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

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Lansdowne

photo courtesy of BJF Media

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

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

Lansdowne – "Safeword"

image courtesy of BJF Media

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

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

Lansdowne – "Bury Me"

image courtesy of BJF Media

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

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

Lansdowne

photo courtesy of BJF Media

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

Looking Ahead

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

EP Review: Davey O. – Some Days

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Davey O.

photo by Dave Snyder Photography; photo courtesy of Davey O.

EP Review of Davey O.: Some Days

Davey O. is a hoarse-voiced, folk-leaning, singer-songwriter everyman who draws upon common human thoughts, feelings, and experiences to produce music that’s warm, welcoming, and capable of touching the emotions of his listeners. His music is sometimes introspective, other times observational, frequently insightful. His coarse, emotionally straining voice is thoughtful and earnest. There are a lot of acoustic guitarslingers out there – so much so that they often seem to blend together. Well, Davey O. doesn’t blend; seemingly subtly, he stands out. So, it’s with great pleasure that I find myself reviewing Davey’s latest recording, his Some Days EP.

The 6-song EP is rather wistfully nostalgic. It’s not sad, per se, though you’d be forgiven thinking it might be given some of the song topics, but it’s observant enough that it delivers a more matter-of-fact outlook on life. There are some positive moments, some pleasant lyrics, but on the whole, the EP is as much about paths not taken, wishes not granted, the unspoken determination to find to pockets of joy in a world that’s gray more often than it’s colorful, and the camaraderie of sharing the journey with others who experience the world similarly. I’ve taken some liberties with that description, extrapolating a bit on the lyrics and the tone, so your experience with this record may differ slightly.

Davey O. – Some Days

image courtesy of Davey O.

The record opens with a steady strum, joined soon by Davey’s gruff, plaintive vocals, singing introspectively about “The Hand of Doubt,” opening up in the most relatable of ways. It’s such a compelling song that I’m willing to forgive – and often forget so much that I’m surprised anew by – the rhyming of “doubt” with “doubt.” It’s a strong opening number that’ll draw you in.

“Travelogue,” next, is simultaneously thoughtful and observant, and it opens with one of my favorite lyrics: “At the rest stop there are people going places that I’m not.” It always makes me smile, even as the song – in tone and lyrics – waxes nostalgic, but sorrowfully so. The closing lyric, “Hold your head up, smile, and wander this world,” ends on what passes for an upbeat note within the song’s context, though it’s not particularly convincingly positive. “Travelogue” is touching and powerful, a well-written and forthrightly-delivered song.

“For a Little While” is a little lighter musically, though Davey’s coarse delivery and the song’s subject matter paint a lonely picture of life on the road, interspersed with the pleasure of spending a little time with the occasional friendly face. It’s an engaging song with a semi-peppy tempo, providing the spoonful of sugar that helps the solitary musical medicine go down.

Davey O.

photo by Dave Snyder Photography; photo courtesy of Davey O.

“A New Season” is a winter’s lament, but it’s a warm song because it sings about the payoff of struggling through a wintry drive. In other words, the return home. Some of the lyrics are quite touching, but my favorite clever lyric is delivered early in the song, “It’s been weeks since I’ve seen the lawn.” Those of us in the snow belt can all relate, but most of us probably not as much as Davey’s neighbors in Buffalo.

“Texaco Sign” is a John Mellencamp-ish slice of nostalgia, but Davey O. style. Davey utilizes a heavy strum in support of his harmonica to provide a sturdy opening, then fills the void with his strained, hushed-yet-somehow-powerful vocal. It’s kind of the opposite of a travelogue; Davey takes a trip back in time but remains in Buffalo. Though I’m not personally familiar with Griffith Street Park or the location of the titular sign, this well-voiced time capsule takes me back in time to my own personal equivalents for a pleasantly nostalgic visit.

“Some Days” closes the EP with relatable lyrics about the ups and downs of life, mixing in imagery of winter approaching that are as symbolic as they are concrete images. The song is guided by a steady strum and Davey’s persistent, consistent, emotional voice, two things that are constant throughout this EP but vary noticeably from song to song. Familiar yet unique, the cornerstone of Davey O.’s broad, dependable appeal.

In the end, this is a terrific record. And I guarantee that, when you listen to it, it won’t come across nearly as heavy as the description I’ve offered above. Instead, you’ll find yourself lost in Davey O.’s textured voice, lulled comfortably by his strong, rhythmic strumming, having thoroughly enjoyed a six-song collection that doesn’t paint the easiest life. Because Davey O. is a storyteller, you can’t help but be comforted his by tales so well told.

Davey O.

photo courtesy of Davey O.

Looking Ahead

Davey O. tours extensively. His shows are immersively engaging, so catch him if you can. You’ll see his performance are more concentrated near his Western New York home, but you can catch gigs throughout the northeastern United States and parts of Ontario if you keep your eyes open. The “Tour” page of Davey’s website is a great place to find upcoming performances near you. At the moment, he’s scheduled to play extensively around New York state from now through the winter. His first out-of-state performance, among those currently scheduled, is nearly six months away – an April 27, 2024 performance in Washington, DC. So those of you in New York State, check out that concert calendar! And the rest of us should check back periodically, since Davey’s adding dates all the time.

 

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

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Erin Gibney

photo by Margaret Anna Media; photo courtesy of Skye Media

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

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

Erin Gibney – "You Made Your Bed"

image courtesy of Skye Media

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

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

More About Erin

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

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

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

Single Review: Entundra – “Falling Down”

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Entundra

photo by David B. Combs; photo courtesy of Spaur Metal Promotions

Single Review of Entundra: “Falling Down” (Sliptrick Records)

Entundra is a band out of Fargo, North Dakota whose music straddles that fine line between hard rock and metal. Formed on May 8th, 2021, by Michael Dee (drums) and Topher Bratland (vocals), Entundra cites influences that include Seether, Thrice, Shinedown, Rise Against, and Bring Me the Horizon. Dee and Bratland have been joined by a few different guitarists and bass players. Sam Babler (lead guitar) and Ryan Aarhus (bass) are listed on the press material for “Falling Down.” However, according to this September 28th Facebook post, Trai (bass) and Casey (guitar) are Entundra’s newest string section.

Entundra – "Falling Down"

iamge courtesy of Spaur Metal Promotions

Entundra’s “Falling Down” is a tuneful, hard-driving hard rock song that dances around the edges of both metal and alternative hard rock. The song kicks off with drums and guitars at autobahn speed and doesn’t slow down – with the exception of tempo-changing choruses that soar a bit more – until the very end. The vocals maintain an almost pop-punk rhythm in the verses, though with a hint of an edgy alt-rock vocal timbre and a hard rock/metal attitude. The vox stand out in that they’re almost tuneful; I get the sense Bratland could sing just about any style he wants, but I’m glad he chose this one. Shifting the attention from the vocals back to the music, the recurring, recycling, uptempo rhythmic guitar line and drum beat are the hook. They push the song forward while forcing their way into the listener’s brain as an enjoyably insidious earworm. In the end, I have a simple recommendation: Check out this song! “Falling Down” has ample speed for hard rock/metal fans, vocals that’ll reach listeners across a broader musical spectrum, and a sneaky-memorable hook that’ll leave you wanting more.

More Recently

Since the release of “Falling Down” on July 15th, Entundra has released two more singles – “Think” on September 8th and “Voices” just a couple weeks ago, on October 30th. “Think” is a heavy power ballad with a slow tempo and a lot of open space. “Voices,” meanwhile, has an edge that’s a bit heavier even than “Falling Down” – and includes a few screaming heavy metal vocals in spots – but it still ticks many of the same boxes as “Falling Down.” This trio of songs suggests the likelihood of a cohesive yet varied collection whenever Entundra drops its full-length album.

Entundra

photo by David B. Combs; photo courtesy of Spaur Metal Promotions

Looking Ahead

A 2023 album to be entitled My Only Sin was planned, at least at the time of the “Falling Down” single release, but it does not appear to have been released yet. The band has released ten singles in the last couple of years, so there’s plenty of Entundra music available on outlets like Spotify. In fact, if My Only Sin is released one of these days, I wonder if those are going to be the ten songs – if the album has already been released one song at a time – or if there’s more to come.

The best way to stay up-to-date with Entundra is via the band’s Facebook page. For those who would like to catch Entundra live, the “Events” tab of band’s Facebook page lists a Saturday, November 18th performance at the Midway Saloon in St. Paul, MN. Of course, follow the band on Facebook for more shows as they’re announced.

Album Review: Willie J Laws Jr. – Too Much Blues

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Willie J Laws Jr. – Too Much Blues

image courtesy of Frank Roszak Promotions

Album Review of Willie J Laws Jr.: Too Much Blues (Pilot Light Records)

I’m fortunate to live in a region where one of the country’s top bluesmen, Willie J Laws Jr., performs regularly; he is almost certainly New England’s favorite transplanted Texan. And yet I haven’t taken much advantage of my proximity. In fact, I haven’t seen Willie perform since he played some guitar at a Cheryl Arena concert I attended several years ago. And I still haven’t seen him perform with his own band. However, thanks to this release, Too Much Blues, I’ve been listening to a lot of Willie’s music lately.

I’ve seen Willie referred to as “the last prophet of the funky Texas blues,” and I wouldn’t argue with that assessment. This disc showcases the breadth and depth of Willie’s talent. His vocals can range from mourning to defiant to joyful, from smooth to gritty. His guitar can weep, can soar, and can jam with the best of them. Willie J Laws Jr. is the consummate blues performer, and Too Much Blues does justice to his diverse talents. Plus, it’s simply a great listen, so grab (or stream) a copy and immerse yourself.

Willie J Laws Jr.

photo courtesy of Frank Roszak Promotions

Too Much Blues opens with “Regl’Ol’ Blues.” Stylistically, the song is a slow-moving, rhythmic blues dirge, with both Willie’s voice and his guitar emitting woeful, blue pain. This song also sneaks in one of my favorite lyrics on the disc – “I think you need to Google you some Bobby ‘Blue’ Bland” – possibly because it’s the first time I’ve heard “Google” mentioned in a blues lyric.

Willie showcases some cool vibes and varied approaches on different songs. “Better Off Blue” features adds a groovy ’70s vibe. Later in the collection, “Love Before You Die” and Willie’s cover of the Willie Dixon-penned “I Want to Be Loved” position Willie as a blues beat poet, with sparse instrumentation and interesting spoken-sung cadences.

“Stuck in Traffic” is a relatable favorite, at least for those of us who drive cars, and it includes a few lyrical gems like “I’m goin’ slow, nowhere fast. Yo nephew, get up off my ass.” Despite the 5-plus minute long string of traffic jam complaints, this song has a smooth enough vibe, bouncing along pleasantly, with some jazz key noodling providing an almost Schroeder-esque feel (yes, that’s a Peanuts/Vince Guaraldi reference), that it might actually calm me down if I listened to this song while stuck in traffic. Not that I want to find out.

Willie gets timely and political convincingly on a trio of tracks. First “Getcha’ Knee Off My Neck,” deploying some attention-grabbing horns to amplify the attention-worthy main point, and then later in the disc during “Ain’t Going Back to Texas,” a song with an almost country-blues dancehall flavor (or maybe an old midday in a blues joint feeling) that opens with an introduction noting that “Willie J Laws [is a] sixth-generation Texan with a message.” Yes, Willie is a proud son of Texas and purveyor of the funky Texas blues, noting “I’d love to come back home, but sometimes I don’t think I belong down in Texas,” but man, what a good song documenting damn solid reasons for discontent. And Willie, we’ve got your back in New England, and we’re glad you’re here. Finally, not letting America in general off the hook, Willie tackles America’s “original sin” (my words, not his) groovily on “The Right.” Protest songs are a fine American tradition, and Willie’s are quite strong.

Backing things up a bit, “Sorry Charlie” is a twangy country-blues number with a knee-bouncing/toe-tapping energy and a tempo powered by a jamming harmonica line.

The title track, “Too Much Blues,” is a convincing, close-your-eyes-and-bounce-along, blues groove, with organ for emphasis, mixed with meandering guitar and plucking-filled solos, and starring vocals that build to the occasional anguished blues wail. It’s followed by “You Don’t Love Me,” a funky blues number that makes the point “You don’t love me, baby; You just love what I do,” and then it elaborates upon that point. The result is a cool number that includes a few opportunities for guitar solos during which the guitar itself seems to be speaking, corroborating the points made in the vocals.

Willie closes the album with his cover of The Isley Brothers’ “Who’s That Lady.” The guitar groove and backup vocals here both harken back to the sixties or seventies, exploring the intersection between smoky blues joints and shag carpeting, bringing to mind being a young child, sitting in bean bag chairs in a room with the ’70s color palette of orange, yellow and brown, watching Soul Train. Or maybe that’s just me. But it’s cool – I mean, it’s groovy – to end the disc with a well-performed nod to nostalgia.

If I haven’t, by now, successfully painted a picture of one of the best blues albums of 2023, well, then that’s a failure on my part. Willie J Laws, Jr.’s Too Much Blues is an essential addition to any blues collection. Give it a listen.

More Recently

Willie was nominated for a New England Music Award in the Blues Act of the Year category. Voting has concluded, and NEMA winners will announced during a ceremony at the Six String Bar & Grille in Foxborough, MA on November 12th.

Looking Ahead

According to the “Tour” page of Willie’s website, you’ll have several chance to catch a live performance around New England before the end of the year. Willie’s next scheduled performances are November 9th in Wakefield, RI; November 16th in Sharon, MA; November 18th in Springfield, MA; November 20th in Rockland, ME; November 24th in Lowell, MA; December 1st in Putnam, CT; and December 29th in Cambridge, MA. Check Willie’s website for additional details about those performances and for news of additional shows, as they’re added. Willie’s Facebook page also mentions a Sunday, November 12th brunch performance in Boston; obviously, see the appropriate website for details about that, too.

Single Review: David Martinez – “Fast and Hard”

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David Martinez – "Fast and Hard"

image courtesy of LadyLake Entertainment

Single Review of David Martinez: “Fast and Hard”

David Martinez is classic, radio-friendly guitar rocker in the vein of Rick Springfield, Bryan Adams, and/or Bruce Springsteen – a hard-rockin’ axeslinger with pop sensibility and the potential for broad appeal. The award-winning South Texan musician already has the accolades; now he delivers what would be a big-time, hooky hit single if it caught the attention of the right eyes and ears. It’s a song that has hints of .38 Special in the guitarwork and shades of Rick Springfield and even a bit of Jackson Browne in the delivery. But I’m getting ahead of myself.

Martinez’s “Fast and Hard” comes out of the gates strong and energetic, drums and hand-claps leading to a quick-hit guitar riff, with vocals quickly following. It’s an ideal attention-grabbing opening, followed by a quick run through the opening verse that leads to the big payoff, the hooky first chorus. From there, the song continues to build. This lively, fun song about falling in love employs well-placed sax work – absolute catnip to the ears of a mid-tempo rock fan, when done right – including a soulfully rockin’ sax solo during its mid-song bridge. Some key lyrical ’80s rock callouts (the lyric “we were dancing in the dark, we were blinded by the light” and an actual reference to Springsteen) ensure throwback rockers will get that adrenaline boost from the sense of nostalgia. And at its conclusion, the song ends hot, with guitar, drums and sax going full-tilt right up ’til the last second, leaving fans wanting more.

“Fast and Hard” is the textbook hit single from the glory days of mid-tempo rock on the radio, but it’s not as easy to pull off as the phrase “textbook” might suggest. David Martinez nails it. I thoroughly enjoy this song, and if you like guitar-driven rock ‘n roll, you will, too!

I’ve long dug Martinez’s music, ever since catching his performance at a LadyLake Music showcase a few years ago, but this is perhaps his best single to date, at least in relation to its broad audience appeal and hit potential. I expect this to be a fan favorite for years to come – that song a big-stage artist would save for his encore, knowing it’ll draw screams of joy from his fans when they hear the first notes.

Looking Ahead

David Martinez just shared his November performance schedule here on Facebook (and also here on Instagram). He’s slated to perform tonight at the John Wesley Saloon in Corpus Christi, TX.  Indeed, the best way to keep up with David’s live performance would be by following his social media accounts, particularly Instagram and/or Facebook.

Album Review: George Lynch & Jeff Pilson – Heavy Hitters II

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George Lynch & Jeff Pilson – Heavy Hitters II

image courtesy of Glass Onyon PR

Album Review of George Lynch & Jeff Pilson: Heavy Hitters II (Deadline Music)

The long-awaited follow up to Heavy Hitters has finally arrived. On Heavy Hitters II, George Lynch and Jeff Pilson add their inimitable melodic metal personalities and zeal to a whole new set of already well-known songs. The original versions of these songs spanned several genres, but in the hands of Lynch and Pilson, they have been transformed into power rockers.

For this latest endeavor, the reprise, George and Jeff are again joined by Brian Tichy on drums, while Bernard Fowler provides lead vocals for the entire album, with guest vocals from Corey Glover on one track (“Smokestack Lightning”).

As I noted in my review of the first Heavy Hitters album, I really dig it when popular songs are transformed to new genres; well, when they’re done well, of course. And George and Jeff pick up where they left off, delivering a new batch of reimagined classics. The arrangements, the performances, the production – and, of course, the talent – are all top-shelf.

Peter Gabriel is the first to get the Lynch/Pilson treatment this time, as this band cranks up the volume and the crunch with its rendition of “Sledgehammer.” George’s axework is so at-home here, I can barely remember the pop version of the song. A funky, hard rockin’ update of Crosby, Stills, Nash & Young’s “Carry On” follows, featuring plenty of Lynch’s guitar noodling and some ’70s-ish rock harmonies atop a noisy rhythm sound bed.

George Lynch & Jeff Pilson – Heavy Hitters II

image courtesy of Glass Onyon PR

I can always get behind a redux of “The Stroke.” The ever-underestimated Billy Squier’s always-unique rhythm is maintained from the original, but the heavy rock quotient is amped up a couple levels. “The Stroke” was already a banger even before getting the Heavy Hitters treatment, but this rendition really kicks ass.

Next up is “Radioactive,” which was the album’s first single. Again, the Imagine Dragons original was pretty rockin’, but Lynch and Pilson have accelerated the tempo and added a lot more guitars, and Fowler’s vocals add a rough-hewn hard rock edge to the song, almost turning it into an all-new, unique creation.

The band puts a heavy rock rhythmic steamroller behind Howlin’ Wolf’s “Smokestack Lightning,” and if you like a wall-of-noise backdrop framing your heavy rock, it’ll be one of your favorite songs.

However, it’s the next song that really stands out for me as quite probably my favorite song on Heavy Hitters II. It’s a funky melodic metal rendition of Sam & Dave’s R&B classic “Hold On (I’m Coming).” The song doesn’t flow in a straight line, despite the overwhelming recurring rhythmic hook. The chorus (essentially, the song title) is unfailingly sing/screamalong-worthy. There are some nifty little guitar flourishes to add color. And Fowler’s vocals simultaneously fan the flames and rein in the energy of the frenetic tempo. I know I always preach listening to an album beginning to end, especially when a lot of thought seems to have been given to song order, but sometimes I repeat this song a couple times before continuing.

The next song is no slouch, either. It’s a hard rock version of Sam Smith’s “Stay With Me,” one of those songs you just knew, when hearing the original, would sound good with crunchy guitar and hard rock vocal delivery. It’s followed by “Shout”; the ’80s Tears for Fears hit is sped up a bit, causing the drums to be more obviously prominent. Of course, Lynch’s guitar is omnipresent, but even at the faster tempo, the song is left surprisingly, refreshingly airy, with plenty of open space. And Fowler’s anguished vocals on lyrics such as “jump for joy” and “tell the tale” are an edgily effective treat.

For the next offering, Lynch & Pilson stay in the ’80s, rearranging another of that decade’s big pop-rock hits, amping up INXS’s “New Sensation.” They don’t touch the song’s classic, identifiable hook, but a faster tempo and a slightly revamped, prominent, funky-thumping bass line give the song a whole new feel.

An energetic cover of the Rolling Stones’ “Jumpin’ Jack Flash” is next, followed by a powerful reimagination of Sly and the Family Stone’s “Thank You (Falettinme Be Mice Elf Agin).”

The album closes with “It’s a Wonderful Life,” a crunchy yet light-and-soaring hard rockin’ Christmas song that I’m pretty sure every Lynch/Pilson fan is gonna really like.

If I had to choose my favorite songs from the dozen, I’d select “Hold On (I’m Coming)” and “Stay With Me,” though “The Stroke” and “Radioactive” would be close behind. And maybe the disc-ending Xmas track. But there’s something in every hard rock fan’s lane here, so you’ll have your own favorites. And the whole collection makes a great beginning-to-end album listen.

You know, I was psyched when I heard Lynch and Pilson would be releasing a second Heavy Hitters disc, and Heavy Hitters II didn’t disappoint… so much so, that I’m hoping they’ll make a habit of these collections. Two or three years from know, it’ll be cool if there’s a Heavy Hitters III.

Looking Ahead

George Lynch has some upcoming tour dates – solo, with his band Lynch Mob, and a November 17th guest appearance with Dokken – per the “tour” section of his website. You can currently catch Jeff Pilson on the road as Foreigner’s bass player. Brian Tichy is also currently on the road, drumming for The Dead Daisies. And you can keep up with Bernard Fowler via his Facebook and Instagram accounts.

Album Review: Ricki Erik – GenReality

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Ricki Erik

photo courtesy of Realm Music Group

Album Review of Ricki Erik: GenReality

Ricki Erik paints with a diverse musical palate, spanning dance, pop, R&B, Latin, blues, hip-hop, and more. Ricki’s new album GenReality is a very cool collection of songs that showcase his broad and varied vocal talents while providing an engaging album-listening experience.

Ricki Erik – GenReality

image courtesy of Realm Music Group

Ricki kicks the album off with a couple of energetic dance tracks. First up, “Party Tonight,” on which he teams with Deja Vu Boston, is a good-time funky pop dance number, stylistically somewhat recalling Kool & the Gang but, of course, with Ricki’s identifiable voice cutting sharply and emphatically through the fun musical romp. “Love Hurts (Freestyle Remix)” follows, exploring a very different groove, with a full wall of sound backing a rhythmic beat in support of Ricki’s entreaty “baby, love hur-hur-hurts.”

Ricki pivots to Latin-style music on “Como Te Llamas,” a catchy song that’s all beat and rhythm and will be one of your quick favorites after just a listen or two. This song is well-structured, bouncing just enough to keep things peppy while allowing Ricki to showcase the sincere, earnest side of his smooth vocal delivery.

Ricki Erik

photo courtesy of Realm Music Group

Ricki slips comfortably into the blues on “Here I Come Baby.” His voice doesn’t get particularly deep on this track, but he shows off a growl with a hint of gravel that hadn’t even been hinted at on previous tracks. I mean, it’s clearly still Ricki Erik on this song, but man, this dude’s got range, and we’re only four songs in! As the disc continues, he wields even more of the weapons in his vocal arsenal, and they make for an enjoyable album stacked with variety.

Next up is “Bad Girl,” featuring Zambo Buchanan. This song is Ricki’s hip-hop reimagining of Hall & Oates’ “Maneater.” It’s an exceptionally fun listen.

“Can’t Get Enough” is promoted as a wedding song, and it’s a really heartfelt love song, with Ricki’s voice cracking and quavering to maximize emotional impact.

“Wait a Minute” is a tempo-changing, head-bobbing dance-pop number. The beat is disjointed enough it might not be particularly easy to dance to, but it’s a very cool listen.

“Friend” recalls Rockwell’s “Somebody’s Watching Me” with its semi-haunting electronic musical sound, yet Ricki’s smooth voice somehow still showcases itself and portrays emotional pain despite the electronification of the vocals.

Ricki Erik

photo courtesy of Realm Music Group

“Flower”… well, lyrically and topically, you have to wonder if Friends character Monica Geller, as her younger self in the show’s flashback scenes, had a hand in the songwriting. Musically, there’s some neat keyboard melody that helps navigate the otherwise electronic, rhythmic beat serving as a music bed. Ricki’s vocals dash in and out, adding the finishing flourishes to this funky pop number.

“Beautiful Liar” is an engaging song, residing in an expressive, rhythmically somewhat disjointed lane of R&B. The song doesn’t flow smoothly at all; rather, the phrase “you’re such a beautiful liar” is sung disruptively, continually drawing attention from the rhythm, then suggesting a return to smoothness with “you are, you are, you are.” Don’t believe the suggestion. Instead, Ricki’s vocals don’t release the listener or the song; it’s a very cool approach.

Now, “Whisper,” on the other hand, is smooth. Well, mostly. It’s the album’s strongest ballad, deftly utilizing Sherl Burke‘s supporting background vocals throughout, with strings helping Ricki’s voice soar in spots before returning to the song’s rhythmically disruptive chorus, creating a bit of tension each time before releasing into Ricki’s smooth delivery of “that’s how they whisper.” It’s the little nuances in “Whisper” that make this a memorable song, so much so that I’ve caught myself singing days after my last listen.

Ricki Erik

photo courtesy of Realm Music Group

“Feelings,” on which Ricki is again joined by Zambo Buchanan, closes the collection with warmth and humanity; it has an engaging rhythm and an ending fade-out that wrap this album up neatly.

Beginning to end, GenReality is a cool journey, a record I enjoyed listening to beginning-to-end each time I reached it in my to-be-reviewed queue for the last several months. If you give it a listen, you’ll discover that, even when it doesn’t get you completely up out of your seat, Ricki’s songs will have your toe tapping, your head bobbing, or your body swaying side to side. And, though I’d advise a full listen of this disc, if you want to sample individual songs, Ricki’s Soundcloud page includes each of these songs, with most noting a genre in the song title (“R&B,” “Hip Hop,” “Pop,” “Blues,” etc. ), so you can more easily choose where to start your journey of discovery based on your musical taste.

This release was Ricki Erik’s first album in 15 years; let’s hope the next one comes around much sooner.

More Recently

Ricki Erik was nominated for a New England Music Award in the Soul/R&B Act of the Year category. Voting has concluded, and NEMA winners will announced during a ceremony at the Six String Bar & Grille in Foxborough, MA on November 12th.

Album Review: Hurricane – Reconnected

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Hurricane – Reconnected

image courtesy of Glass Onyon PR

Album Review of Hurricane: Reconnected (Deko Entertainment)

“Na na-na na na na, I’m on to you!” Back in the late ’80s, if you heard that lyric, you were rockin’ to Hurricane! Reconnected is the band’s first new album since 2001, just its second since 1990. Hard rock fans, especially fans of ’80s-influenced, guitar-heavy melodic hard rock, are in for a treat! But this is hardly a throwback album. Despite a couple of nods to the past on the disc (the band’s own past and Queen’s, but I’m getting ahead of myself), the music is fresh, modern… and kicks ass!

Original Hurricane guitarist Robert Sarzo and bassist Tony Cavazo are joined on Reconnected by drummer Mike Hansen, who joined Hurricane in 2010, and new vocalist Dan Schumann, who joined the band in 2021. None of these four played on Hurricane’s 2001 release Liqifury; in fact, this is the first time in more than 30 years that either Sarzo or Cavazzo recorded as Hurricane. So this album was a long time coming and, as you might have surmised from the opening paragraph, does not disappoint.

The album kicks off with frenetic energy, fast-paced drums, shredding, distorted guitars, and an insistent high-pitched ’80s-era melodic hard rock vocal. And the initial song, “Rock Star Cheater,” isn’t just a hard-driving level-setter for Reconnected. No, indeed, it’s one of the best songs on the album, with guitar hooks, a nicely-placed guitar solo, and a neat little tempo/tone-changing lead-in to the chorus.

Hurricane

photo courtesy of Glass Onyon PR

Not to be outdone, “You and I” follows with a more open, engagingly repetitive rhythm. It’s a hard rocker with a somewhat less heart-pounding pace than the opening track. There’s a bit more nuance, but the tune is no less catchy, containing perhaps an even hookier guitar hook. (Yes, a hookier hook. I said it.) By now, it’s clear that Hurricane’s new release contains a bit of variety, just as the band’s fans would have expected. And beyond simply foreshadowing the disc’s variety, these are great songs – two of my favorite new Hurricane originals – that get things off to an excellent start.

Track three really showcases the variety on Reconnected, serving up the greatest departure from among the albums eleven tracks… or, at least, the from first ten. Indeed, it’s a rockin’ version of Queen’s “Under Pressure.” The song is significantly less heavy than its album-mates, but a nice interlude. I mean, you can never go wrong with a Queen song, if you’re up to the task. Hurricane is, and it’s a fantastic showcase for Schumann’s vocal range; he adeptly provides the crisp, precise vocals the song requires. (Why did I not already know Schumann’s name? The voice on this guy! Wow!)

Next, Hurricane seems to almost be channeling Y&T in “Behind Your Shadow,” with heavy power guitar fronting a foreboding, almost theatrical blanket of song, supporting a Meniketti-like, elongated, slow-paced power vocal.

“Innocent Girl” is a classic, rockin’ ’80s fourth or fifth single release, pleasant to listen to, with the hook a little less obvious and, therefore, requiring a listenership willing to devote a few listens before really getting to know the song. It has great vocal variance and a hard-rockin’ tempo; it’ll be a fanbase favorite.

“Don’t Change Your Love” is another of my personal favorites on this disc, with a sidewinding guitar hook and memorable vocal phrasing, particularly in the chorus.

Song seven is one everyone will recognize. The new Hurricane lineup takes the opportunity to record a slightly harder-rocking version of the band’s biggest hit, “I’m on to You.” You know, I had forgotten about the kickass 40-second guitar lead-in before the first lyric. And there’s a cool axe bridge mid-song, plus I think they’ve cleaned up a little muddiness in the vocals when compared to the original. In any case, I bet you’ll dig the updated version of “I’m on to You.”

“Hand of Souls” mixes some laid-back ’70s rock elements with some very ’80s vocal and guitar gymnastics to produce an excellent slower-tempo jam track.

“Disconnected” is a twisted, somewhat haunted slow number that suggests a Pink Floyd influence but one that’s run through an ’80s rock music filter, with some twangy guitarwork bubbling just under the surface to provide the song with an interesting and slightly uneasy essence.

Next up, “Blind Love” is straight-ahead hard rock but with breaks and bridges that detour the song and give it character. There’s a passage with the phrase “blind love will always hurt you” that recalls Journey’s “Separate Ways” just briefly, but I’m not sure if it’s really reminiscent of Journey’s hit or if it just reminds me of Journey’s “if he ever hurts you” lyric.

Hurricane closes the disc by reveling in its soft side with the soft, floating, almost dream-like electric-acoustic “Wishing Well.” Like any old-school melodic hard rock band, these guys can shift gears to the soft and mellow when they want to. And ending the album with a song like this is a great way to ease the listener back to the less pumped-up world of not-hard-rock. An exit ramp back to daily life, if you want it. Or you can set the album on repeat and just start all over again.

You know, I dug Hurricane back in the ’80s/’90s, but I wasn’t a big fan. Well, I’m a huge fan of this album, Reconnected. If you’re into guitars, power-rock, and melody, packaged in a varied song mix to keep things interesting, you’ve gotta check out this album.

 

Single Review: Jennifer Tefft – “Love and War”

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Jennifer Tefft and The Strange

Jennifer Tefft and The Strange; photo courtesy of Jennifer Tefft

Single Review of Jennifer Tefft: “Love and War”

“Love and War” is Jennifer Tefft‘s current single, a full-on, full-band rock ‘n roll assault teasing the upcoming release of an album with her band, Jennifer Tefft & The Strange.

The song opens with one of those guitar lines that’s eerie like Chris Isaak’s “Wicked Game” and twangy like the bridge guitar solo in Tom Petty and the Heartbreakers’ “You Got Lucky.” Yeah, that’ll get your attention.

Jennifer Tefft – "Love & War"

image courtesy of Jennifer Tefft

After that brain-grabbing opening, the song unleashes an aggressive, rhythmic thumping in support of Jennifer’s vocals, revealing a song that’s equal parts Chrissie Hynde and Pat Benatar. In fact, Jenn’s vocals are simultaneously badass and soaring throughout “Love and War,” supported by some cool guitarwork that explores a variety of riffs, using a hint of psychedelia, a dash of rough-hewn static, and a driving forcefulness to – with the help of unrelenting, crashing, rhythmic drumming – create tension. Finally, the song ends with a quick little twang, like the bell that rings when entering or leaving a shop or a café, in this case relieving the tension and allowing the listener to exit the song unencumbered.

Much like “A Little More,” Jennifer’s 2021 single I reviewed earlier this year, “Love and War” is a must-hear. And if you’re any kind of rocker, it’s a must-have for your collection.

Looking Ahead

Obviously, first keep an eye and an ear – or, better yet, both ears – out for the expected full-length album release from Jennifer Tefft & The Strange. And, though no shows are currently listed, periodically check out the “Shows” page on Jennifer’s website for upcoming performances.