Album Review: Jann Klose – Surrender

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Jann Klose – Surrender

cover photo by Mikiodo digital; image courtesy of Leighton Media

Album Review of Jann Klose: Surrender (Honey Rose Records)

Jann Klose has one of those timeless, classic pop-rock voices – smooth and precise, yet with a distinctive tone that sets him apart from the “pretenders,” just as others in the solo mid-tempo rock lane, from Gavin DeGraw to Billy Joel to George Michael, have voices that are simultaneously comfortably familiar and singularly unique. As with those more-famous artists, Jann’s music is mid-tempo pop-friendly rock ‘n roll, able to comfortably slip into mainstream radio playlists and well-suited to soundtrack roles.

Jann’s albums are dependably great listens, mixing in a variety of sounds, styles, and influences, collections of songs orbiting a glossy, peppy, soft pop-rock center. And he’s been rewarded for his bankably consistent quality standard with a solid career, more successful than many independent artists (his YouTube releases faithfully reach hundreds of thousands of views), but just shy of that big breakthrough hit that launches him into the broader public consciousness (so far).

Several songs on Surrender stand out. First, the album-opening title track, which kicks things off cheerfully with Jann’s expressive vocals and a tempo the repeatedly starts slow then builds to a release of power, like a walk through the woods opening into a clearing or gray clouds sliding aside to reveal bright sunshine.

Also noteworthy is Jann’s first single from Surrender, “Sugar My,” released a year ago in advance of the album release. “Sugar My” is bright but with a rhythmic tension, releasing itself in the chorus, with Jann tagging the words “sugar my” with some of the higher vocal notes in the song.

“Pilot Light,” released as a single three years ago, is also included on Surrender, a treat for those who didn’t snag the song when it dropped as a single. It features some of the long, extended vocal phrasing that Jann does so well.

The next song is the most obvious potentially huge hit from the album. In fact, it already performed well upon its release. “Love You the Most,” a soaring love ballad duet with Alicia Madison that was released as a single in 2019, has exceeded 1.4 million YouTube views, in part due to its inclusion on the Married Young soundtrack. With so many great songs on Surrender, choosing a favorite is nearly impossible, but this song is probably mine.

“Do You Want to Be Lonely” mixes in a little beat-pop syncopation and a coolly prominent rhythm that’s sure to cause some listeners to head-bob and toe-tap. Next up, rich string orchestration, prominent background drumbeats, and an extreme build of tension feature prominently in “Flesh and Blood.”

“All the Way Down” suggests folk-rock influence, which means it’ll likely to translate nearly as-recorded to one of Jann’s acoustic performances (like the house concerts I covered here at the Blog in 2016 and in 2018 – wow, has it really been five years already!). In fact, after writing that sentence, when looking for a link, I discovered there’s an official acoustic music video for the song. It’s almost as if I knew. (I swear, I had no idea!)

“Here in My Heart,” next, reminds me a bit of rockin’ folk luminary Billy Crockett. It’s a swaying, strumming, and cheerful number with cool, uplifting lyrics like “Every hour, every minute, I got love beyond the limit, here in my heart.”

Musically, “Stay the Same” is nearly a lullaby, populated with lyrics that are introspectively intense and thoughtful. It’s followed by “Even If It Takes a Lifetime,” an energetic, uptempo number that will immediately snap the listener out of any lullaby-induced slumber with a driving beat and the sort of build-to-chorus that Jann again utilizes exceedingly well.

The last two of the twelve tracks are bonus renditions of “Love You the Most” – first an acoustic version, then a Spanish-language version, “Te Amare Mas.”

Beginning to end Surrender is – no surprise, here – an outstanding album from one of rock’s best mid-tempo singer-songwriters. It’s definitely a great place for those new to Jann Klose’s music to begin their journey of discovery.

Looking Ahead

Visit the “Shows” page of Jann’s website to learn about upcoming shows. Currently, it lists his scheduled appearance at the Concert for Bangladesh Revisited in Westbury, NY on November 24th and 25th and concerts in Hamburg, Germany and Barmstedt, Germany on January 5th and 6th, respectively, plus a January 7th live performance on Dutch National Radio NPO 2’s Leo Blokhuis Show in Hilversum, Netherlands. Again, check out Jann’s website for more details and new dates, as they’re added.

Single Review: Metalite – “New Generation”

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Metalite

photo by Mats Vassfjord; photo courtesy of BJF Media

Single Review of Metalite: “New Generation” (AFM Records)

“New Generation” is the third single released by Swedish melodic power metal act Metalite from the band’s upcoming album Expedition One, which is slated to drop on January 19th.

Metalite – "New Generation"

image courtesy of BJF Media

It’s as heavy as the album’s first two singles, “Disciples of the Stars” and “Blazing Skies,” but “New Generation” is a little airier, with a tunefully soaring aesthetic and a less frantic tempo, suggesting that it’s likely to appeal to a broader audience than the song’s two also-kickass predecessors – or, at least, provide a more comfortable entry point to a broader range of potential new fans. “New Generation” also features a memorable, singalongable chorus: “We are the new generation. And the future’s in our hands. For the world, for the sky. We are the new generation. Our voices will be heard. We won’t break or drop out.” (Trust me, you’ll sing along, at least to the “we are the new generation” parts.)

Musically, “New Generation” builds tension before releasing it into soaring vocals on more than one occasion. Lyrically, “New Generation” is a tribute to the younger generation, its ideals, and its motivation to act upon those ideals. Since Expedition One will be a fictitious rock opera about the world in 2055, it’s a little unclear if the song’s “new generation” has yet been born, but that’s nitpicking, as the sentiment is clearly meant to work overtime, referencing the world’s current cohort of young idealists, as well.

Metalite

photo by Mats Vassfjord; photo courtesy of BJF Media

Looking Back

I noted that “New Generation” is the third single from Metalite’s upcoming album. Looking back at the first two singles, I think some of the blistering axework late in “Blazing Skies” is one of the coolest, shredding guitar solo bridges I’ve heard in a while. If you start your journey of discovery of Metalite’s music with “New Generation,” prepare yourself for the more frantic tempo of “Blazing Skies,” especially the frenetic initial 45 seconds, and then enjoy how the tempo eases as the track settles in, particularly keeping an ear out for that late-song shredding. Next, backtrack to first single “Disciples of the Stars,” which comfortably slides stylistically in-between singles two and three. At this point, you’ll join me in anxiously awaiting Expedition One‘s January release.

But still, man, as much as I enjoy the first two singles, “New Generation” is really something special! So, yeah, if you’re just discovering Metalite’s music, definitely start here!

Looking Ahead

While you await the release of Expedition One, check the “Shows” page of the Metalite’s website. There are currently no upcoming dates, but watch for some to be added. Also keep up with the band’s TikTok, Instagram, and Facebook pages.

Single Review: Slowlight Quartet – “Full Beam, Alan”

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Slowlight Quartet

photo courtesy of Slowlight Quartet

Single Review of Slowlight Quartet: “Full Beam, Alan” (Jazz Sound Records)

The Slowlight Quartet is Tom Quilliam (saxophone), Paul Loraine (piano), Ian Paterson (bass), and John Hirst (drums). “Full Beam, Alan,” released last September, was the band’s first single release in seven years.

Slowlight Quartet

image courtesy of Slowlight Quartet

A synth opening, which recurs throughout, simply adds texture to what is an at-times mellow, at-times disruptively chaotic jazz number. Personally, I enjoy some of the more traditional pianowork, notably offering respite from some of the more aggressive elements in the song. It also works well combined with saxophone during the song’s final 40 seconds or so, raising the energy to a comfortable yet relaxed level to close things out.

Overall, it’s a pleasant song – with brief, interspersed periods of chaotic noise to keep it interesting. An enjoyable tune well worth hearing.

More Recently

Since the release of “Full Beam, Alan,” the Slowlight Quartet has released five songs across four singles, the most recent being a two-song single, “Superbia”/”Eveliina,” with guitarist Athol Cassidy and vocalist YVA lending their talents to the foursome for the recording. All of the Slowlight Quartet’s recordings can be found on the Jazz Sound Records bandcamp page.

Looking Ahead

Keep up with the latest Slowlight Quartet news and information via the band’s linktree and its Facebook and Instagram pages.

Album Review: 8084 – Live 4play

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8084

photo courtesy of 8084

The Backstory

My first 8084 concert was in 1990, in my role as a “Lost in the Midwest” columnist for the east coast-based hard rock magazine Tough Tracks magazine. It was an assignment that allowed me to continue churning out reviews while I was away from Boston, during a summer internship in Grand Rapids, Michigan. Vermont-based 8084 was one of the top touring bands on the hard rock club circuit; I covered their performances at the local stop on that circuit, Paolo’s.

Well, after achieving a bit of success during their genre’s heyday, 8084’s legend continued to grow, most recently with occasional concerts around Vermont, drawing huge crowds for special evenings of the band’s original, old-fashioned, guitar-driven melodic hard rock music, headlined by musicians who hadn’t lost a step since their younger days. Well, if they’ve lost a step, it doesn’t show up in their music, at least.

The band actually got its start years before my first 8084 concert, in 1982, with the current line-up of Randy Smith (lead vocals and acoustic guitar), Andre Maquera (guitar and vocals), Frank Barnes (bass and vocals), and Gary Spaulding (drums and percussion), plus the late Charlie Hawthorne.

Album Review of 8084: Live 4play

8084 – live 4play

image courtesy of 8084

Live 4play is a classic live album, channeling all the energy of the band’s live performances. Yet, despite the live aesthetic, 8084 went to great lengths to ensure that the recording quality was exceptional, suitable to be interspersed with studio recordings on a radio or personal playlist. That’s something I’d posit isn’t the case for a lot of live albums, including some very famous ones. 8084 recorded several concerts to ensure they could select album-worthy versions of every song, and it’s apparent. Of course, there’s still that live feel, with the occasional crowd noise, particularly at the beginning and end of some songs, and there’s a little clever between-song banter at the beginning of a few tracks. But perhaps most importantly for a live album, Live 4play captures that live-show energy level that’s hard to duplicate in a studio.

Sonically, 8084 most easily recalls ’80s rock ‘n roll, that era of energetic live performances, soaring vocals, crunching guitars, and melodic tunefulness. Randy Smith’s vocals do, indeed, soar – and man, can he ever hit the high notes! – mixing well with guitar-heavy songs and more spacious melodic rock songs alike. When the songs soar, I could place 8084’s songs back-to-back with Giuffria. On other tracks, the Vermont rockers sound a bit more like the Dokken-to-Warrant melodic hard rock cohort. Throughout, though, there’s a timeless, classic rock flavor that’s gritty and grounded in decades-spanning rock tradition, recalling rock bands that used significantly less AquaNet than the aforementioned outfits. My point is that, despite the temptation to make the obvious, easy, lazy comparison to ’80s rock bands, 8084’s music is really more timeless arena rock than poppy ’80s hard rock.

8084

photo courtesy of 8084

Studio versions of most – but not all – of the songs on Live 4play can be found on one of 8084’s first three studio albums, spanning 1986-1991, all currently just available for digital download at the 8084 website: the band’s self-titled debut album from 1986, the 1989 release Love & War, or the 1991 EP Satisfaction Guaranteed. (A Satisfaction Guaranteed CD is part of my personal collection.) The remaining songs can be found by exploring 8084’s music on Spotify, either from the band’s 2005 digital album The Last Great Train or via its more recent Spotify singles.

Live 4play – a hefty 15-track disc, so I won’t be going strictly song-by-song with this review – begins with a 35-second hype-tape styled countdown “Intro” before launching into the lo-fi, distorted crunchy guitar opening of terrific, thumping disc-opener “Learning 2 Live.”

“Hold On” is an uptempo vox and axe-driven number with an energy and tone that reminds me of an amazing yet somehow criminally underappreciated melodic hard rock band, Danger Danger.

The opening chord of “Badman” reminds me just a bit of the main riff from Rick Springfield’s “I’ve Done Everything For You” before veering off into its own identity. After the opening, 8084 utilizes an attention-grabbing voice-only opening verse, then provides catchy, high-energy musical support with ample whammy and a memorable rhythm that makes this one of my personal favorites on the disc.

8084

photo courtesy of 8084

Sticking to the “whammy” theme, “Lonely at the Top” actually begins with some whammy-focused between-song banter before the music starts. The song itself is a soft, airy ballad with guitarwork akin to what you might find in a similarly-paced Dokken ballad and vocal harmonies in the chorus. The cool thing about a hard rock slow song from a talented band like 8084 is that the guitarwork is so interestingly textured.

Next up is another of my favorites on the album, “She Comes to Me,” one of the most hook-laden tunes on Live 4play, and the one song that prominently features a Bon Jovi-esque talk box, used in all its “wah-wah” glory to artistic perfection. Aside from being unavoidably catchy, “She Comes to Me” is just so damn fun!

“Alright” is a somewhat more straightforward rock song that utilizes a hint of vocal gravel more often than it soars, as the music and vocals express sensitivity that suitably accompanies the lyrics. “When I Think of You” keeps the tone soft, even moreso than “Alright” but paced and styled more like a melodic hard rock ballad.

The energy level immediately jumps back to 11 with “Rosita,” as lively vocals combine memorably with recurring guitar squiggles – not exactly a hook, but it serves the same purpose – resulting in a memorable song that strikes me as a likely crowd favorite.

8084

photo courtesy of 8084

“I Can’t Feel You,” one of the band’s more recently-penned songs, released as a single in 2018, is flavored a little differently from the older songs in the collection. It’s more modern, clearly showing that the band has remained musically up-to-date, writing rock songs with updated sonic sensibilities in a way that will still appeal to longtime fans. While great music is timeless, it’s songs like this one that’ll be more likely to gain traction on forward-looking playlists.

In the same vein, I get the same more modern vibe from the cooler, ’50s/’60s rock-influenced strummer “Yesterday,” on which the vocals are crooning in nature, voicing heavy lyrics worth listening to. This particular song is also more recent, a 2009 release from Randy Smith’s solo Bittersweet album, which also spawned this 2011 YouTube video.

The jangly opening of “Hideaway” brings the energy level – and the guitar intensity – back up to arena filling levels.

Live 4play closes with “Surrender,” a solid, stylistically familiar guitar rock ballad with crunchy guitars, a soaring voice, and rhythmic noodling in the guitar bridges that ranges from standard hard rock act riffs to fast-paced fingerwork to some eerie, hauntingly-tinged stretches, always, of course, finding a comfortable path back to the chorus. The song is a fitting ending to a long-form album like this, setting the listener down gently and pleasantly. Aside from the fact that you’ve just listened to 65 minutes of music and probably need a bio break, “Surrender” returns your musical mindset back to a good place to “rewind” and listen to the album all over again.

More Recently

8084 actually just dropped a new single – “Vegas” – to Spotify and YouTube on October 15th.

8084 was also nominated for a New England Music Award in the Rock Act of the Year category. Voting has concluded, and NEMA winners will announced during a ceremony in Foxborough, MA on November 12th.

Looking Ahead

8084 live performances tend to be events, so they’re well worth making an effort to attend. Right now, the “Live Dates” page of the band’s website lists a single date: Saturday, November 4th at the Higher Ground Ballroom in South Burlington, Vermont. Obviously, check back periodically for new concert dates to be added.

Single Review: Gary Gleason – “Why Don’t We Dance”

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Gary Gleason

photo by Jessie Glockner; photo courtesy of Gary Gleason

Single Review of Gary Gleason: “Why Don’t We Dance”

Singer-songwriter-guitarist Gary Gleason splits his time between Virginia, New England and Nashville, meaning there are three locations that can lay claim to this talented musician as one of their own. His most recent single, “Why Don’t We Dance,” showcases his steady voice, his engaging song-performance skills, and his adept songwriting skills, with an attention to every detail, via an enjoyable, memorable song you’ll quickly welcome as a favorite entry on your playlist.

The song itself, from beginning to end, makes me picture a big dancehall with a stage up front, a big dancefloor, and tables around the edge. From the first notes, you know it’ll be a classic slow song, and when Gary’s vocals begin, you discover you’re in for a ballad of the ’70s pop country-sensible, smooth crooning variety.

It’s reminiscent of Garth Brooks’ “The Dance” with the richness of the vocals and flowing nature, but there are more upfront guitar strums to catch your attention from time to time, as well. The song itself flows smoothly, as if it could be closely related to Lee Ann Womack’s “I Hope You Dance.” I also hear a little of Kenny Rogers’ “Through the Years” in the song’s style. And, finally, I think “Why Don’t We Dance” would be an ideal vehicle for a rich voice along the lines of George Strait’s.

Of course, for “Why Don’t We Dance,” Gary’s voice just the right mix of rich and smooth, and after a several listens, I can’t imagine anyone else singing it. I’m sure you’ll feel the same way.

More About the Song

Gary Gleason co-wrote “Why Don’t We Dance” with Monty Lane Allen (Alan Jackson and Grand Ole Opry) and Robert Arthur (Brad Paisley’s team).

Looking Ahead

Keep an eye on the “Events” page of Gary’s website for upcoming performances. And consider following Gary’s YouTube page to remain abreast of the new videos he releases from time to time.

Album Review: Tokyo Tramps – Fearless Heart

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Tokyo Tramps – Fearless Heart album coverAlbum Review of Tokyo Tramps: Fearless Heart

Tokyo Tramps are Boston blues/blues-rock mainstays. Guitarist/vocalist Satoru Nakagawa and bassist/vocalist Yukiko Fujii have spent twenty-plus years as Boston-based blues rockers, and they’re still among the city’s best. I delved more deeply into Tokyo Tramps’ background in my review of the band’s I’m a Tiger EP, so you can read that review for more detail; here, I’ll just focus on the band’s new album, Fearless Heart.

Tokyo Tramps’ music could be equally described as blues rock or rockin’ blues, but since the former can be used to describe a broad swath of rock ‘n roll, the latter – or the fact that the band’s songs straddle the two terms – is probably more informative. The bluesier portions of the album have a raucous barroom nature, while the rock ‘n roll component hints at the band’s classic ’60s and ’70s blues-based rock influences. Mostly, I hear an amalgam of influences buried in the band’s sound, but on one or two of the songs, you can quite specifically hear the Tramps “try sometimes” and “get what (they) need.”

From the very first spin you’ll enjoy the unique blues rock sound that makes Tokyo Tramps music quickly identifiable, but I’d recommend giving this album multiple listens; each listen, especially after the first few, reveals more subtleties. The hooks are rather sneaky, and there are suddenly significantly more “wow” moments upon the tenth or fifteenth journey through the album than there were initially. Before you know it, your two initial favorite songs have miraculously become eight.

The album kicks off with the jangly blues-based rock guitar lead-in to “Sweet Melody,” a rough-edged funky symphony of unity that’s held together by hypnotizingly melodious guitarwork and a sweet groove.

Bluesy classic rock guitar crunch motors “Mississippi and New Orleans,” another song that’ll leave listeners jamming to the axework, eyes closed, especially when enjoyed with headphones on.

“Where Did You Hide Your Love?” is next, with a little more psychedelic vibe, followed by “Blues Leave Me Alone,” whose hauntingly jangly, low-fi distorted axework supports the mild anguish in the vocals.

The band revealed a desire to incorporate ’70s rock sounds into this particular album, mentioning both the Stones and Derek and the Dominos. And, in fact, next track “Open the Door” is the song on which I most hear some “Layla”-esque elements mixing with the Tramps’ trademark rockin’ blues sound.

This marks the halfway mark of Fearless Heart. A lot of albums begin to fade on the “B side,” but as strong as the first 5 songs of Fearless Heart are, this album just keeps finding next ways to top itself on the back half.

“Can’t Find My Way Home” is a bit of a country blues swayer-and-twanger, and I really dig the vocal interplay between the bandleaders on this track.

Next up, “Loneliness is a Social Disease” has the pep and playfulness of a ’50s rocker, almost, and it’s definitely a rockin’ good time. “Heart of Life” follows, with an earnest vocal delivery and a steady rhythm supporting the song; its rhythmic blues rock tempo hints at a jazzy meander throughout, but that’s a head-fake, as the song’s tempo remains consistent.

“I Don’t See My Star Tonight” slows things down, a blues dirge with some soft guitar noodling that adds just enough liveliness to make for an interesting journey.

And the album closes with what’s probably my favorite song on Fearless Heart, “Young Lion.” The interplay of Satoru’s and Yukiko’s vocals on this song are fun, effective, and catchy. (You’ll sing along with one or the other of them, probably not always the same from one listen to the next.) And the guitars navigate a blues-rock journey. It’s a lively, fitting close to the Tokyo Tramps’ newest album.

More Recently

The Tokyo Tramps have been nominated for two major music awards this year. They are finalists in the Blues Act of the Year category by the New England Music Awards. NEMA voting has concluded, and the winners will be announced at the awards ceremony on Sunday, November 12th. They are also on the final ballot in the Boston Music Awards‘ Blues Artist of the Year category. BMA voting continues until November 17th, with the awards ceremony scheduled for December 20th.

Looking Ahead

Check the “Live Schedule” page of the Tokyo Tramps’ website for upcoming performances. You can catch the band live tomorrow, Sunday, October 15th, starting at 11:00 AM at the Sunday Blues Brunch at the Hard Rock Cafe Foxwoods in Ledyard, CT. Be sure to check the band’s website periodically as new dates are added.

Single Review: Ben Davis Jr. – “Winding Binding Road”

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Ben Davis Jr.

photo courtesy of Broken Jukebox Media

Single Review of Ben Davis Jr.: “Winding Binding Road”

I first heard Ben Davis Jr.‘s amazing talent when I listened to his 2019 Suthernahia album, an awesome mix of lyrical, musical, and vocal originality that somehow got lost in my CD pile until it was kind of old. Seriously, go check out songs like “I Think You Should,” “I Can’t Get Enough,” “Sunday Morning”… well, OK, the whole disc, showcasing Ben’s amazing bluesy Americana, with an original “Suthernahia” small-town spin I guarantee you’ve not heard before. This dude is truly one of a kind, absolutely something special.

Ben Davis Jr. – "Winding Binding Road"

image courtesy of Broken Jukebox Media

And that brings us to his newest release, the single “Winding Binding Road,” which is what I’m officially reviewing tonight. Hip, country-rock guitarwork kicks things off energetically, soon joined by Ben Davis Jr.’s inimitable, easily identifiable, twangily smooth, relatably earnest voice. The tempo stays up all the way, driven by a dancing guitar line and a steady, pulsing beat, buoyed by a mid-song key change, even maintaining its pace through a lighter fret-picking bridge late in the song.

A fun, danceable number, “Winding Binding Road” will leave you panting, out of breath if you remain on the dancefloor for the entire song. Panting and grinning. It’s a terrific introduction to the exceptional talent of Ben Davis Jr.

Having said that, while you’re checking out this song, like I said earlier, do yourself a favor and explore more of his music catalog. You will thank me later.

Looking Ahead

The “Tour Dates” page on Ben’s website currently lists for upcoming shows, all in October: Tomorrow, Saturday, October 14th at Club Vinton in McArthur, Ohio; Friday, October 20th at Loose Rail Brewing in Canal Winchester, Ohio; Saturday, October 21st at Market Street Listening Room & House Concerts in Waverly, Kentucky; and Saturday, October 28th at Twisted Vine Family Vineyard in Patriot, Ohio. Be sure to check Ben’s website regularly to see more upcoming performances when they’re added.

Album Review: Carole Sylvan – Love

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Carole Sylvan – Love album coverAlbum Review of Carole Sylvan: Love

Carole Sylvan‘s hall of fame voice is the driving force behind this soulful, blues-influenced R&B album, Love. An established New England/New York treasure with an admirable career-to-date, a solo album like this provides an opportunity to experience Carole’s performance skills in all their glory.

The album showcases Carole’s vocal range right off the bat, from explosive power to soft, rich, resonating warmth, with its first two songs. Memorable, powerful, energetic “What Do You Call It? (I Call It Love)” provides get-to-your-feet energy, while the smooth, flowing “To Love Somebody” follows with laid-back, jazzy warmth.

Not to be outdone, and perhaps it’s the choir-like harmonies, but “I Still Love You Anyway,” a balladic powerhouse with soaring verses, is so powerful that it’s almost a religious experience.

Fourth track “Love to Love” is the bluesiest cut so far on the disc, with playful, tempo-boosting horns making frequent, well-timed incursions into the song, seeming to battle with Carole’s voice for emphatic power. Then the lyrics – and Carole’s delivery – join the playfulness on the funky-soulful “Keep It Clean.”

Carole’s vocals launch into powerhouse/diva orbit on the powerful “Lighthouse,” a song during which her voice will give you goosebumps during some of its most commanding moments.

The funk returns on “I Cry For You,” which I can envision as an on-stage showpiece; also, a song on which you’ll be convinced Carole coolly sings “well, well, well” way more often than she really does – that’s once; actually twice, but consecutively and not again. (Go back and listen again; you’ll see I’m right.)

Next up is the most widely-recognized song on the album, “Tennessee Whiskey.” Carole’s version is of the soaring, soulful variety and, once you’ve heard it, may well become your favorite rendition of this ubiquitous standard. The music and tempo is pretty straightforward, with few liberties taken, though the instrumental bridge is quite nice, particularly the nifty horn-work, but oh, mostly you’ll simply dig that voice! (Fun quiz: How many syllables are there in the word “warm”? Ha! Yeah, you’re not even close!)

“The Only One Around” is a hip, jazzy number that’s perhaps the most of each – the hippest and the jazziest – found in this collection.

Carole closes the disc with a one-minute “Love to Love (Reprise),” tying the disc together nicely with its recollection of the cool groove from “Love to Love,” providing a nice fade-out ending to Love.

More Recently

Love was a 2021 release. In 2022, Carole released another full-length disc, Something Goin’ On.

Carole was inducted into the New England Music Hall of Fame this year, celebrated during the NEMHOF induction ceremony on September 30th.

Carole has also been nominated for a New England Music Award in the Soul/R&B Act of the Year category. Voting has concluded, but NEMA winners have not yet been announced; that will occur during a ceremony in Foxborough, MA on November 12th.

Album Review: Gráinne Duffy – Dirt Woman Blues

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Grainne Duffy

photo by Rob Blackham; photo courtesy of Cobra Promotions

Album Review of Gráinne Duffy: Dirt Woman Blues

Holy moly, do we at the Blog ever love Gráinne Duffy, as evidenced by all the unabashed gushing in my review of her Voodoo Blues album a couple years ago. Well, she is back and every bit as talented and engaging as ever on her new album, Dirt Woman Blues, so get ready for several paragraphs of effusive praise.

Grainne Duffy – Dirt Woman Blues

image courtesy of Cobra Promotions

Indeed, if you’re not yet familiar with Gráinne, you’ll have your “oh, my god!” moment – the one I had when I first heard Voodoo Blues – on disc-opener “Well Well Well,” a snarling blues number that somehow manages to be grizzled and gritty yet crisply modern and energetic. And that voice! I stand by my Joanna Dean comparison, but I’m hearing a bit of similarity to Danielle Miraglia – Boston’s resident flagbearer in the “how is she not already world famous?” music club, blues division. There are hints of Janis Joplin in there, too. So, basically, one song into the album, and you’ll realize you’re listening to one of the best blueswomen on the planet… and you still have eight more new songs to enjoy for the very first time!

Grainne Duffy

photo by Rob Blackham; photo courtesy of Cobra Promotions

By comparsion to the disc-opener, “Dirt Woman Blues” is a tonally darker and more brooding blues number. There’s not the hint of rock ‘n roll you found on “Well Well Well.” “Dirt Woman Blues” also features this neat little audio trick, a flip to grainy AM radio-quality vocals at the beginning of the chorus, as if the whole world reverts from technicolor to black and white, truly fitting for this raucously pleading, distortion-infused, internally-wailing blues plaint.

“What’s It Going to Be?” follows, introducing a lighter, strumming personality – almost what you might expect from Sheryl Crow, if she sang the blues. It’s a welcome respite from the preceding intensity; very cool.

Grainne Duffy

photo by Rob Blackham; photo courtesy of Cobra Promotions

The next track, “Running Back to You” is a groovy blues Gospel-style number that glides along smoothly until the chorus, when Gráinne’s vocals intensify. I’m also fond of the bridge after the second chorus, first the nifty vocal turns of phrase and then the heartfelt cries of the guitar solo.

Next up, the beat that drives the rhythmic “Rise Above” meld with Gráinne’s muddy pop-soul vocals to create what could best be described as cool, bluesy alt-rock. It’s followed by “Sweet Liberation,” a jangly, distorted-guitar blues-rock love-in that harkens back to the ’60s and ’70s, the era of peace, love, and… well, liberation. Oh, and the song ends in a badass, semi-frantic, axe-filled jam leading to an era-appropriate quick stop.

Grainne Duffy

photo by Rob Blackham; photo courtesy of Cobra Promotions

The blues Gospel returns on “Hold On to You,” the musical equivalent of a slowly-moving, howling, oh-so-blue raw nerve. “Yes I Am” follows, a raucous blues-rock protest anthem.

“Killycrum” closes the disc with a smooth, folky blues groove, and it’s on slower songs like this one, when the music is less dense, that the well-placed, effective cracks in Gráinne’s vox are at their most effective and apparent.

And with that, after just nine songs, it’s over. Beginning to end, Dirt Woman Blues is a great disc. On it, singer-axeslinger Gráinne Duffy again solidifies the expectation that a well-deserved coronation as blues royalty draws ever closer. And if you don’t yet know her music, this is your chance. You’re in for a rare treat! And it makes me jealous because you only ever get one first listen to Gráinne Duffy.

Grainne Duffy

photo by Rob Blackham; photo courtesy of Cobra Promotions

Looking Ahead

To find out where Gráinne is performing, follow her Facebook page. Via that, you’ll discover info about two upcoming shows in Northern Ireland: a Saturday, October 14th show at the Braid Arts Centre in Ballymena and a Friday, November 24th show at The Court House in Bangor.

 

Single Review: Jason LaPierre & Kelsey Blackstone – “When I’m With You”

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Jason LaPierre & Kelsey Blackstone

photo courtesy of Kelsey Blackstone’s management

Single Review of Jason LaPierre & Kelsey Blackstone: “When I’m With You”

Soulful pop vocalist Kelsey Blackstone and jazz-trained guitarist Jason LaPierre team up to deliver “When I’m With You,” a memorably catchy, timeless single that harkens back to the jazz-infused pop hits of the seventies. At first listen, I immediately thought – stylistically – of Little River Band’s “Reminiscing.” Of course, the differences are obvious. “When I’m With You” sports a rich, modern sound bed, for example, and you’ll find soaring background vocal howls, via studio magic, in place of some of those seventies harmonies. Beginning to end, Kelsey’s voice features a smooth soulfulness that rounds the edges of this lively song, but do keep an ear out for the hint of a growl where appropriate.

Jason LaPierre & Kelsey Blackstone – "When I'm With You"

image courtesy of Kelsey Blackstone’s management

This tune will have a place on my permanent personal playlist, and if you give it a listen, it’ll probably find a spot on yours, too. While you are likely to find “When I’m With You” on several year-end “song of the year” lists this year, the accompanying cool, playful music video has, at least, landed “When I’m With You” a 2023 New England Music Awards “Video of the Year” nomination. (Voting ended on October 1st; we’ll learn how Jason and Kelsey fared when the results are announced in November.)

Jason LaPierre & Kelsey Blackstone

photo courtesy of Kelsey Blackstone’s management

Looking Ahead

Of course, the results of NEMA “Video of the Year” voting will be announced on November 12th at the New England Music Awards ceremony/concert in Foxboro.

Also, Jason and Kelsey each have linktrees (Jason’s here and Kelsey’s here) to direct you to their social media accounts and help you stay current with their release and performance schedules. Per Kelsey’s Bandsintown listing, you can catch her October 12th at the Rockwood Music Hall in Boston, October 19th at Skidmore College in Saratoga Springs, NY, and October 28th at the Midway Cafe in Boston. I don’t see any live performances listed anywhere for Jason, but his Spotify artist page does show he has collaborated on three more singles since the spring release of “When I’m With You,” so he has been keeping busy.