You can almost hear George Thorogood’s guitar revving in the opening licks of Jeffrey Halford & the Healers‘ “The Devil is Our Man,” but there’s not really so much blues in this song as there is edgy, angry roots rock energy. And a seriously smooth groove, augmented by well-placed background vocals.
image courtesy of Miles High Productions
Lyrically, this October 8, 2020 release takes aim at a lying, cheating, serial inciter. The song opens with: “He lies, cheats, and steals. Breaks the law, then appeals. Got no shame. Law and order he proclaims. Violence he inflames. The message is fear; the message is fear.” The second verse begins, “Unleashes his slander, delusions of grandeur…” I’ll let you draw your own conclusions about the lyrics’ subject matter, supported by its release date a few weeks before the U.S. elections, not that its target was intended to be a secret.
photo courtesy of Miles High Productions
Musically, “The Devil is Our Man” is a mostly straight-ahead, raucously rocking number, proceeding at full-speed with only the rare exception, and even then only for a moment. Halford’s lead vocals have a sharp, gravelly edge that cuts through the song’s music bed. Still, though, there are also some nice guitar runs and what sounds like the occasional impressive organ work. It’s a really fun listen, a song to crank up to 11 while rocketing down the road with the windows open or the top down.
Regular readers know I’ve been clearing a massive backlog of reviews over the last several months. I’m almost caught up, but this late 2019 release from Double Experience slipped through the cracks. Still, as was the case with all of the older albums I reviewed late last year, this is an EP you simply need to know about, if you don’t already. So, with that said…
Self-described “nerd rockers,” Double Experience exhibits a variety of rock ‘n roll influences – all in just three songs – with a sound that centers on moderately hard rock on this EP.
image courtesy of BJF Media
“New Me” is a straight-up rocker, with an ’80s guitar-driven, heavy-melodic hard rock style defined by, among other things, its crunchy guitar riffs, attitude-laden, high, limits-pushing vocals, and hooky tempo-breaks. Of the three songs, I’d have to say “New Me” is my favorite, but it’s close, and that’s mostly just a personal stylistic preference.
Song number two, “The Imp,” reveals a funkier guitar-rocker style, one far less smooth, with a beat that never settles in, hints of both punk and progressive influence, and – in the end – a song that’s interesting and fun, but in a headache-inducing way. And I’m not talking volume; rather, “The Imp” whipsaws its rhythm so relentlessly you’ll end up somewhat concussed.
“Ghost in the Machine” follows as what could very likely be one of the slower tempo songs on a typical pop-punk album – and I don’t, by any means, mean that it’s slow. But the melody is back, and there’s a more feel-good energy driving the song’s hooks.
If you told me these three songs came from three different bands, I’d almost believe you. Stylistically speaking, at least. Yet they all have a Double Experience-specific sound. And they’re all three styles I dig when done well. Double Experience is a talented rock outfit, and this is a mesmerizing EP. Leave it to “nerds” to produce a recording like Alignments: Neutral. Seriously, check it out, Poindexter!
Looking Ahead
You can keep up with the band’s live performances via the “Shows” page of their website. It seems Double Experiences has stayed visible during the pandemic. Their website currently lists six appearances per week on Twitch: A songwriting-based one on Wednesdays, acoustic live performances on Mondays, Wednesdays, and Fridays, and less structured “side quests” on Sundays and Thursdays. Click on that “Shows” tab for times and deets.
Ben Lang‘s debut EP, Modern Man, showcases his original style. It’s off-balance, country-tinged, singer-songwriter fare. Slightly Americana with a hint of folk but firmly, most definitively focused in Ben’s solidly written songs and delivery.
One of my favorite pieces of biographical information about Ben Lang is that he was a founding member of Biv and the Mnemonics (or, more fully, Roy G Biv & The Mnemonic Devices), a San Francisco-based band that released a couple of albums in 2009 and 2013. Honestly, I haven’t yet checked out the music (even though I just shared the link), but I’m sure, at the time, I would have because I love the band name.
But I disgress. Let’s get back to talking about Modern Man. EP-opener “Houston-New Orleans” is driven by a repeated, thump-along rhythm, propelling Ben’s strumming and storytelling-style sung (not spoken) vocals. It’s the sort of tempo and energy that’d be likely to draw you into a live music venue if you heard it while passing by. I enjoy the whole disc, but this is probably my favorite song on Modern Man, though it’s a close call.
The title song, “Modern Man” plods along a bit more obviously, in the stylistic sense, inasmuch as the rhythm really smacks you in the head. Within the context of the song, though, it moves the tune along pleasantly, as if “Modern Man” is a directed conversation with rhythm.
The mellowly energetic “Nailin’ It” sports a guitar-pickin’ style and a song structure that builds on itself throughout, increasing interest and engagement over the course of the song.
“Hollow Spaces” is more sparsely instrumented than the rest of the disc, an open – hollow – space in an already light-touch collection of music. This lightness is followed by the much more energetic, quick-tempoed “Tee Off With Your Head” – as a listener, you’ll think, “Well, I should have expected that contrast.”
Ben closes the EP with “Mr. Moon,” an old-fashioned, near-crooner that even includes the lyrics “ba doom, ba doom,” fittingly, Vaudevillishly shuffling this EP to its final note.
If not for the hint of country, I’d compare Ben’s sound to Brett Newski, and, in fact, listening to Ben’s music makes me wonder if Brett’s catchy alt-singer-songwriter fare didn’t veer a bit more country, if ever so slightly, than I had realized. Regardless, I found Modern Man to be an EP that’s a pleasant introduction to Ben Lang’s hip, comfortable style, a style and a set of songs that start out nice enough, then grow more enjoyable with each listen. I’m not sure if I should credit Ben’s songwriting or performance style more, but Modern Man is a fine disc, and I’ll gladly look forward to Ben’s follow-up, whenever he creates one.
Looking ahead for real, whenever Ben’s next live performance happens, you might find it on the “Events” tab of his Facebook page. I’d have to guess they’re pleasant, light-hearted, good-time affairs.
Tomás Doncker is a true bluesman, with his collection Wherever You Go covering all the bases with aplomb.
Album-opener “I’m Gonna Run to the City of Refuge” is the loosest, noisiest entry on the disc. It infuses the sloppy, fun energy of a raucous live performance into the album, giving a taste of what a live performance might sound like when Tomás wants to get the crowd jacked up, and though it’s not even close to one of my personal favorite tracks on the album, it’s a perfectly fitting way to get things started.
The very next track – the title track – is one of my favorites. Tomás’ delivery of “Wherever You Go” reminds me of some of the grittier, more heartfelt versions of “If You Don’t Know Me By Now,” occupying a similar emotional zone. The song will put a lump in your throat as you listen to it. Sonically, its melancholy vocals and tearfully soaring guitars would be a perfect movie soundtrack backdrop for a starcrossed couple holding each other tightly as they know their futures lie separately. If you don’t have to swallow hard just to get through listening to this masterpiece, you’re stone-cold heartless.
Up next, the funky rhythm of “Have Mercy Baby Please” is the perfect antidote to get you groovin’ again. Oozy, bluesy soul with a very cool energy. Then “Hard Time Killing Floor Blues” mutes the funky groove and replaces it with an ominous vibe.
“Change” has more of a dance-styled underlying rhythm and herky-jerky blues riff supporting Tomás’ gruff vocals, leading into “Come Sunday” which, true to its name, derives its momentum from a big, slow, bluesy Gospel sway. The song just keeps getting bigger, lending itself to some intricate, straight-from-the-heart blues guitar runs to the point that, after it ends, you’ll need to take a deep breath to recover.
But take that breath quickly, since “Drown in Blue” brings a mid-tempo insistence – and a rhythm whose intensity makes it seem faster than it really is – almost immediately. This song is sneaky-good, as you’ll catch yourself unwittingly grooving to its rhythm hours later.
The last track on this eight-song release showcases yet another side to Tomás’ musical repertoire. There’s a space-rock music bed driving the mellow, almost Pink Floyd-ish “Door to the Dome,” with distorted, soft guitar runs punctuating this black light and lava lamp-worthy album-ender.
Aside from Blind Willie Johnson’s “I’m Gonna Run to the City of Refuge” and Skip James’ “Hard Time Killing Floor Blues,” the rest of the songs are at least co-written by Doncker, so this album – replete with its variety, tied together by Tomás ever-present guitarwork and deep vocals – really is Tomás Doncker’s trademark sound. If you like the blues, especially gritty blues, and especially if you like it sprinkled with a variety of musical influences, you need to hear Wherever You Go. It covers every aspect of the blues you’d expect (and then some) from an artist you’d catch at the high-end blues room, and it even features a transcendent potential hit song, the title track. So settle in, turn down the lights, and listen. Then check the listing as soon as live music returns to see if you can catch Tomás Doncker live somewhere.
Looking Ahead
If you scroll down the main page of Tomás’ website, you’ll find live show listings. At the moment, everything shows as “cancelled” until you reach August. Obviously, as things change, keep an eye out for updates here.
For some of you, all I’ll have to write is “Badfinger and Rick Springfield recorded a single together,” and you’ll go seek it out and snap it up. But I’ll go into a little more detail than that.
This “cover” of “Love is Gonna Come At Last” from Badfinger’s 1979 Airwaves album is given the Springfield treatment. The smoothness of Rick’s vocals are pushed to the edge, fraying just a little bit at times. Combined with a sort of cabana-rock musical backdrop and accompanied with the occasional groovy guitar solo, it’s a nicely refreshed version of this old-school rock song. Whether it’s the crisper production or Rick Springfield’s timeless rock vocal style, this is a really fun “cover” of Badfinger’s own song.
Looking Ahead
This is just the tip of the iceberg, a peek into what’s coming soon, as Badfinger is set to soon release a full album entitled No Matter What: Revisiting the Hits, a collection of ten of Badfinger’s hit songs re-recorded with other guest stars. In addition to “Love is Gonna Come At Last” with Rick Springfield, the list of co-conspirators includes Todd Rundgren, Rick Wakeman, Matthew Sweet, and Sonny Landreth. Definitely worth watching for!
“Saving” is the latest single from Asphalt Valentine‘s 2020 album Twisted Road, the most recent album from this Athens, GA-based quintet of hard rockers. This song is a power ballad from what is very clearly a high-octane, heavy-leaning melodic hard rock outfit.
image courtesy of HighVolMusic
If I had to use a single well-known band comparison to describe “Saving,” it sounds the most like a Warrant song. But there’s a lot more there. A hint of Firehouse, some Slaughter, and though I wouldn’t compare the sound, there’s a familiar Skid Row-like cadence in places. Plus a unique Asphalt Valentine approach that makes the song uniquely theirs. Based in howling guitars with nifty fretwork from guitarists Evan McKee (lead) and Brett Ciaramella, a driving but finesse-filled rhythm section of Scott Clark (bass) and Brian Jung (drums), and a heart-on-his-sleeve, high-end rock vocal delivery from Joe Flynt, Asphalt Valentine’s sound harkens back to melodic hard rock’s heyday, while the band puts its own original spin on the sound.
Simply put, this is a fun rock ballad from a talented five-piece, arena-worthy, big-stage rock band. And if you like any of the bands I mentioned – or even anyone they might share a stage with – you owe it to yourself to check out Asphalt Valentine… and, of course, give this song a listen.
I could make this review simple: Jon Anderson‘s second solo album, 1980’s Song of Seven – the first album released after his first formal split with Yes – has been remastered and re-released, “expanded” with additional songs.
We all know about Jon’s amazing vocals, and whether or not you’re familiar with this disc already, you already know what the songs sound like. I will, though list my favorites: Catchy disc-opener “For You, For Me,” which is the sort of progressive rocker that was typical of prog’s crossover hits of the ’70s and ’80s; the energetic “Some Are Born,” with its sunny disposition and cool horn parts; “Don’t Forget (Nostalgia)” and “Heart of the Matter,” which have a very ’50s sock-hop influenced style and stands out as unique on this record; and “Take Your Time,” a sweetly swaying slow song that has a twangy-Americana-meets-the-carnival musical undercurrent.
One thing I might add, as well, is that if it’s been a long times since you last played some of these old progressive rock albums from the late ’70s and early ’80s – if, for example, like me, you’re a lifelong rocker but not a progressive rock superfan/historian – you may have forgotten just how varied the influences can be from song to song. Though I knew to expect greatness from Jon Anderson, Song of Seven was a much more diverse, interesting listen, beginning to end, than I had remembered or expected. Indeed, I listed my favorite individual songs above, but the entire disc was a great, nostalgic listening experience.
By the way, the “expanded” part of this addition is the inclusion of additional, “U.S. promotional” versions of “Some Are Born” and “Heart of the Matter,” expanding the album’s song count from its original nine to eleven.
Hardcore Jon Anderson fans might also enjoy this 13-minute YouTube video in which Esoteric Recordings’ Mark Powell interviews Jon Anderson about Song of Seven, coinciding with the timing of the album’s re-release. (Actually, even if you’re just a rock ‘n roll fan in general, it’s a pretty good interview you may enjoy.)
Looking Ahead
The remastered edition of Song of Seven was released on November 27, 2020. Next, on March 26, 2021, Esoteric Recordings will release a remastered and expanded edition of Jon’s very first solo album, Olias of Sunhillow. The remastered Olias of Sunhillow is already available for pre-order.
“Yours to Stay” proves Natalie can deliver an emotional, memorable ballad. The first couple of notes on the piano actually recall several piano-driven eighties hard rock power ballads, though Natalie stylistically remains much closer to her mid-level pop-friendly rock ‘n roll musical center. Natalie’s big, long, powerful notes, where she’s able to add length and power without sacrificing tone, are the closest thing this song has to a hook, though I also really dig the classic rock guitar runs, the key to any power ballad. Power builds throughout the course of the song, increasing the emotional currency slowly but steadily throughout the entirety of “Yours to Stay.” A very solid effort that’s enjoyable on the first listen but increases its hold on you with each subsequent play.
What do you get when you combine classic rock guitar legend Robin Trower, reggae/R&B icon Maxi Priest, and esteemed musician/producer/mix engineer Livingstone Brown? These big-name groupings don’t always work, but in this case, the trio seems to have completely bought into their creative work together, and you get a truly always-on-point recording with broad-based appeal that’s a very cool, easy, enjoyable listen from beginning to end, quite possibly a must-have for your music collection, regardless of which of the three musicians your tastes are usually most closely aligned with.
Trower, Priest, and Brown kick things off with the title track, a funky, smooth, mid-tempo R&B number that flashes what would be a little danceable (if faster) beat that adds character and some guitar parts that draw your attention by slicing right through the rest of the music bed. “United State of Mind” is a great introduction to the style of music these have created. It’s a catchy, laid-back groove worth listening to with your eyes closed, one of my many favorite songs on this album.
Another favorite, the very next song, “Are We Just People,” slows things down but adds some urgency and a massively engaging, rhythmic, sexy musical hook.
“Hands to the Sky” has a big, open, cheerful, sunny-day vibe. The vocals, the phrasing, the upbeat rhythm, and the placement of the horns are all calming and smile-inducing.
“Good Day” showcases the sort of very cool, slow-rockin’ blues guitar-playing you’d hope and expect someone like Trower to bring to this project. It’s just one of several spots on this record that Trower’s guitarwork emphasizes the blues aspect of rhythm and blues.
“On Fire Like Zsa Zsa” is the kind of uptempo, kind-of-danceable number you might hear in the background of a film, perhaps during a montage while the protagonist is strutting through town getting things done or, really, during any montage segment that moves the story along quickly.
Next, the heartfelt, soulful, slow “Bring It All Back to You” is a powerful ballad. “Walking Wounded” follows, just as slow and powerful, but with a much darker tone, captured perfectly by the phrasing and emotion in Priest’s vocals. “Sunrise Revolution” carries the slower tempo through to a third straight song, but this with a hopeful message (“Maybe the time has come, where we should stand as one”), though its a message predicated on the less-than-stellar reality as a starting point. And “Where Our Love Came From” keeps the tone mellow, closing out the disc with plaintive guitar wails, pleading vocals, and a nice, calm fade-out.
Though Robin Trower, Maxi Priest, and Livingstone Brown may be a somewhat unexpected grouping of musicians, the result is a welcome addition to the pantheon of rock/blues/R&B music. It features strong songwriting, too many musical and vocal standout moments to count, and a cohesive-but-varied collection of songs. This is a smooth, relaxed R&B album with good, old-fashioned, big, rich, lush production, but still very song and artist-focused, able to appeal to a broad musical audience. So put the headphones on, sit back, relax, and let your ears enjoy.
World Premiere of Nathans & Ronstadt’s New Music Video: “Strongman”
Before I dive into the review, Geoff Wilbur’s Music Blog is pleased to have the honor of presenting the official premiere of the very-cool video for “Strongman.” It’s the newest video from Aaron Nathans & Michael G. Ronstadt, featuring the song “Strongman” from their Shadow of the Cyclone album.
You’ve read about Aaron Nathans & Michael G. Ronstadt on these pages before. I was first introduced to this Philadelphia-Cincinnati duo just two years ago at a house concert in Massachusetts. With Nathans on guitar and Ronstadt on cello, these songwriter-storytellers are able to pave a surprisingly broad path through their part of the music world. On their website, they refer to themselves as “progressive folk,” and I’d be unable to improve upon that in two words or fewer, so I won’t try. From slow to uptempo, from cheerful to ominous to downright silly, their performances and songwriting are varied enough that you’ll find the time passing quickly, wondering where the next curve leads, whether you’re catching them live or enjoying their new album, Shadow of the Cyclone.
image courtesy of Aaron Nathans
“Ghost Writer” kicks off the album with a sound reminiscent of the early ’70s, broad, open-sounding, big-festival folk music you used to hear on FM radio back when I was little kid. Almost-country folk, the storytellin’ kind. Indeed, a lot of the songs on Shadow of the Cyclone are “the storytellin’ kind.” It’s a lane Nathans & Ronstadt fill well, and for their skill at that alone, this would be a noteworthy disc. But they’re more versatile than that.
Nathans & Ronstadt throw a little silliness and a tad more energy our way on the fun, clever “Haunted House.” You know, I think the song’s concept could be the premise for a TV show. Someone get Netflix on the line!
“Strongman” is a bit dark and deep, at least initially, interspersed with lively music with a bit of a circus freakshow (or Coney Island, as referenced in the song) element, packaged into a neatly enjoyable bundle.
photo courtesy of Aaron Nathans
There are many songs on Shadow of the Cyclone that couldn’t be performed without a cello. Notably, the opening to “My Only Leap,” which adds an ominous flavor that would be tough for more traditional duos – those without deep-sounding, bowed instruments that aren’t tucked under the chin, for example – to replicate.
Nathans & Ronstadt plumb the depths a little deeper on “I Go Low,” a deep-vocalled, thought-provoking barroom-swaying declaration of a song that’s a fun ride that really does… well, go low.
The sole cover on Shadow of the Cyclone is a booming rendition of Sting’s “Englishman in New York.” The duo played this when I saw them perform live, and I’m really glad they included it in this collection.
“Phantasmagoria” is an instrumental that explores Nathans’ & Ronstadt’s influences, ranging cohesively (somehow) from hillbilly to chamber music. “Just One Minute” contrasts its pleasantly moving-along rhythm with a lot of tension, which is introduced by tempo changes and instrumentation. “Come On Sun” blends elements of folk-country, mid-tempo Americana, and classic rock (notably, in the occasional distortion); a cool blend.
That’s not everything on the album, but I think you get the picture – really cool, varied stuff with originality you’ll continue to appreciate after eight dozen listens.
photo courtesy of Aaron Nathans
Shadow of the Cyclone ends with “Carry a Tune,” an odd, side-to-side, toe-tapping swayer with well-placed harmonies and big, sweeping orchestration at times that suggests a panoramic view displayed on a motion picture screen. Covering a broad range, the song ends abruptly. Album over.
Coupling well-structured, thoughtful, traditional songwriting with crisp musicianship and booming vocals, then adding this duo’s instruments of choice, Nathans & Ronstadt have a sound that’s familiar but unique and difficult to replicate. That’s their calling card, and it’s the reason you should check out their music. Even if it’s not your go-to genre – it certainly isn’t mine – there’s a very good chance you’ll really dig this exceptionally talented duo’s music.
photo courtesy of Aaron Nathans
Looking Ahead
You’ll find the duo’s live dates on the “Gigs” page of their website. There actually are a couple shows on the calendar at the moment. Don’t get too excited – the venues are doing online shows. But do get excited because they’ll be Nathans & Ronstadt shows. First is a Sunroom House Concert (Dover, DE) performance on March 13th; then a Linden Tree Coffeehouse (Wakefield, MA) gig on April 10th.
Geoff Wilbur's Music Blog 