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).
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.”
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.
Experimental progressive rock music is some of the hardest to decide to write about. It’s rarely apparent from a first listen how the listening experience will evolve over multiple trips through the album, whether the music will reveal nuances upon repeated listens, whether it will embed itself into the brain as a familiar friend over time, or if the music will devolve into gimmicky quirkiness after several runthroughs. In the case of Bob Lord‘s The Six Observables, I had more than just his accolades to go by; past personal experience was also on my side. I’ve previously reviewed two of Bob’s band Dreadnaught’s albums and one of his solo releases, so I expected to grow increasingly fond of The Six Observables over the course of repeated spins. I suppose you can never be certain, but in this case, my presumption was correct.
Among the short cuts, you get some Schroeder-esque light piano on “USS Nimitz Tic-Tac Encounter – 2004.” “Miracle of the Sun at Fatima – 1917” sounds a bit like a music box. “Black Traingle From the Atlantic – 2019” is really just a long buzz with beeps. “Betty & Barney Hill Through Franconia Notch – 1961” sounds like the occasional jangle of piano keys you’d expect to hear from a jazz pianist between songs. And the album-closing short track, “The Incident At Exeter – 1965” – the longest of the short entries at 1:21 – sets the musical ship down nicely, quietly, subtly landing the ship, setting us all down for our next adventure.
As I noted, in between the short cuts are longer songs. Among the more substantial numbers, you find aggressive guitar noodling and distorted thumping, tied together with an incessant rhythm on “Instantaneous Acceleration,” a title that’s exceptionally fitting; at 1:19 it’s actually shorter than the longest short number, but both stylistically and in the scheme of the album, it clearly qualifies as a longer cut. “Low Observability,” meanwhile, is more than three minutes of a humming buzz with spacey, atmospheric beats and twoinks bubbling up throughout. (Yes, I said “twoinks.”) “Hypersonic Velocities,” probably my favorite track on the album, particularly if you’re searching for a track to be enjoyed as a standalone song, has a peppy tempo, a thumping rhythm, a playful recurring hook, and a mostly-empty-space bridge that provides a mini-reset, helping extend the listener’s interest, allowing the faster tempo to resume, carrying the song’s energy to its abrupt end. And “Biological Effects” features the sort of spacey sounds you hear throughout the disc but through a lens of psychedelic rock distortion, replete with whining guitar and thick, chunky drums. The longer numbers cover a lot of ground, all within the album’s cohesive, experimentally spacey sonic lane.
The songs are carefully ordered on this disc, as there are some cool connections between the short and long tracks. Most notably, I can’t imagine “Transmedium Travel” without the “Black Triangle From the Atlantic – 2019” lead-in, but all of the transitions are well-considered.
When all is said and one, how The Six Observables makes for an enjoyable listen is something I can’t entirely explain. It’s the curse of trying to review experimental rock music. If it’s done well, an active listener will discover an enigma wrapped in a riddle. But I can tell you that the album is very well assembled, with the space/UFO encounter theme tying everything together, while the music is sonically expressive of such a theme. And yes, The Six Observables will grow into an old friend, albeit a weird old friend, after several listens.
Previous Geoff Wilbur’s Music Blog Coverage
You can find my review of Bob Lord’s April 2021 release, Playland Arcade, via this link. You can also find my reviews of two albums from Bob’s band Dreadnaught – Hard Chargin’ and Northern Burner – at the Blog.
I first reviewed a Chain Reaction album 25 years ago. And, as the new album’s title suggests, these straight-up classic rockers are Still in the Game, writing fun, catchy songs and delivering them with gusto, definitely appealing to a classic rock audience. Of course, a nice byproduct of discovering Chain Reaction was getting to know vocalist-guitarist Eric Harabadian. We connected 25 years ago after I wrote a review about how kickass his band was, and Eric has written for my various publications ever since. So yeah, this is Blog contributor Eric’s band. Well, the guys in Chain Reaction – Bobby D (guitars, vocals), Eric Harabadian (lead vocals, guitars), Larry Fritzley (bass), and Jeff Phillips (drums) – still kick it, which is several steps up from simply being “still in the game.”
image courtesy of Chain Reaction
To prove their mettle – metal? no, classic rock – Chain Reaction kicks off the first song, “Playmaker,” with a very AC/DC-like guitar riff. The song sports a rhythmic pace, a chorus that’ll have you anticipating the song title as you listen, and fun lyrics like “save the drama for your mama” that invite you listen closely for clever turns of phrase.
“Still in the Game,” the title track, is a classic-styled, rattling, jangly, mid-tempo classic rocker. The rhythm of the verses is likely to lull the listener into a steady-tempoed complacency before being jolted by the more insistent chorus; it’s an attention-maintaining trick used deftly by Chain Reaction in this never-too-old-to-rock anthem.
“In Our Own Image” has a peppier yet more sidewinding rhythm than the previous tracks. The vocal change of pace delivered early on during the lyrics “keep on, keep on lookin’ back” is one of the song’s many clever whiplashy tempo adjustments, which distract you from its thoughtful lyrics, requiring intentional listening to pay attention to the song’s thoughtful message. (Worry not, you’ll remember to pay closer attention next time.)
photo by Lisa Hagopian; photo courtesy of Chain Reaction
“American Son,” the penultimate track, is the most progressive rock-influenced song on this EP. The instrumentation is less dense than the previous cuts, while harmony vocals combine with the lyrics to craft an almost middle earth quest-like prog rock vibe.
Final track “Rumors of War” shows that Chain Reaction doesn’t shy away from difficult topics. The second-most proggy song on the EP, this would be a terrific rock ‘n roll entry for an issue-based anti-war compilation album with lyrics like “History has shown that when the tension’s overblown, it’s hard to see the forest for the trees.” Though not quite as memorable as Wyld Stallyns’ primary mantra, Chain Reaction, on this song seems to be imploring the world to “Chill out! And live in peace, dudes!”
As a whole, Still in the Game is raw and lightly produced, replicating the energy of a live Chain Reaction performance. It marks the first release in a quarter-century from one of metro Detroit’s finest classic rock acts, and it’s well worth the wait!
“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.
Hey there! You may have noticed a slowdown in the pace of my reviews the last few weeks. As longtime readers know, I write in fits and spurts, dictated by changes in work assignments and personal responsibilities that sometimes squeeze writing time out of my daily/weekly schedule. When things get busy, personal life outranks writing in importance. However, one of the things we do on a weekly basis at our house is music-related. Some Saturdays and/or Sundays, my wife and I enjoy a relaxing morning of coffee while playing music videos on our TV. Now, the playlist isn’t completely indicative of my personal preferences – we only play music we both like, and she doesn’t enjoy the heavier end of my musical taste (for example, I skipped over Europe’s “Hold Your Head Up” and Metalite’s “New Generation,” both of which I would have gladly played if listening alone, when YouTube suggested them this morning) – but the music we listen to during our weekend mornings covers a broad range of styles, albeit primarily pop-leaning.
Now, those of you who follow me on X know that I sometimes share my #PhoneOnShuffle playlist, listing the first several songs my phone shuffles up (out of more than 1,000 of my personal favorites) via X and then, if I’m out alone enjoying lunch or a long coffee break; when I run out of characters on X, I sometimes continue the playlist on Threads. Well, I thought you might enjoy a glimpse into my Saturday mornings by sharing the first dozen or so songs from this morning’s YouTube viewing/listening session. Sometimes we just let YouTube select the next song (since its algorithm has a long listening history as its guide). Other times, we intervene to skip a song or because there’s a specific song we want to hear. This morning’s YouTube listening session began with…
You know I’m a big iLO fan. Her voice is amazing, and “Safety Net” is one of the catchiest songs in her arsenal, a great co-write with Ålkemi that adds a hint of something different to iLO’s vibe. iLO has plenty of cowrites now and seems to only rarely release new singles of her own, which is a shame because her voice is amazingly engaging with a unique tone that sets her apart. Regardless, this is one of our favorite iLO songs, always a pleasant addition to a Saturday morning playlist. (My review of the EP that contains “Safety Net,” iLO’s Fragile Heart EP, can be found here at this link.)
This song from the Top Gun: Maverick soundtrack does a great job of showcasing Lady Gaga‘s powerful voice in a song package with broad appeal. I don’t usually go out of my way to listen to Lady Gaga, but when you hear her incredible voice, it’s almost impossible to leave mid-song. I also love the kickass scene in the video with the flyover.
“Drops of Jupiter” is just one of many Train songs I enjoy. I may get some pushback on this, but given my tendency to favor music with hooks and the potential for broad appeal, I place Train at or near the top of the list of mainstream rock bands whose hits primarily reside in the 21st century. The band is always willing to experiment, sometimes to the extent that I don’t initially recognize a new song as one of theirs, at least not until I recognize Pat Monahan’s voice, after which it’s unmistakable. Some of you know my advice about always experimenting with different styles or collaborations on at least two songs during a full-length album to avoid stagnating as a band. Well, Train does that in spades, which is why they’re one of my favorite pop-rock bands of this century.
This second iLO song on this morning’s playlist, selected by the algorithm (probably because I hadn’t strayed yet from the playlist that began with “Safety Net”), also appeared on iLO’s Fragile Heart EP.
I love this new Beatles song. I mean, how could you not? Is it a top ten Beatles song for me? Probably not. But it’s catchy and fun, and it becomes moreso with each subsequent listen. It’s also cool how the old and new footage is blended in the video. And, if you’ve not already, I’d recommend reading about how this song was recorded. Here’s a link to an Entertainment Weekly article about it.
Our Saturday morning coffee-and-music sessions have solidified my appreciation for Ed Sheeran‘s songwriting skills. His skill in blending different musical elements is noteworthy. His songs cross over with several pop-adjacent subgenres. I enjoy almost all of Ed’s hits and several of his “album cuts,” though his genius doesn’t necessarily exempt him from the old ratio, even among the best artists, of 3-4 our of 10 songs being hits while the rest are deservedly album tracks. I love what he’s trying, even when I think it’s a miss rather than a hit. But man, when Ed hits – as he does so often – they’re grand slams, not just bloop singles. Anyway, I always enjoy this song, and it’s one of the big production story-videos that probably only the biggest artists can afford to create. I studied video production as part of my undergrad degree, and, from a music-video perspective, many of Ed Sheeran’s videos are among my favorites, so it’s not just his music that I dig.
This is one of my favorite post-’80s Bon Jovi songs, and this is from more than 20 years ago. Even today, though, while Bon Jovi’s songs don’t connect with me as often as they did in the early years, new music from Jon and the guys is always worth a listen. And there are still great songs from the aughts like “It’s My Life” and “Have a Nice Day” from what would now, I guess, be considered mid-career for Bon Jovi.
We’ve sampled a lot of Passenger‘s music, and Mike Rosenberg (Passenger) consistently delivers heartfelt, enjoyable songs, but he’ll have a hard time replacing “Let Her Go” as his biggest hit. The song draws you in and, in the realm of YouTube playlists, is almost impossible to skip.
No, this isn’t a remake of the Sheriff hit from the ’80s. Instead, it’s the cool, jazzy pop song from Jason LaPierre and Kelsey Blackstone that I reviewed here at the Blog a couple months ago. The song is light and cheerful, and the video is playful (and is primarily shot inside a classic diner; fans of my Instagram #OmeletTour are probably aware of my predilection toward diners). It’s worth noting that this video was a New England Music Awards “Video of the Year” nominee this year. In fact, because this video is often part of the playlist I watch with my wife many Saturdays, I was able to recognize Kelsey at the New England Music Awards event, while I was unable to identify and chat with many of the artists I know because, as a music reviewer, I’ve met so few of them face-to-face, though I exchanged “Oh, you were there? I wish we had connected” messages with some people I’ve known online in the days following the event.
Another artist I’ve reviewed (twice, in fact), country ingenue Leah Belle Faser has several oughta-be-hits in her arsenal. This one is one of my favorites because, in addition to being hooky and memorable, the lyrics are clever and stinging. “Better Than Mine” appeared on Leah’s Crossing Hermi’s Bridge EP, which I reviewed here. (More recently, I reviewed Leah Belle Faser’s single “Trash Talk,” which also sometimes makes an appearance during our YouTube mornings.)
I defy you not to love this powerful old ballad, though I’ll grant you that it might be a little cheesy in spots because I’m in a forgiving mood when I listen to this song. (I forgive the video for its 50-second lead-in before the music starts. Though the pre-music scenes can be artistically clever, a long lead-in becomes a valid reason to skip over most videos after you’ve seen them a half-dozen times.) This Bryan Adams, Rod Stewart, and Sting collaboration for The Three Musketeers soundtrack features a trio of legendary rock ‘n roll voices that will help it hold up for a few more decades, particularly as the output of the individual artists inevitably begins to slow down at some point. (Not yet, though; Bryan Adams’ 2022 release So Happy It Hurts is a must-own album for mid-range, pop-friendly rock ‘n roll fans. His video for “Kick Ass” is an example of the too-long-lead-in rule I mentioned earlier; the song is one of my favorites, but the clever lead-in becomes increasingly harder to sit through after multiple viewings.)
This NSFW song is called “Pretty Liar,” I assume, because “pretty” would likely replace the f-word if the song were released to radio. (Does such a radio-friendly version already exist?) Instead, though, this particular song, from Shania Twain‘s 2023 Queen of Me album, became perhaps our favorite Shania Twain song by the end of our first listen, and it has continued to hold up well. It’s short – a quick shot in passing, I suppose – energetic, and fun to sing along to… but not if there are impressionable children or judgy adults around.
The music continued this morning, including songs from Andy Grammer, Rachel Platten, Dolly Parton, The Outfield, Rita Ora, Sara Bareilles, Cami Bradley, Lindsey Stirling, and more. But I only promised you 12 write-ups, so I’ll stick to that and get this posted.
Closing Notes
I hope you enjoyed this today. I thought a “Publisher’s Corner” column might be a nice way to convey quick-hit news and reviews from time to time. I’m not sure how often I’ll share weekend morning playlists this way. Perhaps, future “Publisher’s Corner” columns might include additional information of interest. What brought today’s write-up about is that I’ve been unable to work reviewing into my schedule lately. Sometimes, I’m not in a place where I can find time to play audio while I write, and that’s a requirement for me to write good album reviews. But I can write a column in silence.
Anyway, let me know if you like the idea of the occasional series of quick-hit reviews (or news) in this “Publisher’s Corner” format. And also if you enjoyed this peek into my listening habits, what I listen to while not preparing for the next review, and particularly the format of sharing links to a dozen or so music videos in a column like this. (Blog comments require my approval, but as long as you stay on-topic about the music or the bands or, really, anything related to the article/review, I always approve them. So please comment, either here or on one of our social media pages.)
Have a great weekend, everyone! And sorry for the slow flow of content lately; I expect to have more openings in my schedule to review albums and singles again in the coming weeks. (The first draft of yesterday’s review was written before Thanksgiving; yes, it took me that long to find time to proofread it!)
Also, I hope there aren’t too my typos here; I’m forgoing the proofread to get this out more quickly.
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.
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.
Sometimes I know from the beginning of the very first song that I am going to review an album. Even if the rest of the album was weak, I needed to tell you about the first song. Well, in the case of former Grinspoon frontman Phil Jamieson‘s Somebody Else, the opening number (the title track) was such a song, while the rest of the album is most certainly not weak, containing several other soon-to-be-favorites. In fact, it’s a cool, chaotic, moderate-paced, buzzy, mainstream-ish, classic alt-rock album with distorted guitar hooks and pop songwriting sensibilities.
image courtesy of BJF Media
“White Wedding”-era Billy Idol, Blondie, Duran Duran, The Cure – Phil Jamieson’s Somebody Else doesn’t sound like any of these bands. In fact, each of those artists I mentioned is farther from Phil’s sound than the one before. However, I wouldn’t be surprised to find Phil sharing a bill or a radio playlist with any of them. By the same token, I’d add bands like Green Day and Heart to that playlist, as well, to connect with the crisper side of the pop-friendly tunefulness in Phil’s sound. In the end, Somebody Else is simply an album of well-conceived rock songs, varying in style around an identifiable center, from the lead singer of a popular Australian rock band whose biggest hits were mostly two decades ago. That is to say, with Phil’s rock ‘n roll pedigree, it’s no great surprise that this is a good record.
Album-opening title track “Somebody Else” begins with a guitar buzz and a neatly-voiced call to arms, drawing the listener in before turning to into a classic, funky alt-rock number. Well-phrased vocals, a wall of sound that’s at-times static, some distant drums tapping, twangy guitars, and an insistent, driving vocal that holds everything together. The songwriting somehow corrals a seemingly disparate array of sounds into an engaging, catchy, memorable tsunami of sound and melody. Simply put, this song is oh, so very cool! By itself, worth the price of admission.
photo by Ian Laidlaw; photo courtesy of BJF Media
But it doesn’t end there. The talented af Jamieson has many more tricks up his sleeve. “Trouble,” next, begins with his anguished, slow-building vocals leading to a distorted guitar-filled chorus. Then the song pauses, starts slow again, and builds toward the chorus. At this point, the album may remind you of Ryan and Pony’s Moshi Moshi, which I reviewed here, but on acid.
These songs all sound so familiar, and yet very original. “Lights On” sports a lot of distortion and buzz, but it also goes on these almost pop-soul runs that I swear I’ve heard somewhere before, but I can’t quite place from whom. It’s just a really wicked cool vibe with a defiantly youthful rock energy.
“Rebecca” could be a ’90s pop-rock hit. Low-fi tinny guitar strums keep time for Phil’s voice, which is the song’s real star. Meanwhile, the lyrics are so well-written that, after you’ve gotten past digging the sound and start digging into to the verses, you’ll enjoy the song on a higher level. For reference, this is the sort of song you might expect from an edgier Howard Jones.
photo by Ian Laidlaw; photo courtesy of BJF Media
“Kapow!” is light and airy yet rebellious, sounding a bit like a U2 song but cheerful, quite probably thanks to the playful guitar line with just a smidgeon of punk rock distortion.
“YCBM” follows, opening with a haunting, Addams Family-ish tone, then develops into a statically ethereal, somewhat psychedelic number. (The chorus reveals the cryptic song title in the lyric “you could me mine.”)
“Rubberband” is jangly singer-songwriter fare, with an electronic buzz accompanying Phil’s sometimes cracking, hoarse vocal delivery.
Phil goes full-on haunting again to close the collection. “Little Pickle” features anguished vocals supported by a floatingly atmospheric, spacy soundbed.
photo by Darren Chan; photo courtesy of BJF Media
And that’s it. Eight songs. One of the coolest albums you’ll hear this year. And, by that I don’t just mean that I enjoy the album. No, it seems like an album that’s too cool for you. An album so cool it’d wear sunglasses at night. And yet you’re being allowed to listen to it. But the music is so impressive and the songs are so memorable, you’ll forgive the album for its hubris.
Looking Ahead
If you scroll down to the “Tour Dates” section of Phil’s web page, you’ll see that he’ll be touring extensively throughout Australia early next year, starting on Thursday, January 11th in Kings Beach and concluding on Sunday, February 11th in Longley. Catch him if you can.
The New England Music Awards are the big regional music awards in New England. This year’s NEMA ceremony was held at the Six String Grille & Stage in Foxborough, MA. The room was filled for this year’s big event.
Winners were announced in 28 categories, plus a “decade” award was awarded. Interspersed among the 29 awards were ten live performances. The award winners are listed on the NEMA website. I’ll also mention them in this review, but I’ll focus more on the live performances. In particular, I’ve included a photo from each of the live sets. My notes from the evening are a little sparse, though, so the music reviews will be more of the quick-hit variety than the longer-form reviews you’ve come to expect from the Blog.
Adam Lopez and Annie Brobst; photo by Geoff Wilbur
Almost all of the evening’s performers were on the ballot this year, with several of them winning. The sets covered a broad range of genres, with talent representative of the best of the New England music scene.
The musical program kicked off with a set from two-piece power duo Muddy Ruckus, whose set was a heavy rockin’ jam. 20 minutes of thumping groove. An auspicious start to the evening!
Adam Lopez and Annie Brobst; photo courtesy of New England Music Awards
Following the opening musical set, the evening’s co-hosts, Adam Lopez and Annie Brobst, took the stage to welcome the roomful of many of the region’s talented musicians, some music industry representatives, and music fans and supporters.
With the first few artists finally in possession of their awards, the next performer to hit the stage was Mary McAvoy. Oh, what a voice! Mary is a kickass, soulful, pop-friendly singer with a big, powerful voice. Big enough to grab the attention of a music industry crowd that seemingly stopped what they were doing, briefly, and took notice when she started to sing.
Vicky Lynch, Ruby Shabazz, and Fee the Evolutionist; photos by Geoff Wilbur
Next up was the New England Music Awards’ “in memoriam” tribute to artists we lost this past year. For this performance, 2022 NEMA winner (for New Hampshire rising star) Fee the Evolutionist was joined by Ruby Shabazz, DJ Myth, and Vicky Lynch with her band. Artist tributes included Sinead O’Conner, Tina Turner, and I thought I heard some Biz Markie. I was psyched to hear Fee perform because I remembered sampling his music when voting for the 2022 awards. I had been looking forward to hearing him perform, and he is definitely impressive and engaging, but man, the singing talent joining him for the tributes was powerful – that exact word, “powerful,” resides in my brief notes for both Vicky and Ruby. Vicky’s performance of “Nothing Compares 2 U,” in particular, caught my ear as something quite special.
That compelling performance segment was followed by the announcement, by Gerg Anidem of Indie Scene Radio, of the Rock Act of the Year (Moxie) and Hard Rock/Metal Act of the Year (Sepsiss) award winners.
Dakota Smart; photo by Geoff Wilbur
Dakota Smart; photo courtesy of New England Music Awards
Cool pop singer-songwriter Dakota Smart took the stage next, treating the audience to his talent via guitar, keyboard, and very nice vocals. This dude’s talent features tempo and style changes… and a hint of a country feel at times, which is a very good thing for a pop singer-songwriter these days.
John also presented the “Decade Award” to Jay Psaros.
Air Traffic Controller; photo by Geoff Wilbur
Air Traffic Controller; photos courtesy of New England Music Awards
The next band to take the stage was one of New England’s more celebrated local acts. Indeed, Air Traffic Controller has been on my radar for a while now, whether from reading about the band’s accomplishments or simply enjoying their music when it shows up on playlists. The band’s performance of catchy, poppy rock music is big-stage caliber, and their NEMA performance was nothing short of a brief big-stage concert.
After Air Traffic Controller’s performance, I presented the awards for Blues (The Name Droppers) and Jazz Act of the Year (Smug Honey).
12/OC; photo by Geoff Wilbur
12/OC followed, bringing some big-twang country to the evening, though it was their kickass, growling rock cover of “In the Air Tonight” (yes, really!) that brought the house down.
American Ink; photo courtesy of New England Music Awards
Then American Ink, who had won the Rising Star: Massachusetts award earlier in the evening, took the stage. Simply put, these dudes are a really good rock band. They’re tuneful rockers with an edge and a hint of punk swagger.
Mutu4l; photo courtesy of New England Music Awards
The next performers were Mutu4l, pairing Rising Star: Maine winner Tyler Levs with Joliet4. The duo delivered an enjoyable set packed with strumming and harmonies. Light and airy, with a pleasant vibe, for the most part, though the song “My Curse,” notably, was much heavier, showcasing the pair’s versatility.
The Midnight Anthem; photo courtesy of New England Music Awards
The next performers were The Midnight Anthem, the trio of singer-songwriter cousins who won the Rising Star: Connecticut award earlier in the evening. They delivered a performance full of catchy pop-country with great harmonies. They closed their set with a very cool, countrified version of Guns N’ Roses’ “Sweet Child O’ Mine.”
Their performance was followed by a trio of award presentations. Jeff Rosen of Cherrywood Records presented the Male Performer (Nick Casey), Female Performer (Annie Brobst), and Songwriter (Lainey Dionne) of the Year awards.
Mel Go Hard’s showcase; photos by Geoff Wilbur
Mel Go Hard’s showcase; photo courtesy of New England Music Awards
The last performer of the evening was this year’s Producer of the Year, Mel Go Hard. As a producer, Mel works with a wide range of Boston’s talented R&B artists, so her set showcased of several of those artists, some of whom perform with Mel on her After the Storm album. Mel was joined on stage by and/or yielded the stage to Amandi Music, SING, Atikin Rose, Hakim Hakim, EXITFAME, Dutch ReBelle, and DJ OG Domo. I didn’t take notes on the individual artists during the set, but suffice it to say, I was continually (sequentially?) impressed by the excellent vocal talent featured in Mel Go Hard’s set. The crowd was into each and every one of these artists; I’d go see any of them perform in a heartbeat. I’ve hotlinked the artists’ names to their web pages, as I usually do, so if you’re looking to discover new artists in this genre, start here!
Thus ended the “performance segment” of the program, with a few big awards remaining to be announced.
The evening concluded with Artist of the Year Frank Viele’s acceptance speech, in which he announced his intention to launch a record label, Bigger Beast Records. Frank shared what he remembered from his speech and a little bit about the new record label in a message on his Facebook page.
Thus concluded a fun evening at an event celebrating New England’s music scene. Obviously, the awards themselves are of importance to those nominated. I’ll add that this year’s nominee list was so talented I found it difficult to fill out my ballot, so for those who didn’t win, it really was an honor just to be nominated. (And I know most of the musicians realize that.) For music fans – tickets were available to the general public – I can confirm that it’s cool being there when people win their awards, but even setting that aside, the performances alone are worth the cost of admission. I look forward to seeing everyone there again next year!
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.
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.
So, do your musical tastes include swing and soul-infused, ’50s-style rock ‘n roll? The Vintage Explosion delivers a lot of music you might expect at a Happy Days sock hop or at Back to the Future‘s Enchantment Under the Sea dance, but the band’s repertoire extends far beyond that, as well. Riding the inimitable, versatile voice of singer/bandleader William Hitchell, the group’s talents span great swaths of early rock ‘n roll, swing, and even blues. How good is Hitchell’s voice? As the band notes in its promo material and on its website, Rod Stewart has stated, “The Vintage Explosion’s Willie is the best white soul singer I’ve ever heard.” Stewart’s high praise is certainly not misplaced.
Among famous contemporary artists, who’s most comparable to The Vintage Explosion right now, you ask? Well, if you’re a Michael Bublé fan, you’ll love these guys. Will you like them better than Bublé? Their delivery, while similar, is a little different, so it’s a toss-up.
image courtesy of Lander PR
The Vintage Explosion boasts a following that fills clubs, concert halls, and theaters, yet Havin’ Such a Good Time, is the band’s first album of originals. It’s an album with a big, theater-filling sound centered in ’50s soul-inspired rock ‘n roll. As you listen to the disc, you’ll be sure you’ve heard many of these songs before, they sound so familiar. They’re also so well-written that, in many cases, you’ll be sure they’re old favorites. They’re not. I’ve checked. They’re new favorites.
The title track, “Havin’ Such a Good Time” is, itself, a good-time rocker with a bluesy lyric and a humorous turn of events over the course of the song, so pay attention. Featuring flashy ivory-tickling, including as the opening lead-in, a prominent, rhythmic horn line, and an old-school, ’50s rock guitar solo, the song showcases a broad range of The Vintage Explosion’s capabilities, including the fact that, regardless of what’s happening musically, Hitchell’s expressive, “vintage” voice is always the star.
“Tired of Runnin’,” next, is a slow-paced crooner, ideal for the first slow dance of the night.
“Stupid Heart” is a jump, jive, and wail kind of uptempo oldies rocker, with some cool use of the drums to bring about mid-song resets each time the musical energy comes to a head, providing some attention-maintaining variance to the tempo.
“Take My Troubles Away” is a soulful, blues-leaning song, with vocals and harmonica providing a different vibe to the group’s by-now-familiar big, swinging rock ‘n roll sound.
photo by Andy Laing; photo courtesy of Lander PR
“Ain’t Got Enough (Money Honey)” is another swingin’ rock ‘n roll number. If you’re up for it, try doing the twist to this short, barely two-minute-long, fun song. Some Jerry Lee Lewis-esque piano-playing and jazzy hornwork help drive this song at breakneck pace.
“Lay in Your Arms” is a mournful ballad that reminds me a bit of “Try a Little Tenderness,” particularly in the opening. (I can almost hear Bull Durham‘s Nuke LaLoosh misquote the lyric “she may get woolly.”) But I digress. “Lay in Your Arms” is powerful, in no small part thanks to the way singer Hitchell gets at least five syllables out of the word “arms” during certain runs through of the chorus.
Soulful mid-tempo ’50s rock ‘n roll returns next, on “Just a Little Bit.” It’s a very AM-radio, oldies-station number with some clever back-and-forth between the lead and background singers to distinguish the song’s vibe a little from the other tunes in this collection.
“That Girl is Mine” is a fun, uptempo number driven by a plucking, thumping bass line. The song accelerates ever so slowly throughout until it’s at nearly a breakneck pace by the time the extended late-song horn solo comes along, closing at an almost-quick stop, like a good swing number or as in many ’50s TV theme songs.
photo by Andy Laing; photo courtesy of Lander PR
The penultimate song, “Don’t Knock Upon My Door” is yet another crooner, the third true danceable ballad on this album, even though there’s a little stronger soulful wail than in some ballads and some places where the tempo speeds up that’ll need to be ignored to maintain that good ol’ sock-hop slow-dance sway.
Havin’ Such a Good Time closes with perhaps my favorite song on the album, “Rockin’ Chair.” It’s a song that sounds so familiar I had to check a few times just to believe it’s a new original. It’s another song I might try twisting to, but mostly I just sing along. You, too, will find yourself joining in on the lyrics “Get out! Get out! Get out of my rockin’ chair.”
And that, sadly and far too soon, is the end of the album. In Havin’ Such a Good Time, The Vintage Explosion has composed a clever, invigorating, nostalgic album – pre-nostalgic for most of us, in fact. It’s a style not widely available in the music marketplace right now, which may be one reason this album is so much fun. The other reason, of course, is that the performance is nearly flawlessly executed. And, while The Vintage Explosion maintains a cohesive, identifiable sound throughout the album, it’s the small song-to-song differences that make Havin’ Such a Good Time such a wonderful listen. Take my word for it – give this LP a spin!
photo by Andy Laing; photo courtesy of Lander PR
Looking Ahead
The Vintage Explosion has shows scheduled in the UK and Ireland, from a November 29, 2023 gig at The Cavern Club in Liverpool to a November 9, 2024 concert at Usher Hall in Edinburgh, with several other dates scattered in-between. Be sure to check out the “Tickets” page on the band’s website to see when and where, and then check back periodically to discover new dates as they’re added.
Looking Back
Before Havin’ Such a Good Time, The Vintage Explosion released a couple albums of covers. Earlier in 2023, the band released Live at The Liquid Room, and in 2022, the group released The Vintage Explosion (Live at The Blue Arrow Club). On those cover song albums, you can find the band’s renditions of classics like “Why Do Fools Fall in Love” and “Smoke Gets in Your Eyes.” You can stream those releases, along with the new album, on the band’s Spotify page and elsewhere.
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