Figuratively. I meant figuratively. But from the first song on his newest release, Places, it’s clear Luke’s music is among the best of its genre and would interest many of us who don’t usually listen to this style, too. In the end, though his songwriting is complex and well-conceived, it’s Luke’s voice that’s so memorable and appealing. A uniquely identifiable emotional everyman, his voice is the calling card that’s recognizable from well-written song to well-written song.

My favorite Places ditty is its album-opener, “A Place,” a song that energetically bounces along like a moderately-paced hoedown and then slows down to wax melancholically nostalgic. The music is intricate without being plush, assembling engaging musical bits and pieces into a song that’s an attention-grabber. Attention-grabbing songs are, of course, the best way to start a record. They convince the listener to continue, setting up more subtly interesting songs to follow.

“No Good” shows Luke can slow things down to a mellower pace, though the song never really sits there, as it’s always powered forward by intertwined instruments and twangy country-ness. Next up is “Own It,” which has a mildly energetic folky singer-songwriter vibe and tempo, but the groovy horns add a bigger-stage energy. Then “Honey Rebel” is kind of a confident little strutter of a song, with Luke’s delivery carrying a Matthew McConaughey-like pacing and tone.

My other favorites on the album are “Never Met You at All,” which is old-school country filled with attitudinal coolness, neat picking, and smooth fiddlework; “Break My Wall,” a sassy, sentimental tempo-changer; sweetly-crooned “Hazy”; and the insightfully edgy yet clever “Right Way,” which is lightly instrumented throughout but builds from low intensity at the beginning to slightly less low intensity by the end. It just seems like it’ll be a nifty low-voltage crowdpleaser, and it’s definitely a great way to end a disc.

If I had to put my finger on what makes Luke LeBlanc’s Places such a pleasant enjoyable listen, it’d be his identifiable voice, his deceptively intricate song stylings, his range that covers every corner of the seemingly modest real estate that is singer-songwriter Americana, and his music’s good-natured, sometimes playful sincerity. This result of this variety of standout features is a record that clearly outclasses most of its peers. If you give it a listen, you’ll be glad you did.

Random Thought

Luke is Minneapolis-based, as is Blog favorite Dan Israel. I’m not sure if they’ve ever played together, but their sounds are so complementary, they absolutely should. Just sayin’. It’d be a killer double-bill.

Looking Ahead

The “Shows” page of Luke’s website lists his next gig as Friday, April 26th at The Burr Oak in Madison, Wisconsin. He also currently has six more shows scheduled in Wisconsin and Minnesota during May, June, and July. Be sure to check his website for details about those shows and additional performances, as they’re added.

Single Review: Kelsey Blackstone – “505”

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cover art by HanFran Studio; image courtesy of Kelsey Blackstone

Single Review of Kelsey Blackstone: “505”

Kelsey Blackstone is one of New England’s rising young singers. Rather, I suppose, now she’s one of Nashville’s, but she was still in the Northeast when this song was recorded, so for this single, at least, it’s unambiguous. A few months ago, I reviewed Kelsey’s single with Jason LaPierre “When I’m With You,” which was a Video of the Year nominee at the 2023 New England Music Awards, so this isn’t her first appearance here at the blog.

photo by Ben Crocker; photo courtesy of Kelsey Blackstone

Kelsey’s newest single is a cover of Arctic Monkeys’ “505,” that’s relatively faithful, particularly early on, except that Kelsey’s vocals are crisper and she exudes more power, especially as the song builds, serving up a more dynamic vocal performance that gives her rendition a bit more vibrancy. The variances from the original aren’t huge or dramatic at first, but they are sufficient to give the song a fresh, updated feel, even at the beginning, as the original has a graininess that pegs it quite emphatically to its decade. Kelsey also uses well-placed horns on her cover, giving her “505” a more classic, timeless feel. In fact, classicness seems to be Kelsey’s calling card, creating a sound that doesn’t exactly sound modern, but neither is it dated. It’s more the way a jazz singer might voice pop songs, emotively and a little provocatively, if I had to try to describe it. As “505” progresses, the updates become more noticeable. For example, Kelsey’s soundbed is richer, eschewing the production preferences of the original’s period, and the energy and intensity her vocals reach as they surge during the latter half of the song give this version a hearty cathartic release in lieu of a portion of the longingly aching, melancholic quality of the original.

photo by Ben Crocker; photo courtesy of Kelsey Blackstone

I also spent a fair bit of time trying to figure out who Kelsey’s vocals remind me of on this song. And it’s not an exact match, but the shape of her vowels and her delivery cadence are reminiscent of a young singer I spoke very highly of in this blog several years ago, Sophia Ward of TOS. There aren’t a lot of Sophia’s songs available online for comparison anymore, but if you’ve heard Sophia sing, you’ll notice the similarities.

Suffice it to say, Kelsey Blackstone has delivered a cool version of “505,” true enough to the original to be easily recognizable and appreciated by Arctic Monkeys fans while altered enough, as all good covers should be, to reflect her own style and strengths. Also, with the way the “505” builds and the kind of frenetic energy it wields, particularly in the song’s second half before its cathartic, buzzy final few seconds, this cover should really get the joint jumpin’ during a live performance.

photo by Ben Crocker; photo courtesy of Kelsey Blackstone

Looking Ahead

There are no shows currently listed on the “Tour” page of Kelsey’s website, nor are there any listed on her Bandsintown concert page. But be sure to keep an eye on both of those spots – and her Instagram page – to find out when and where she’ll appear next.

Album Review: Peter Storm & the Blues Society – Second

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image courtesy of Naked/Big D Bookings

Album Review: Peter Storm & the Blues Society – Second (Naked)

Portuguese blues band Peter Storm & the Blues Society delivers guitar and harmonica-driven blues and blues-rock, generally raucous except when it’s mellow, always sincere and engaging. The band is comprised of João Belchior (vocals, guitar), José Reis (bass), Bino Ribeiro (harmonica, rhythm guitar, percussion), and Jorge Oliveira (drums). The current album, Second, was released about a year ago. It’s the follow-up to the band’s debut release, First.

“Write Down the Blues” kicks things off wailingly. “Blame” follows much more softly with a bit of a syncopated rhythm, with ethereal musical support offering some prime real estate for the electric guitar to dance lightly through the soundbed.

Track three, “Go Down & Play,” is a rhythm-driven, thumping, moderately fast-tempo blues-rocker, with harmonica and distorted electric guitar serving as the driving forces.

“Meditation Blues” then slows things down to a a crawl, with rich, full vocals supported by very sparse guitar, bass, and drums. At 6:11, it clocks in as the longest track on Second. With its snail’s pace, that’s hardly a surprise, but it goes down so smooth!

The oft-covered blues/R&B classic “I Feel Like Breaking Up Somebody’s Home Tonight” follows, with a confident, funky blues rhythm and a matter-of-fact, cool to the point of being cold, smooth blues-vocal snarl. I also think this is the first I’ve heard a talk-box used on this record. Nice effect! Energetic spoken-sung storytelling “52nd Avenue” follows, picking up the tempo a little bit.

“Blackhole” sports a heavy blues-based rock riff; it’s a soft but heavy blues rock banger that could find a crossover audience among ’70s classic hard rock fans. “Blackhole” has a slow, booming tempo but sports a ripping ’70s classic rock-reminiscent guitar solo, not to mention the distorted bluesy rock guitar throughout.

Next up, “Beatrice,” a rowdy number based on the Sam Rivers classic, is a raucous mid-tempo jam, with vocals, sax, and guitar all serving up energetic howls. It’s also an inspired album-placement choice because it’s a faster tempo than the preceding song, but it’s a straight-up jamming blues entry rather than blues rock. It’s kind of as if “Blackhole” tees the listener up for this memorable jam. Though I like pretty much all of the songs on this album, “Beatrice” is one that would draw me into a club if I heard it playing while I was on the sidewalk walking past.

“I Told You (Not to Treat Me Wrong)” slows things down quickly, with a very slow, steady pace and a relatively lightly instrumented soundbed that allows the listener to shine an mental spotlight on the emotional, oh-so-blue vocals.

The band picks up the tempo one last time for Second‘s final song, “Show Me Your Love,” a gritty, growlin’, relatively fast-paced rockin’ blues number that’s perhaps the hookiest song on the record, replete with a jammin’ harmonica solo; it’s a tune that would liven up blues and rock clubs alike, filling the dance floors. A very cool way to end an album.

With Second, Peter Storm & the Blues Society serve up a versatile blues record that appeals to a broad audience. The album is varied enough to keep the listener’s attention while remaining attention-grabbing even when it slows down. It’s one of the best pure blues records, beginning-to-end, that I’ve heard in a while.

If you’re just going to sample, my pick-three are “Show Me Your Love,” “Beatrice,” and “Meditation Blues,” but you’re likely to enjoy just settling in for a cover-to-cover listen.

Looking Ahead

I haven’t heard anything about the band going into the studio, but after the band’s first two albums were entitled First and Second, what do you think is the odds-on favorite for their third album title?

It looks like Peter Storm & the Blues Society announce their shows on their Facebook and Instagram pages. I don’t see any upcoming dates listed at the moment, but be sure to follow them on social media to watch for gig announcements.

Single Review: The Palms – “Ready or Not”

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photo courtesy of DRPR

Single Review of The Palms: “Ready or Not”

The Palms are indie rock duo Johnny Zambetti and Ben Rothbard. “Ready or Not” is the second single from the band’s upcoming Wonderland album.

The song is a light, airy, strumming number that brings to mind carefree summer days. It’s a song you might blare from your convertible while cruising the streets on a nice summer night. Or during a day at the beach. The vocals are lo-fi and grainy, even a little tinny, as is the guitar, which keeps things moving with its steady rhythm, punching up the forcefulness on every fourth beat. Yeah, the lyrics are about “the shit that’s goin’ down,” but the vibe is so groovy, how can you worry? And there’s the occasional “oo-oo” in the background that helps facilitate the unserious feel.

“Ready or Not” is a cool song with potential appeal if you like the poppier, more laid-back side of indie rock. Or if you simply like a well-written song with a catchy groove.

More Recently

“Ready or Not” was a November 10th release. Since then, from early January until the beginning of March, The Palms were on a nationwide tour supporting the Magic City Hippies. On the song-release front, the Palms have released three more singles: “Pretenders” on December 15th, “Maggie’s Garden” on January 26th, and “Jesse Jane” on February 23rd. These songs consolidate The Palms’ grainy, catchy alt-rock style, though each has its own character. For example, “Jesse Jane” showcases some dream-pop influences that aren’t as readily apparent on the other tracks – well, maybe a little on “Pretenders,” but not as obviously. In other words, there’s some variety among The Palms’ song catalog, and that’s always a good thing.

Looking Ahead

The Palms’ plan to release Wonderland, a full-length album that will include “Ready or Not,” on April 5th. An album release party is scheduled for Aviator Nation Dreamland in Malibu, CA on April 6th. The Palms don’t have any other tour dates planned, but when they do, you’ll be able to find them here on the “Tour” page of the band’s website.

Album Review: Anton O’Donnell – Tomber Sur PRW

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photo by Neil McKenzie, Keep it Creative; photo courtesy of Broken Jukebox Media

Album Review of Anton O’Donnell: Tomber Sur PRW

Gritty, heartfelt, immersively engaging Americana from Glasgow, Scotland. Anton O’Donnell’s voice has an emotional, cracking edge that’ll recall for you the old west. His music is what you might expect to hear a big, old-fashioned country music dancehall. And his songwriting cuts a broad swath across the portion of Americana that stretches from traditional country to perhaps a slower version of rockabilly. There are additional, apparent influences that help provide varied appeal to the album, with alt-rock and blues influences rearing their heads from time to time, as well. Of those we’re reviewed at the Blog in the past, I’d place Anton on the Americana spectrum somewhere between The Chapin Sisters and Adam Lee, a good fit to perform on the same bill as either or both.

I get so many submissions of good Americana music that it’s rare to hear something that sounds different and new, but Anton’s Tomber Sur PRW is most definitely special. Perhaps it’s because Anton’s voice could fit with gritty rock ‘n roll, as well, sometimes reminiscent of Tom Petty. Combine that mix of influences and uniquely identifiable vocal style with Anton’s clever, articulate, thoughtful songwriting, and the result is a record with potentially broad appeal.

image courtesy of Broken Jukebox Media

The album kicks off with one of its most appealing songs, “Kindness.” Anton’s voice conveys a unique tone on the song, with a nasal, cooler-than-you edge that may be the edgy Americana equivalent of Tom Petty’s slower, folkier tracks from his Full Moon Fever record.

“Skulduggery” carries the same cool vibe as its predecessor but has a bit more energy, while the lyrics pull no punches about the song’s very serious topic: “No, you feel no god around here, just the devil in man.” Then “Roots” slows things down again, with a wide-open-spaces, soaring, mildly haunting twang.

“Dreams Fade Under the Weight” has more of a sittin’ ‘n pickin’ singer-songwriter flavor, once again mixing things up, providing another of those twists that makes Tomber Sur PRW so hard to describe, even when painting with a broad stroke. But if you haven’t figured out by now that this album is a unique original, you’ve not been paying attention.

As the album rolls on, the songs continue to be similar but different. “Shine a Light” haunts. “It Never Lasts” has a rock ‘n roll vibe driven by a big ’50s/’60s recurring riff, an alt-rock-ish noisy soundbed, and a country-rock guitar jangle. “Set It On Fire” sports a palpable tension and an echoing openness that are surreally unsettling. “Madman on the Loose” marches along resolutely if a little off-kilter, grabbing the listener’s attention, reminding me quite a bit of the big, straightforwardly twisted sound of Love Love, a band I’ve reviewed here at the blog.

The 9-song album ends with “DJango,” a soft, methodically advancing song that leans heavily into fiddle and pedal steel for its soaring, swaying Americana tempo and texture. And, with a closing fadeout, Tomber Sur PRW lands softly.

The album is a great beginning-to-end listen, while the first two tracks and “It Never Lasts” remain my favorites for one-off listens – they’d be my picks to be released as singles. Anton’s voice is larger than life, very much rock ‘n roll but in a folky, country way. It’s unique and identifiable, as is his style, which permeates every nook and cranny of this album, even with its broad variety of influences. So yeah, it’s a very cool album.

Looking Ahead

You can follow Anton O’Donnell on Facebook and Instagram to keep up with his goings-on, such as these shows today and tomorrow in Glasgow.

Single Review: Speed Limit – “Shine Brighter Than the Sun”

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photo courtesy of NRT-Records

Single Review of Speed Limit: “Shine Brighter Than the Sun” (NRT-Records)

This past fall, Austrian classic heavy metal veterans Speed Limit released the single “Shine Brighter Than the Sun” (with “Destiny’s Calling” as its B side). It was the second single from the band’s June 2023 NRT-Records release Cut a Long Story Short.

Speed Limit – Shine Brighter Than the Sun cover photo

image courtesy of NRT-Records

The current line-up of Speed Limit consists of Chris Pawlak (bass, vocals), Hannes Vordermeyer (drums, lead vocals), Chris Angerer (guitar, vocals), and Joe Eder (guitar, vocals). Pawlak and Angerer have been in the band since its 1986 debut release Prophecy, with Eder also joining the band just a few years into its run. Vordermeyer is a 2107 addition to the Speed Limit line-up.

Single “Shine Brighter Than the Sun” sports heavy, crashing skinswork, serious guitar speed, and edgy-but-tuneful vocals. In true classic metal style, though the beat is pounding and pulsating, there’s a soaring power, and there are moments of guitar shredding that are as likely to be found in progressive rock as in a classic metal song.

photo courtesy of NRT-Records

The single’s B side, “Destiny’s Calling,” features a churning rhythm, a guitar line that’s grindingly steady, a bit of axe virtuosity, and soaring vocals. A fast beat drives the song forward, and prominent heavy metal choir-like backing vocals are featured where appropriate.

Both songs on this two-sided single are fun, energetic listens that would likely be AOR hits during album-oriented heavy-rock’s apex years.

Stylistically, Speed Limit would be an ideal concert pairing with Judas Priest.

photo courtesy of NRT-Records

Looking Ahead

There aren’t a lot of upcoming dates currently listed on Speed Limit’s Bandsintown page. Additionally, the Bandsintown listing appears to populate the “Speed Limit Live” section toward the bottom of the band’s main web page. Both locations list upcoming shows in Graz, Austria on May 3rd and in Salzburg, Austria on October 3rd, 2024. The venues’ websites don’t list those shows, though, so I would suggest checking with the venue box offices to confirm the concert dates and for ticket information.

EP Review: Best Not Broken – If It Feels Right

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Best Not Broken

photo by Jeffrey Pirozzi (Roze Photography); photo courtesy of Best Not Broken

The Backstory Behind This Review

You know, one of the neat things I’ve been doing lately is proactively discovering great local music again. I get so much unsolicited material in my overflowing inbox that it’s easy to fill the blog with amazing music that just shows up in my inbox. And yes, I discover some amazing music that way, but last fall I decided to reach out to several of the bands that blew me away when I was sampling music from the New England Music Awards nominees, and I’m finally reaching those reviews in my queue. I reached out to bands like Eddie Japan, Major Moment, and Best Not Broken, leading to reviews of three of my favorite new albums this past year. It’s not like they’re new bands, either – Eddie Japan and Best Not Broken have been releasing kickass music for a decade. Even so, because of my huge backlog of music awaiting review, I only reached out to a few of the great bands I discovered this fall. My NEMA vote for Best New Band, for example, went to All Sinners, and I haven’t tried to get in touch with them yet. I’ve also started increasingly reaching out to other artists I dig, not just in-region, further lengthening my playlist. So much great music, so little time.

But that’s enough backstory; you’re here to read my Best Not Broken review, so I’ll delay it no longer. Without further ado…

EP Review of Best Not Broken: If It Feels Right

Best Not Broken is a versatile rock band, infusing a fresh enthusiasm into its brand of timeless, pop-friendly rock ‘n roll. The band’s music is varied and fun, keeping things interesting in the mid-range pop-rock lane of the rock ‘n roll highway. If I had to name comparables – or, rather, bands you’ll probably also like, since none really sound completely like Best Not Broken – I’d probably suggest Smash Mouth, Bowling For Soup, Weezer, and the All-American Rejects.

album cover of Best Not Broken's If It Feels Right EP

image courtesy of Best Not Broken

If It Feels Right opens with a sure-fire good-time hit, “I Don’t Belong.” The video certainly is fun! So much so that it earned a “Video of the Year” nomination for the 2023 New England Music Awards. The audio is heavy on the rhythm, tunefulness, and singalongability. My favorite lyric? The much-delayed final word of the phrase “I don’t belong… here.”

The next song, “Human Emotion” just made its radio debut this week, on Tuesday. It’s nearly as catchy as “I Don’t Belong” – an impressive feat! – but it flows through its prominent beats with an almost crooning vibe in its verse’s vocals and cool lyrics like “Can’t stop human emotion. We all got something that’s broken. Don’t take this the wrong way, but you’re all messed up, and it kind of reminds me of me.” Sense a theme? Playfulness and cheerfulness about not being perfect or, in “I Don’t Belong,” not fitting in. So, yeah, catchy af music and the kind of songs that’ll make you feel good, even when you’re inclined not to.

“That’s the Way She Likes It” is probably the smoothest pop-rock song in this collection, not balladic yet sporting a soft touch. It’s uniquely original, of course, and expresses dysfunctional shyness, but it’s still kind of sweet.

“Lying Awake” starts slow and builds, reaching singalong status with a thumping beat and the rhythmic line “shouldn’t’ve stayed up, shouldn’t’ve stayed up.” Best Not Broken does a good job of keeping the instrument mix simple, but I feel like I’m oversimplifying this song’s appeal. For example, musicians and detail-oriented music fans will appreciate the supporting instrumentation on “Lying Awake,” notably noticing some of the background guitar lines that add variety to the music bed.

Finally, “Low Lights” closes the disc, dare I say, with another hook-filled entry, propelled by a reggae-influenced rock ‘n roll rhythm.

So that’s four hooky songs and another sweetly enjoyable one on a 5-song EP. Leave ’em wanting more, I guess, eh?

Best Not Broken

photo by Jeffrey Pirozzi (Roze Photography); photo courtesy of Best Not Broken

Looking Back

Best Not Broken has been doing this for a while, which is to say they’ve been releasing quality, fun pop-rock songs with a playful edge for a decade now. Some of my favorites among their older songs include “What the Night Has Left” (and not just because of its cool video with Boston residents dancing in the subway), the playful “Brain,” and the energetically hopeful “I Won’t Stop Loving You.” If this is your first exposure to Best Not Broken, be sure to also explore the band’s back catalog.

Looking Ahead

You can keep up Best Not Broken’s live performances on the “Events” tab on its Facebook page or via the band’s Bandsintown listing. Well, in theory, at least. Neither currently lists any upcoming shows, but check back periodically to see new dates as they’re added.

Single Review: Anders Damås – “Scarecrow & the Acres of Corn”

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Anders Damås – "Scarecrow & the Acres of Corn"

image courtesy of Anders Damås

Single Review of Anders Damås: “Scarecrow & the Acres of Corn”

Anders Damås is a Norwegian bluesman. His most recent single “Scarecrow & the Acres of Corn” is very clearly a thumping, steady blues number of the story-song variety, telling the tale of the “Scarecrow & the Acres of Corn.” But within the blues genre, “Scarecrow…” lies in an almost experimental subgrouping, structured perhaps more as a jazz number might be. Anders’ vocal are more edgy than blue, slicing insistently through the music bed. And there are long stretches that are just instrumental, including a long blues guitar jam toward the end of the song.

It’s a neat song that will grow on you. It has enough unique and unusual features that you may not be quite sure what to make of it at first, but if you give it a few listens, you’ll discover the plethora of nuances in its instrumentation and delivery that will endear it to you before long. You know I like to suggest unique music that brings new, enjoyable angles to familiar music styles… but only if the music is well-done and interesting, which is true, of course, in this instance.

Anders Damås

photo courtesy of Anders Damås

There’s an EP, Too!

Anders released several singles in the last couple of years. He seems to have bundled them up into a 6-track Scarecrow & the Acres of Corn EP. You can listen to the full EP via Spotify. Or you can purchase the EP and related merchandise at Anders’ website. You can also check out the songs individually via the “Discography” page on Anders’ website.

I’ve described the EP’s title track already, but the other five songs on the EP broaden the listening experience through a wide range of other, complementary musical styles: funky and light (“A Traveller’s Story”), funky and heavier (“D’Guineafowl Gumbo”), heavy and haunting, more theatrically progressive bluesy rock than blues (“Empress of the Blues”), low-fi, grinding blues rock (“Riding with the Devil”), and pure, harmonica-infused blues “Nightlife [Dracula’s Song]”).

Liner Notes

There are some interesting details in the notes on Anders’ “Discography” web page. Of interest to regular GWMB readers, Steinar Karlsen, whose Destination Venus album was reviewed by contributor Eric Harabadian in 2021, plays electric baritone guitar on “D’Guineafowl Gumbo.” Meanwhile, Anders provides all of the instrumentation and vocals on three of the songs on the EP. However, on “Scarecrow & the Acres of Corn,” Anders is joined by a full band, with his performance role limited to vocals, drums, and percussion. Interesting details, eh?

Album Review: Houston Bernard – Ditch This Town

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Houston Bernard

photo courtesy of Houston Bernard

Album Review of Houston Bernard: Ditch This Town

Houston Bernard has that radio-friendly country music voice, deep and strong but emotional and textured. If and when he gets widespread exposure he’ll be a star. He certainly has the ability, and he puts in the hard work. Until then, though, there’ll just be a subset of us who will know about and enjoy the music of one of country music’s most talented male vocalists.

Ditch This Town is a solid disc throughout, ranging from uptempo, dancefloor-filling numbers to heartfelt ballads to all of the usual country music tempos in-between. There’s never any doubt that a Houston Bernard album with become a favorite. It’s really just an exercise in finding your favorite songs, playing them endlessly, and mixing in some full-album listens because there are never any weak spots, and sometimes it’s worth riding the song-ordered train Houston has placed on the rails for you.

Houston Bernard – Ditch This Town album cover

image courtesy of Houston Bernard

Houston opens the album with the title track, a hooky, uptempo number about moving on to new adventures and opportunities. “Should I stay here or go?” This whole song ponders that decision, energetically and with a soul-searching bridge and instrumental solo here and there for variety just to keep things interesting. “Ditch This Town” is a radio-ready potential hit, my personal go-to listen in this collection, and a great way to kick off this album of the same name.

“Pretend” is one of those more thumping, rhythmic country numbers where the verses are spoken-sung in a great country music tradition that extends back much longer than I’ve been on this earth. The instrumentation is a little more classic country-styled, too, though there’s a classic rock-inspired guitar run in the middle of the song that somehow fits quite neatly into the song structure.

Houston continues to mix things up – because he and his band aren’t just one-trick ponies. They’re, I guess, multiple-trick ponies? Anyway, “Darkest Water” is an intense, powerful ballad that’s rich enough to fill the hidden crevices of a room. It’s a heavy song of internal struggles (“I’ve been guarded, I’ve been hardened, I’ve been knocked down by the waves…”) and reaching out for help and love (“help me through the darkest water”). Goosebumps. A lump in your throat. The music alone can make it happen, but if you listen to the lyrics, you’ll feel it tenfold.

“Ain’t No Friend” is another excellent number, a more uptempo, rockin’ country number, but its subject matter is old-school country, so if you’re a lyric hound it might not be the spirit-lifting entry it seems. The music sure it energetic, though.

Houston Bernard

photo courtesy of Houston Bernard

Houston is teasing “In My Blood” as his next single/video. It’s written like an autobiography – and I don’t know Houston well enough to know the extent of its real-life basis, but I’m sure that’ll be a question he’ll get frequently in interviews. The song is heartfelt and emotional, a mid-tempo number that slows down and then builds to power (rinse and repeat). I can see why “In My Blood” is a current fan favorite and the next planned video.

“Ain’t Like Me” grabs attention with a strum-and-drum opening before adding strong vocals and guitars. It has that downhome, regular guy feel, telling a tale of finding himself possibly actually in love: “I’m givin’ up, givin’ in, baby I’m down on my knees. That ain’t like me.” It’s a mid-tempo song that’ll brighten the room and maybe evoke a knowing smile or two.

“All We Are Is Memories,” next, is a mid-to-slow tempo reminiscent number, while “Carry That Torch” is a slower-paced song of lifelong, married devotion, with the nifty lyric “I’m going to lay my head down so I can wake up and carry that torch for you.” Also probably the first song I’ve ever heard reference a ball-peen hammer, but maybe I’ve just lived a sheltered life.

photo courtesy of Houston Bernard

“Wild Desire” picks up the energy a little, with a fair bit of twanginess, as is I think a requirement whenever you sing a song that mentions Abilene. The tempo is not super-fast, but “Wild Desire” is absolutely a windows-down, driving-down-the-highway song. Of course, some of that might be the travel-related lyrics.

Houston delivers a tone on “Come Undone” that I only really ever hear in his songs. It’s a Houston Bernard special. It’s semi-uptempo with a thumping rock ‘n roll bass line, a steady beat, and a mix of countrified and rockin’ guitar riffs, both in the typical lead role and dancing occasionally through the background. But it’s more than just that, it’s a tempo through the verses, punching some words and phrases forcefully and others softly, a little variance to the pacing, and an almost subtle touch on the key chorus line. You may have other favorites on this album, but this is the song that’s most singularly representative of a Houston Bernard recording.

Houston brings things to a close by bringing the energy down with emotional ballad “Broken.” It’s an ode to those who’ve had a hard life, those who grew up in difficult circumstances, an understanding of how they’ll never fully escape what happened to them, that it will forever color their lives. A powerful song and an engaging one, a song that’s an enjoyable listen if you don’t pay close attention to the lyrics, a more intense, still beautiful listen if you do.

With each new album, Houston Bernard levels up another notch, seemingly reaching a peak, then exceeding it with future releases. Ditch This Town is a strong record, with music covering a wide range of country song styles, all guided by Houston’s quintessential deep country music voice and charisma.

photo courtesy of Houston Bernard

Looking Back

Of course, we’ve written about Houston Bernard several times at the blog. In addition to reviewing his live sets at the 1st and 2nd Annual Local CountryFests, we reviewed Houston’s “American Dream” single in 2020. Then, in 2021, we reviewed a trio of his singles: “People We Are,” “Small Town Way,” and “Without You Honey.”

Looking Ahead

The “Shows” tab of Houston’s website lists several upcoming shows. In Nashville, Music City fans can catch Houston tomorrow, Wednesday, March 6th via a BusCall Nashville show at Tin Roof. Houston will be back in Massachusetts for a Saturday, March 9th gig at Tempo in Waltham. The website lists additional shows over the next several months in Massachusetts, Maine, and New Hampshire. Be sure to check his website for additional details and for new shows as they’re added.