Album Review: Jane Getter Premonition – Anomalia

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Jane Getter Premonition – Anomalia

image courtesy of Cherry Red Records

by Eric Harabadian, Contributing Blogger

Album Review of Jane Getter Premonition: Anomalia (Esoteric Antenna/Cherry Red Records)

The word “anomalia” refers to something that is “irregular,” “different,” “quirky” even. Those certainly would describe the new album by the Jane Getter Premonition. “Phenomenal,” “outstanding,” and “innovative” are some additional words you could attach to this project as well. Her first release for Britain’s Cherry Red label, Getter has been recording since the late ‘90s. And she’s plied her trade playing guitar with jazz legends like Brother Jack McDuff, Lenny White, Michal Urbaniak, The Allman Brothers’ Jaimoe and the Saturday Night Live band.

Anomalia is a progressive jazz-rock album, to be sure, but it goes well beyond the “chops fest” trap that the idiom can sometimes fall prey to. Getter is as much an astute songwriter as she is an accomplished guitarist. And her vocals that grace a majority of the tracks on this album are soothing, resonant and really get the point across. Also, the JGP are an actual band that consists of regulars Adam Holzman (keyboards), Chad Wackerman (drums), Stu Hamm (bass), and Alex Skolnick (guitar), with additional contributions here from Gene Lake (drums) and Mark Egan (bass).

Jane Getter Premonition

photo courtesy of Cherry Red Records

Running down the track list, “Kryptone” is a rocking opener, with a dark and ominous veneer. It features nice solo tradeoffs between Getter and Skolnick, with Holzman jumping in exuberantly on Jan Hammer-like synth passages.

“Lessons Learned” offers a hopeful message delivered by Getter’s cool mid-range vocals. The chorus states, “Accept your limitations, focus on your innovations. Trust in your abilities, believe and you will be free.” Now that is solid advice anyone can benefit from. It’s a smooth and melodic number, with plenty of room for dynamic shifts and cutting guitar solos. One doesn’t know for sure if there is political commentary at work here, but I wouldn’t doubt it!

“Dissembler” is a powerful piece that could easily be inspired from today’s headlines. This features guest vocalist Randy McStine who sings “You stand there and say you care, but all you do causes despair… You say you are here to serve, but your greed shows way too much nerve… Your greed is so wide we can’t believe. You care only for you and your needs.” Sound like any administration from the recent past that we know? However, no matter your politics, it’s an intense song that is multi-layered and dynamically structured. Guitarist extraordinaire Vernon Reid also guests and shreds like there’s no tomorrow. Everyone on this track seems to play like their life depends on it. Perhaps, maybe that was the vibe they were feeling in the studio that day.

“Alien Refugee” also seems to have a socio-political bent. But it is tempered, with an empathic core at its center. Getter sings with conviction and heart as she depicts the plight of a refugee who has lost her home. They literally have to flee their homeland, and her words offer a personal point of view that put you in the driver’s seat. The chorus says, “She must be strong, and get past this wrong. Try to find a place to belong… to belong.” It’s another track that will give you goose bumps and make you think. Getter further emphasizes her words, with a beautifully crafted legato-type solo over Holzman’s organ and symphonic flourishes.

Jane Getter Premonition

photo courtesy of Cherry Red Records

“Still Here” almost has a lyrical haiku quality to it. Getter sings “Why am I still here? Why can’t I get clear? I thought I knew the way. What led me astray?” It’s a song that seems to deal with self awareness and reflection. Its concept is somewhat simple, yet nebulous and complex — kind of like the music, in that sense!

Guest vocalist Chanda Rule sings lead on the track “Answers.” It’s kind of a folky-fusion blend that offers another take on looking inside and reflecting. There’s some tasty piano here from Holzman and a fine chorus hook that builds to a magnificent finish.

“Queen of Spies” is an instrumental that appropriately could be a soundtrack for a secret agent TV show or picture. It features a lot of jazzy guitar and keyboard comping over a rock-like context. The track builds in intensity and leads to a coda that showcases Wackerman’s percussive acumen.

“Disappear” was co-written, with lyricist Beth Multer. Lyrically, this is probably the most obscure piece on the album. There is a Joni Mitchell/Annette Peacock vibe at work here. “Like a snowflake I taste you on my tongue. Microcosmic refreshment. Pure fleeting symmetry.” It’s intriguingly ethereal and surreal. Getter’s blend of acoustic and electric guitars is especially effective on this one. The leader concludes the album, appropriately, with a solo performance on acoustic guitar.

“Safe House” is quiet and pastoral, with its blend of flamenco-inspired , avant-jazz shadings. Her finger style arpeggios are sweet and truly put the listener at ease.

The Jane Getter Premonition’s new album and debut for Cherry Red Records, Anomalia, will be released everywhere on Friday March 26th.

EP Review: Alyssa Grace – Breathe

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Alyssa Grace

photo by Rose Pierce; photo courtesy of Ileana International

by Eric Harabadian, Contributing Blogger

EP Review of Alyssa Grace: Breathe

Southern California teenager Alyssa Grace is a singer-songwriter who sings with heart, purpose and a relatable perspective. She seems to really connect with her audience via her emotive songs and videos. The title track “Breathe” garnered 30,000 streams its first month on Spotify. And it has yielded more than 111,000 You Tube views. Grace knows herself and her fans and sings songs that deal with self-esteem, bullying, the environment, and the human condition.

Alyssa Grace – Breathe

image courtesy of Ileana International

“Breathe” is a tune that makes a simple statement about taking the time to stop and reflect. It is almost meditative in that respect. Atop an acoustic guitar and ambient-filled backdrop, Grace asks big questions and makes declarative statements. She sings, “Light is so bright, sky is so blue, and I’m fading with no clue. How do I stand tall if I feel I can’t get through it all?” Later in the song, she imparts, “I need to know where I’m at to start again, cause this is not what I’m supposed to be. Tell me once again why I’m living without you? Tell me once again why I’m breathing with only one out of two?” The chorus simply resolves with “I need to breathe.”

Alyssa Grace

photo courtesy of Ileana International

“Irish Lullaby” is auto-biographical in a sweet tune dedicated to her mother. In it, Grace recalls, “Every night I’d lie in bed and wait for mama to tuck me in. I would listen, sing along and at the end she’d tell me again.” She assuredly describes her mother who utters the comforting words, “Darling go to sleep, I’ll be here in the morning, and the first thing you’ll see will be me.” Again, it’s a song that has a very meditative and calming quality.

“All That You Need” is an introspective number, fueled by a subtle and relaxed piano and hip-hop figure. In it, Grace asks, “Am I special to you? Am I different or just new? Am I one to keep? Is this song getting a little deep?” And then goes a little further, with the question “What if I could be all that you need?”

“Waterfall” addresses more introspection, as Grace states, “Your eyes they sparkle in the reflection of a waterfall. And you’re scared, a little bit scared that you might fall. And your voice whispers like an angel’s call. So dive in, dive deep to the waterfall. Don’t be afraid to fall… scared to risk it all.”  That’s pretty sage advice from such a young artist.

Alyssa Grace

photo by Rose Pierce; photo courtesy of Ileana International

“What’s a Girl to You” is one of her newest songs and asks pertinent questions that address female empowerment and individual pride. Grace is a pensive wordsmith when it involves inner feelings, and she’s not afraid to put them out there on full display. She sings, “Do I have to be like everyone else, popular or can I be myself? Tell me now!” Grace continues, “’Cause everyone’s different… different opinions and different minds. If you wanna be mine, then treat me right!” The whole song seems to be summed up with this key line, “Are you someone that thinks boys and girls are the same? ‘Cause those are the rules of the game that I play.”

Alyssa Grace does not come off cookie cutter or manufactured. Her growing social and multi-media success can easily be attributed to the fact that she writes and speaks from experience and is the genuine article. She has gained a foothold with musical messages many love and respond to. Grace sings her truth, and her words provide a salve and solace for her generation and others. And in these tough and trying times, we could certainly use more of that!

Links

You can find Alyssa Grace’s music and various social media accounts via this Linktree link. Also, though there are none currently listed, you’ll be able to learn about upcoming events via the “Events” page on Grace’s website.

Single Review: Joëtta – “Talk to Me”

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Single artwork: Joëtta – "Talk to Me"

photo by Ayla Maagdenberg; photo courtesy of Joëtta Zoetelief

Single Review of Joëtta: “Talk to Me”

You first read about Joëtta at this blog when I reviewed “Better Than Me,” the single from Wiens Lief, the Netherlands-based trio of which Joëtta comprised one-third.

Joëtta’s sweet, wistful voice at the beginning of “Talk to Me” quickly shows a warmth and texture. The song itself is somewhat staccato, haltingly moving forward, dripping like water and like the lyric’s thoughts through most of the song, allowing even a small rush of tempo and addition of richer instrumentation to feel like a significant build in power. “Talk to Me” uses its expansive musical open space to create intimacy, and it’s over all too soon. A house concert, a coffeehouse (but hopefully a quiet one), even a larger performance space with great acoustics; these would all be ideal locations to hear this song performed live.

Looking Back: “Here”

Joëtta

photo by Ayla Maagdenberg; photo courtesy of Joëtta Zoetelief

“Talk to Me” is Joëtta’s second single; it’s a follow-up to “Here.” After a sparse 15 second intro, “Here” is a bit more uptempo and gets the blood flowing a little following “Talk to Me.” Joëtta uses a richer, fuller – yet still high and sweet – vocal on “Here.” The lyrics, as well, are interesting: “Hasn’t been easy feeling lonely. So many things I’ve been avoiding. So relieved when I am on the mend. Then you’re back again.” From a listening standpoint, the strength of “Here” is amplified by placing it after “Talk to Me,” so I quickly decided to order the two songs in this manner on my playlist.

Looking Ahead

From Joëtta’s website, these appear to be the first two songs en route to a debut solo EP. One reason did a two-in-one review above is because a vocalist like Joëtta is likely to emphasize different elements of her talent on different songs. For that reason, it can be difficult to capture an artist properly in a single review. For the very same reason, I’m looking forward to hearing her full collection.

Also, you’ll find upcoming performances listed on the “Shows” page of Joëtta’s website. Currently, due to COVID-19, there are none scheduled.

Album Review: Last Year’s Man – Brave the Storm

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Last Year's Man

photo credit: Tyler Fortier via Broken Jukebox Media

Album Review of Last Year’s Man: Brave the Storm

Last Year’s Man is the nom de plume of Eugene, Oregon-based producer and songwriter Tyler Fortier. And since Brave the Storm was released in November 2020, I guess you could call it last year’s album. However, the crisp, detailed songwriting, the raspy voice that seems to understand the plight of the everyman, and the timeless style that rests somewhere along the line between singer-songwriter and folk could just as easily make this every year’s album.

With all of the very talented singer-songwriters out in the world, I tend to be selective about which singer-songwriter albums I share with you. Brave the Storm is mellow and laid-back enough that it’ll sneak up on you before you realize what a well-crafted classic it really is. I suppose the same could be said for its creator, Last Year’s Man.

Last Year's Man – Brave the Storm

image courtesy of Broken Jukebox Media

The album begins pleasantly with a rich, full-band folk sound – I love a warm, filled-in sound bed – that recalls a river flowing, later joined by Fortier’s comfortably raspy vocals, then uplifting strings and Anna Tivel’s sweet harmonies, as the title track “Brave the Storm” kicks things off humanly and hopefully, a welcome introduction that sets the stage for the disc, hinting that this is a collection you’re likely to be able to settle into and play on repeat.

Next up, “No Eye on the Sparrow” adds a haunting, mellow element, with a “Wicked Game”-ish sadness in the strumming and a foreboding tinge to the vocals. Sneaky-good, after a few listens, this grew into the most memorable song on the album for me, one whose lyrics I’d find myself singing hours after I had last heard the disc.

“My Own Ghost Town” (featuring Anna Tivel and Jeffrey Martin) maintains that haunting aura, with a little bit of a by-the-railroad-tracks flavor mixed in, with occasional vocal power adding energy to a song whose tempo and softness might otherwise encourage mellowness.

“Guide You Back to Me” doesn’t stray far, either, though the ambient music undercurrent and slightly more melancholy tone give the song a newness and originality, subtle enough it takes a few listens to really appreciate it.

“Wild Wild Heart” (featuring Field Report) again leans hard into Fortier’s rasp, climbing aboard a soft, distant music bed that recalls water slowly rippling along a dock, perhaps a boat in the harbor. But it very definitely provides the feeling of relatively – but not quite completely – calm water.

“The Dark End of the Road” (featuring Jesse Terry) has a bit of an energetic, though subtle, guitar hook – yes, Last Year’s Man excels at subtlety. In addition to the first two songs on the disc, this is likely the third of my trio of favorite songs on Brave the Storm.

“Feet of Clay” (featuring The Hackles) seems inquisitive and maybe hopeful, if also tired and worn down.

And “The Valley of Jehoshaphat” closes the album memorably and emotionally. These are the lyrics that will stick with you: “Don’t send your daughters to war. Don’t send your son. Don’t send your baby. There ain’t no chosen one.”

If you’re looking for a well-composed, tightly-assembled, collection of soft, rich-music-bed-driven folk music, this is exactly what you seek. Last Year’s Man, with his comfortable rasp and song-craftsmanship, has assembled just such an album with Brave the Storm.

Album Review: Ne-Yo – In My Own Words

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Ne-Yo

photo by Lourdes Suakari; photo courtesy of Reybee

Album Review of Ne-Yo: In My Own Words (15th Anniversary Digital Deluxe reissue) (UMe/Def Jam)

Even though I’ve reviewed a couple recently, I’m not a big fan of writing about reissues. This time it’s different. Ne-Yo broke out of his behind-the-scenes hit-songwriter role and into the public consciousness as a hit performer 15 years ago, very early in my hiatus from music journalism, during a time when I was almost completely not discovering new music. So, for me, this was a chance to dive into discovering a huge record that launched a big, new star during a brief blindspot in my musical history. So please indulge me, if you will.

This reissue, released on February 26th, contains all thirteen original tracks, plus “Girlfriend,” which was a previously just a retail exclusive track. In addition, you’ll find a remix of “Stay” that was released on the Japanese version of In My Own Words, acoustic versions of “So Sick” and “Sexy Love,” and instrumental versions of “So Sick” and “When You’re Mad.” In total, 19 tracks.

Ne-Yo – In My Own Words

image courtesy of Reybee

Giving this a full listen after 15 years – for me, my first full listen beginning-to-end and my first exposure to many of the songs that weren’t hits – you can see why this album broke Ne-Yo so big. Seriously, though, I don’t need to explain why this massive pop/R&B star is so huge. You know his voice, his hooks, his clever turns of phrases, his catchy musical dances around the rhythm. So I guess I’ll just mention which songs are my favorites, and you can agree, disagree, or perhaps listen to some of those favorites you might have missed if you just cherry-picked the hits.

First, though, let’s start with the hits.

“So Sick” was my own personal favorite the first few times through this disc, though that could be because I already knew the song so well. It was the one number one hit on In My Own Words. If this were a horserace, that’d be the equivalent of betting on the favorite.

After several listens, though, I came to appreciate the clever lyrics and mildly unpredictable rhythms of “When You’re Mad,” which only reached #15 on the charts back in 2006. (Yeah, I heard it. “Only”?)

Meanwhile, “Sexy Love,” which reached #7 in 2006, with its almost Michael Jackson-ish opening and Ne-Yo’s crisp vocal lines and “oh baby” interjections, riding a smooth music bed and hypnotic underlying rhythm. (Yes, I sing along with the background rhythm.)

Ne-Yo

photo by Lourdes Suakari; photo courtesy of Reybee

Beyond the hits, “Stay” was the first single, a minor R&B hit at the time of its initial release, and its musical turns, while they keep the song interesting from a music critic standpoint, rather than going down a more direct musical path, may have kept some casual listeners from latching on quickly enough to make the song a mega-hit, especially since it was Ne-Yo’s very first single. Still, “I just can’t help myself…”

Personal favorites among the non-hits include “Let Me Get This Right,” where an relatively unstoppable steamrolling rhythm merges well with Ne-Yo’s bursts of vocal power. And “It Just Ain’t Right,” for similar rhythmic reasons, though the music bed helps me picture myself perhaps on a beach this time, and the impressive but restrained vocal gymnastics on a particular “ohhh” toward the end are fun, too. Then there’s the jazzy opening of “I Ain’t Gotta Tell You,” on which Ne-Yo sings all around the pocket, speeding and slowing his vocals; when done well, it’s unavoidably entrancing. And there are the rich wall-of-vocals that powers “Get Down Like That.” Of course, as is the case with album cuts, you’ll likely have your own favorites.

Among the bonus tracks, I’m kind of partial to the acoustic versions of “So Sick” and “Sexy Love.” The instrumentals, on the other hand, primarily just highlight for me how much this album relies on Ne-Yo’s killer vocals and lyrics. They seem surprisingly pedestrian – they really are just the music beds, not instrumentally souped-up reimaginings – though they’re perhaps quite fun if you want to use them to sing “So Sick” or “When You’re Mad” on your own.

Even before reading this review, I’m sure most of you already know whether or not you dig Ne-Yo’s music. If you’re a fan, this reissue may be worth it for access to the bonus tracks. And if you’re like me, and you somehow missed snagging this hit album when it was initially released, here’s your chance. In My Own Words is worth your attention. The very best crystal clear, top-shelf R&B vocalists’ records always are.

Looking Ahead

Ne-Yo doesn’t currently have any live performances scheduled, but when they are, you will be able to find that listed on the “Tour” page of his website.

Single Review: Travellin’ Blue Kings – “Live Your Life”

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Travellin' Blue Kings

photo courtesy of Naked/Big D Bookings

Single Review of Travellin’ Blue Kings: “Live Your Life” (Naked)

“Live Your Life,” is a rollicking blues number from the Travellin’ Blue Kings, comprised Stephan Hermsen (vocals, harp) and Marc Gijbels (drums), previously from the Dutch band the Electrophonics, Jimmy Hontelé (guitar) and Winne Penninckx (bass), formerly of the Belgian outfit Howlin’ Bill, and Patrick Cuyvers on Hammond organ & piano. Combined, these fellas seem to have found an impressive groove as the Travellin’ Blue Kings.

Travellin' Blue Kings – "Live Your Life"

image courtesy of Naked/Big D Bookings

With this song, the Travellin’ Blues Kings serve up an old-fashioned, harmonica-driven, soaring, gospel-tinged blues number. A jangly blues rhythm atop a steady beat and gruffly commanding blues vocal style lead the way, hinging on the key vocal line, “Live your life, each and every day.” Colored by a short harmonica solo and background harmonies, with the music bed moving between sparse and full as the song’s power requires, the three minutes 24 seconds flies by. There are certainly plenty of opportunities for extended jams during the song, plus a rhythm that would serve well as a backdrop during said jams, so I’d not be shocked to hear much longer versions during live performances.

On the whole, “Live Your Life” is a fun jam, a well-constructed blues tune performed with enthusiasm and energy. It has definitely found a place on my long-term personal playlist, which is why I’ve chosen to review it. Be sure to check it out.

Travellin' Blue Kings

photo by Freddy Vandervelpen; photo courtesy of Naked/Big D Bookings

Looking Ahead

There are several spring and summer festival dates listed on the Travellin’ Blue Kings’ website – three in Belgium, two in France, and one in the Netherlands, stretching from March through August. Of course, if you see a date near you, it would be smart to make the appropriate inquires to ensure the festival will be held this year.

Travellin' Blue Kings – "Gotta Get Away"

image courtesy of Naked/Big D Bookings

Tomorrow, March 19th, the Travellin’ Blue Kings will drop their next single, “Gotta Get Away.” Keep an eye and an ear out for this testifyin’ vocal-driven blues jam.

“Gotta Get Away” will also be the first single from a slightly revamped line-up. Originally comprised of Dutch and Belgian musicians, COVID-19 made cross-border travel difficult enough that the Travellin’ Blue Kings are now a fully Belgian outfit. The full line-up you’ll hear for the first time on “Gotta Get Away” is JB Biesmans (vocals, saxophone, harp), Jimmy Hontelé (guitar), Patrick Cuyvers (Hammond organ, backing vocals), Winne Penninckx (bass), and Marc Gijbels (drums). So, essentially, JB has stepped in for Stephan. Wicked lotta talent in this band.

Single Review: Reality Suite – “Triggers”

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Reality Suite

photo by Jeff Fischer; photo courtesy of EMSU Media

Single Review of Reality Suite: “Triggers” (DI Records)

Reality Suite‘s “Triggers” is hard rock with a monster hook! Within a listen or two, this song solidified itself as one of my favorite rock tunes of the year.

Melodic hard rock rhythm, a vocal edge that reminds me of someone (I think) but I can’t quite place it. Something like a cross between Kariselle Snow’s sound with Karousel with an ’80s/’90s hard rock power and a bit of a pop-punk edge. Kimmii Heart has a big, round sound on her vowels, then slices through the music bed with a very tuneful punk-caliber wail. With attitude, though that can almost go unsaid when describing a singer in a New Jersey band. Indeed, her voice alone could be considered a signature sound.

Reality Suite – "Triggers"

image courtesy of EMSU Media

And yet, the musicianship in the band provides a powerful-yet-positive energy, an engagingly jerky rhythm. Essentially, Reality Suite – with Brian King on drums, Joe Padula on guitar, and Antonio Valenti on bass – also lays down a relatively unique sound musically, vocals notwithstanding. (I actually kind of dig the “official studio video” because it more readily showcases Joe’s serious guitar-shredding skills in the late song guitar solo.) Combined with Kimmii’s vocals, you’ll know this is a Reality Suite song within a few notes. High-quality, easily identifiable rock ‘n roll. That’s a clear recipe for success.

As a listener, though, you don’t care about that. It’s simply a kick-ass song. And relatable, too, as the lyric video (yes, the band made three music videos for this song!) will help you realize the connection to today’s odd reality, if you hadn’t already made the connection.

Bottom line, if you’re at all interested in catchy hard rock, consider this an introduction to what’s almost certain to become one of your favorite rock songs of 2021.

And, you know, now that I’ve been introduced to Reality Suite, I’ve been listening to some of the band’s other releases from the last 2-3 years. From the standpoint of now being a fan of this band, “Triggers” isn’t a fluke, though yeah, it does have a lightning-in-a-bottle monster hook.

Reality Suite

photo by Jeff Fischer; photo courtesy of EMSU Media

Looking Ahead

The “Tour” page of the band’s website is currently blank. The “Events” tab of the band’s Facebook page does list one upcoming concert, an August 21st show at The Chance Theater in Poughkeepsie, NY with Angel and Starz. Keep an eye out for that and other shows as the pandemic wanes and music venues reopen. When it’s safe to attend, Reality Suite seems like a band you’d definitely want to see live.

Album Review: Danielle Miraglia – Bright Shining Stars

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Danielle Miraglia

photo by Joshua Pickering; photo courtesy of Danielle Miraglia

by Eric Harabadian, Contributing Blogger

Album Review of Danielle Miraglia: Bright Shining Stars (Vizztone Records)

Singer-songwriter and guitarist Danielle Miraglia has been wowing fans and critics on the Boston music scene for several years now. With a series of successful recordings and performances, as both a solo act and as a member of The Glory Junkies, Miraglia consistently delivers a sound that is soulful and authentically earnest. With her latest effort for Vizztone, she presents a collection of originals and classic blues songs that put the spotlight squarely on her acoustic guitar and vocal prowess. She is joined on select tracks by fellow Glory Junky Laurence Scudder on viola, along with guitarist Peter Parcek and harmonica man Richard “Rosy” Rosenblatt.

Danielle Miraglia – Bright Shining Stars

image courtesy of Danielle Miraglia

Miraglia possesses a number of innate gifts. With her voice, she’s able to modulate it in several ways to suit the material she’s singing. Her ability to go from a whisper to a wail is impressive. But she utilizes it as a trained actor would to convey the heart of the message in each song. Equally, her skills on guitar are unparalleled. She’s a one woman show in the way she implements traditional finger style patterns and chord work.

“Feels Like Home” is a brief instrumental piece that sets the stage for the album. The pairing of Miraglia’s strong thumb-driven bass and chordal rhythms and Scudder’s warm viola is most welcoming. “C.C. Rider” is a Ma Rainey tune covered by everyone from Mitch Ryder and the Detroit Wheels to the Animals. Most people might be familiar with the high octane treatments some of the rock community have given it. But, in this format, Miraglia opts for a slower, pensive and more reflective version of the blues classic. You hear every word and absorb every nuance. Her delivery is very literate and self-assured.

“You’re Gonna Make Me Lonesome When You Go” is, perhaps, one of Bob Dylan’s more lighthearted songs. It’s got a country blues-like lilt, and Miraglia sings the love song with a grit and playful irony that definitely gets to the heart of the matter. Parcek is a nice electric foil to Miraglia’s flowing acoustic passages, giving the tune additional weight.

Danielle Miraglia

photo by Briana Atkins; photo courtesy of Danielle Miraglia

“Pick Up the Gun” follows and is an original that seems to address gun violence and the motives and thought processes behind using a weapon in the first place. She seems to take both an antagonist and protagonist side in portraying different perspectives on the issue. Musically, Miraglia digs in, with a driving rhythmic figure as Scudder offers some tasteful solo breaks.

Janis Joplin’s “Turtle Blues” is a song that sounds like a piece that has been in Miraglia’s performance wheelhouse for some time. She really has fleshed this out nicely and invests deep into the soul of the song. There is a cool and aloof gruffness to her vocals that seems to embody the spirit of Janis herself. Parcek’s jazzy accompaniment adds some flair and really makes this a highlight.

For all those folks burned out on Keeping Up with the Kardashians and Teen Mom, does this artist have a song for you! “Famous for Nothin’” kind of says it all in the title. And that’s exactly what it’s about. It’s a song about the illusion of fame and the attainment of it for the mere sake of fame alone. The chorus “Have you heard… have you heard? Everybody’s in” kind of summarizes the current state of television and society at the moment.

Danielle Miraglia

photo by Caroline Alden; photo courtesy of Danielle Miraglia

“Love Yourself” is a tune by Keb Mo that’s gets a bold and exuberant take here. It’s got a slow vintage boogie feel where Miraglia depicts the personal journeys one may go through in life. There may be some bumps along the way, but when all else fails, you can always “love yourself.”

Bob Dylan’s “Meet Me in the Morning” has a down and dirty rustic vibe to it. It’s all acoustic slide and honking harmonica. Miraglia does some testifying with a vocal that will stop you in your tracks. The same can be said for the follow up classic by Big Bill Broonzy, “It Hurts Me Too.” It’s just the artist and her guitar, and it is marvelous.

“Walkin’ Blues” by Robert Johnson gets a respectful turn, and the album’s finale and title track puts a beautiful bow on the whole experience. “Bright Shining Stars,” written by Miraglia’s husband Tom Bianchi, is a hopeful and positive song for these current times. In it, she sings “Tragedy and dark times, they’ll chase you around. Sometimes this world is beautiful, sometimes it lets you down. How many hearts must be broken? No one said that it would be easy to fight the good fight.” And then the chorus offers hope with, “This world needs bright shining stars, and this world needs superheroes to lead us all. And this world needs goodness to be grown. Let’s give a shining star a new home.” What a great sentiment to summarize this fine collection of songs.

Danielle Miraglia

photo by Joshua Pickering; photo courtesy of Danielle Miraglia

Looking Ahead

When live shows are back, you’ll find Danielle’s listed on the “Shows” page of her website. Danielle has also been streaming occasionally during the pandemic, either solo or as part of multi-artist events. These are generally announced via posts on Danielle’s Facebook page.

Single Review: Red Red – “Long Black Train”

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Red Red

image courtesy of Naked/Big D Bookings

Single Review of Red Red: “Long Black Train” (Naked)

Red Red is an interesting international, stylistically-blended, blues-centered band, led by a multi-instrumentalist from Ohio, comprising top blues, jazz, and roots players from Belgium, adding the turntable-work and sampling courtesy of DJ Courtasock. On the band’s Instagram page, they call themselves “psychedelic turntable blues rock from Belgium,” but certainly don’t let any of those words scare you. However, if even one of those words interests you, definitely check out Red Red.

Red Red – Long Black Train

image courtesy of Naked/Big D Bookings

This two-sided single, Red Red’s first for Naked, begins with “Long Black Train,” a rollicking, energetic blues romp that’s supports raspy blues vocals by leveraging a broad range of instruments dancing around its steady rhythm. It’s a catchy, memorable number, with DJ Courtasock’s work mostly just nibbling around the edges and adding some seriously cool scratchwork to augment the rhythm. The ’70s rock influences the band touts, meanwhile, come through strongest during a mid-song instrumental stretch, but other than a little psychedelic twang, I’d identify it as more as blues-rock with perhaps some classic Southern rock mixed in. And overall, if I had to position this entire song, I’d classify it seriously rockin’ blues.

The “B” side of the single, the band’s rendition of traditional American roots number “In the Pines” has the same insistent edge you’ll hear on “Long Black Train,” but it has a haunting overtone, and the sampling in the song is a lot more apparent. Some of the roaring audio echo adds a truly unique vibe to this track. While “Long Black Train” is very clearly the radio-ready single, it really is cool to pair it with “In the Pines” as a two-song auditory blues treat. I’m looking forward to hearing what Red Red has in store for us next.

Looking Ahead

Whenever Red Red is playing live again, you’ll find their gigs listed on the “Gigs” page of the band’s website or on the “Events” tab of the band’s Facebook page.

Album Review: 3 Pairs of Boots – Long Rider

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3 Pairs of Boots

photo by Eric Wolfinger; photo courtesy of Hello Wendy

Album Review of 3 Pairs of Boots: Long Rider

Fans of old-school, Patsy Cline-flavor country music are likely to dig 3 Pairs of Boots. Long Rider is a varied, versatile collection of swinging, swooping, Americana mixed with old-school country. It took me a while to place who Laura Arias’ pouty-smooth crooning reminded me of. This one will be “inside baseball” for Geoff Wilbur’s Music Blog readers, a mix of a pair of great vocalists I wish you all knew about. Primarily, Laura’s vocals sound like a less edgy version of Angie and the Deserters’ Angie Bruyere but with occasional ventures into the sweet super-highness I associate with Blog favorite Trysette. I realize I’m trying a little too hard there – the band’s bio suggests she’s a blend of Cyndi Lauper and Shania Twain, and that probably paints a better picture for a broader swath of potential listeners.

“Boots” bandmate, the other half of the duo, Laura’s husband Andrew Stern helps provide a great musical backdrop to Arias’ vocals, at times nearly rockabilly, sometimes with a hint of psychedelic rock (just a hint), often with some good ol’ Opry-style twanging. It’s a testament to the duo’s versatility that they’re able to serve up such a variety of tunes in a cohesive package on Long Rider.

3 Pairs of Boots – Long Rider

image courtesy of Hello Wendy

I have several favorites in this collection. Disc-opener “Quittin’ Time,” in fact, is the relatively old-fashioned, smooth, soft-paced crooner that inspired my Patsy Cline comparison. “Devil Road” somehow comes off as a rollicking number, before closer examination reveals a much more leisurely pace than it seems. Some extra inserted beats add to the energy and rhythm of the song without actually speeding the pace.

Now, there is a bit more pace on the next song, a quick-stepping country dancehall number with some lively picking, “Take a Step,” which actually reveals the secret of the band’s name: “Take a step into the unknown, and never look back. I’ve got my 3 pairs of boots. That’s all I need.”

The lively cheerfulness continues on “Everywhere I Go,” before “I Am the Map” slows things down with lyrics like “I am the map, but I am not the road”.

Laura’s voice is at her most Trysette-ish on “Summer of Love,” a very Age of Aquarius-vibed tune, especially considering its steady, firm, relatively traditionally country music beat.

“My Best Friend” is essentially a love song about a friendship that stands the test of time… a guitar. Yeah, it’s a fun song with clever lyrics.

Finally, “Roller Coaster” opens with and repeats a hook uncannily similar to “Here Comes the Sun.” (I keep expecting to hear, at some point, “do do do…”) The energy on “Roller Coaster” is cheerful with a vocal edge that keeps teetering on poignant and pulling back. It’s a cool vibe with which to end this collection of songs that explores the broad range of dependably strong Americana (and Americana-adjacent) duo 3 Pairs of Boots.

In the end, Long Rider is a fun, moderately-paced romp with enough performing flourishes and songwriting surprises sprinkled throughout to make the album a sneaky favorite.

Looking Ahead

Scroll down the main page of the 3 Pairs of Boots website to the “Tour Dates” section to see upcoming performances.