Album Review: Glenn Shorrock Sings Little River Band

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Glenn Shorrock Sings Little River Band album cover

image courtesy of BJF Media

Album Review of Glenn Shorrock: Glenn Shorrock Sings Little River Band

I won’t delve into the Little River Band saga, but this record is a stellar collection of re-recordings by original LRB singer Glenn Shorrock. This album is a great opportunity to support a longtime favorite artist. And, perhaps because so many of the songs are already longtime favorites, this disc will quickly become a personal playlist staple.

Shorrock’s smooth, powerful, crisp vocals were ideal for Little River Band, and his voice only seems to have become richer since the original recordings seventies and eighties stints fronting LRB.

Glenn Shorrock

photo by Darren Burns Photography; photo courtesy of BJF Media

This is probably a good time to admit that I was never a knowledgeable Little River Band fan. I don’t own any of the original recordings, though a quick look at the band’s hit list will confirm that the band has recorded a plethora of songs that surely would include a few of everyone’s favorites. As will the collection of songs on this recording, which contains most of Little River Band’s top hits. At least a couple were originally sung by Wayne Nelson (“The Night Owls” and “Take It Easy On Me”), though most were originally voiced by Shorrock.

There’s not a lot of daylight between the recordings on Glenn Shorrock Sings Little River Band and the originals, but there are subtle differences, and I’m sure more avid LRB fans than I will be able to spot more. Side-by-side, you might prefer one version to the other, but I doubt it’ll be a clean sweep either way. This disc is of at least equal caliber to the original, and the variances are subtle.

The album opens with “It’s a Long Way There” and closes with “Reminiscing,” but it’s chock full of hits in-between. It’s a reminder of how really good these songs are now that they’re not particularly common radio staples anymore, so a little time has past before you’ve heard them frequently on the radio. I’ve particularly been enjoying “Help is On the Way,” “Lonesome Loser,” the hipster-cool “Reminiscing,” and the softly powerful “Take It Easy On Me,” though my favorite has to be Shorrock’s smooth, rockin’ performance of “The Night Owls” with his big vocals thriving off the song’s mid-voltage electric energy.

Probably the coolest discovery for me was “Curiosity Killed the Cat.” Since it was a hit in Australia but didn’t chart in the U.S., I wasn’t previously familiar with this song, with its kind of hip, jazzy, occasionally Motowny edge, a song that’s a little psychedelic in spots but mostly just groovin’.

In the end, whether it’s nostalgia or a desire to listen to some really cool mid-range rock (from the now-referred-to-as “yacht rock” genre), whether you’re duplicating the songs in your collection or adding them for the first time, as I’ve done, this is one sweet disc.

Looking Ahead

If you want to catch Glenn Shorrock live, his website lists several upcoming dates in Australia, the soonest a Saturday, October 10th show in Marrickville. Be sure to check out the “Shows” tab of his website for details about currently planned shows and additional concerts as they’re added.

Album Review: Los Goutos – Mighty

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Los Goutos

photo by Steve Benoit; photo courtesy of Off the Stage Music

Album Review of Los Goutos: Mighty

Imagine energetic Americana music with an overflowing stage full of musicians, replete with horn section, and the party atmosphere of every college town’s favorite ska band. That’s Boston’s Los Goutos, and with Mighty, they’ve delivered a colorful box of audio fun in a carryout container. A seven-piece band with multiple multi-instrumentalists and several songwriters, I suspect this group could perform just about any style it wants to, but Los Goutos’ primary goal seems to be the creation of an inimitable, raucous good time.

Los Goutos - Mighty album cover

image courtesy of Off the Stage Music

The album kicks off with what will initially strike you as a romp, “Steal It, Pawn It, Buy Another.” And indeed it is, but you’ll quickly discover this is not the band’s top gear. Los Goutos ups its game with the very next song, “Tequila Set the House on Fire.” Yes, you’ll soon be singing along, and before you know it, without trying, you’ll be tracing the path of the fire along with the band, singing loudly along with this mariachi-flavored aural adult beverage.

I won’t touch on every song, but on this disc you’ll be treated to energetic tunes – a lot of them! – featuring horns, accordion, ukulele, and if it were up the band, I’m sure, essentially every instrument ever played, possibly more. Lyrically, be prepared for a fair share of silliness. Or, at least, cleverness. I believe when I reviewed their album release show I called it a party in a box. And, indeed, as noted in the opening paragraph of this review, the album is the carryout version.

Raucous songs like “Down to the Studs” and “Moscow Mule” are sure to get you dancing. And you’ll catch yourself singing every “yea-uh” during hillbilly-styled knee-bobbing rocker “Can’t Hurt.”

Los Goutos

photo by Jim Bouchard; photo courtesy of Off the Stage Music

Yet another favorite, with its mix of Los Goutos’ humor, picture-painting songwriting, and tag-team instrumental leadership, is “If You’re Gonna Miss Me (You Must Be Really Lonely).”

“Dawn” is a squeezebox and horn driven number with a distinctly ’50s rock feel.

Of course, you’ll find some Louisiana Cajun swamp circus swing on the disc, too. At least, that’s my working description for “Over Easy.” To my knowledge, it’s the sole entrant in this genre, but you’ll understand when you hear it.

“Killing Me Kindly” is a personal favorite, as it ambles melodically with perhaps a more uptempo flair than you’d ordinarily expect from a song thus entitled.

Los Goutos

photo courtesy of Off the Stage Music

Finally, there’s the ’50s/’60s gimmick dance number, something to follow “The Twist” on American Bandstand. Or maybe not. But there’s certainly an audience participation, singalong aspect to “The Corkscrew,” the perfect party song for an at-least-7-piece band in a college town like Boston.

You know, when I saw Los Goutos live, I didn’t think it would be possible to capture the band’s essence in a studio and package that party atmosphere in CD form. I was wrong. The music is genre transcendent, and the production ideally captures Los Goutos’ essence. Party in a box… to go!

More About Los Goutos

There has been a single released post-Mighty. It’s another great tune, “Help the Neighborhood.” You can get the music at Los Goutos’ website, and you can see the music video on YouTube.

And if you’re really searching, the band also released a couple “holiday singles,” which are available at Bandcamp.

Once live shows are booked again, you’ll be able to find them here, on Los Goutos’ “Shows” page.

 

Album Review: Kevin Welch – Dust Devil

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Kevin Welch - Dust Devil album cover

image courtesy of Sharktooth Touring

Album Review of Kevin Welch: Dust Devil (Dead Reckoning Records)

Kevin Welch is a renowned songwriter in the Americana lane of the country music highway. He got his start as a sought-after songwriter in Nashville, and by the time he released his first album, a self-titled disc in 1990, I was just beginning my reviewing career. I remember – and still have – the album, but I wasn’t able to find my old review. Back in the days of print publications, even though I was master of the short, under-100-word review early in my writing career, probably half of my reviews ended up on the editing room floor due to space constraints, so there’s a good chance it never saw the light of day. This review, however, will be published, as you can see, because it’s my website and I don’t have space constraints.

Kevin’s vocals are soft-spoken, with a Bob Dylan-esque storyteller’s rasp, a bit of a Randy Newman-ish larger-than-lifeness at times, all while still being restrained and subtle, and delivered with a folk-country cadence. Dust Devil is a storytelling songwriter’s album, a down-to-earth telling of everyday tales, an everyman’s exhibition of extraordinary songwriting.

“Blue Lonesome” starts as a slow-moving number that grows in intensity, includes well-placed sax, and emerges as a memorable soft-to-mid-tempo romper, all punctuated by Kevin’s vocals at their most gravelly. It’s followed by the pensive, blue country guitar-picker – replete with weepy slide guitar and closing harmonies – “Just Because It Was a Dream,” a song on which you can really feel the desert wind blowing. Following that, Kevin is at his folky, picture-painting, storytelling best with “The Girl in the Seashell,” which sounds as if it should be familiar as it sways gently, even if it isn’t.

“High Heeled Shoes” is a favorite, stylistically very cool, with a sort of 1920s speakeasy vibe reminiscent of something I’d expect to have heard on The Gentlemen’s Anti-Temperance League’s Masquerade album I reviewed back in 2017. Piano, horns, slightly gravelly vocals, and a smoke-filled barroom. And… scene!

The album continues, relying on Kevin’s memorable voice, his expert-level songwriting, and some great musicians to deliver more tight, memorable numbers. “Brother John” is one track that’s a particular earworm, with horns punctuating the “Brother John, Brother John” lyric throughout. And to be honest, that’s the part that comes back to me days later, though the whole song is a fun listen, a recollection, a reminiscence.

Moving toward the end of the collection, the penultimate track is “A Flower,” which Kevin performs with the most spoken-song style vocals on the album. True country storytelling about hard times, tough lives, and defiance.

And the final track, “Dust Devil,” is a very gravelly-voiced, slow-picked number with the feeling of wide-open spaces and the old west. Or perhaps a cattle drive. Lyrically, of course, it’s more personal than that (“I’m an old dust devil, waiting on the wind to die down”), though isn’t the usually the case?

To be honest, this album is so subtle, it didn’t convince me on the first listen that I’d choose to review it, but it’s Kevin Welch, and it’s pleasant enough, so I gave it a few more spins, and Dust Devil revealed its brilliance over time. The attention to detail is impeccable, the songwriting is exceptional (well, it is Kevin Welch), and it’s the album’s nuances that worm their way into your brain until Dust Devil becomes a favorite spin. For some of you, sure, you’ll find an instant connection. But even you don’t, give it time. It’s a truly fine piece of work.

Looking Ahead

There are no live shows currently scheduled, but when there are, you can find them on Kevin’s website.

Album Review: Ross the Boss – By Blood Sworn

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Ross the Boss

photo courtesy of BJF Media

Ross the Boss Friedman is one of hard rock and heavy metal’s premier guitarists. You probably know him originally from headbangers Manowar or punk rockers The Dictators (or both), possibly in addition to one or more of the many subsequent stops on his guitar god/shredding journey. Personally, I’m a big fan of one of the lightest rock entries in his discography, his blues-rock band Heyday, which released one self-titled album back in 1994 after his Manowar and Manitoba’s Wild Kingdom stops. It was proof positive, as if that’s even necessary, that this man can excel in just about any style, even if he’s primarily a heavy metal guitar god. Most recently, Ross the Boss have been largely performing as leader of a band sporting his own name, Ross the Boss.

Now, as I’ve mentioned in a few of the reviews I’ve written this summer, I’m working my way through a review backlog necessitated by more than two years of barely writing, so this review is of Ross the Boss’ 2018 release, By Blood Sworn. He and his band have a 2020 release, Born of Fire, as well. Whether I take a stab at reviewing that in the future or simply leave it up to you to check it out on your own remains to be seen. But I’ve been enjoying this album for a couple years now, so the review is overripe…

Album Review of Ross the Boss: By Blood Sworn (AFM Records)

Obviously, Ross the Boss’ guitar drives this record. It provides the melody and the power, as By Blood Sworn is a fast-driving, energetic, cathartic heavy metal album. He’s joined by Marc Lopes on vocals and keyboard, Mike LePond on bass, and Lance Barnewold on drums. Important to the band’s style is vocalist Lopes. Lopes’ other rosterships are with thrash outfit Let Us Prey and ’80s metal/hard rock cover group Kobra Kai. Bringing that thrash vocal edge to the tunes on By Blood Sworn, Lopes helps maintain the frantic energy level on the disc, with his voice cutting through the music while adding to its intensity, as much an instrument as a lyric delivery device. Yet there’s a tuneful, melodic edge to Lopes’ growl that’s almost certainly what makes him the ideal vocalist for this album.

Ross the Boss - By Blood Sworn album cover

image courtesy of BJF Media

As any good metal album should, By Blood Sworn begins with foreboding lyrics, a wall of guitar, and vocal wails on its title track. And Ross, to no surprise, steers the songs’ melody, power, and finesse with his guitar. That’s a common thread throughout the disc, as is the driving power emanating from the rhythm section.

Some tracks, like “Among the Bones,” mix a bit more of the haunting Dio-esque lyrics in segments, and well-placed, finesse-filled, frantic guitar solos dot the album’s musical landscape. Throughout the record, there are interesting musical and songwriting features. The water-falling-up guitar bit opening “Faith of the Fallen,” a song that would serve as By Blood Sworn‘s ballad (in that you can slow-dance to it, among the wailing guitars) is one that always catches my attention. And there’s a guitar bridge during “We Are the Night” that gives the feeling of finding a clearing in a dense forest before the aggressive guitar (and the forest) returns. The musicality of the entire disc is full of really cool moments like those, each fitting well within the context of its song.

One song that stands out for its uniqueness, “Mother of Horrors,” is the closest this disc comes to straight-up hard rock, with a blues rock rhythm and guitar line that somehow manages to be jacked up to full metalhood to fit into this album quite well, while also being a song that could be performed easily by a mid-tempo rock band with no connection to metal whatsoever. That’s just awesome songwriting. Of course, very few people could match Ross’ guitar runs and solos, but the song would be a fun rock ‘n roll romp even without them. Obviously not as special, but still.

Top to bottom, By Blood Sworn is an excellent album without any weak spots. Of course, everyone’s likely to have different favorite tracks. The songs I most often find stuck in my head are “Devil’s Day” and “Fistful of Hate.”

On “Devil’s Day,” I catch myself singing along with the chorus, “I am the true destroyer…” while digging the rhythm, which pushes forward as if it’s restrained but constantly tugging at its leash. Oh, and there’s a serious classic rock-style shredding guitar solo toward the end, too.

The energetic run on “Fistful of Hate” that gets stuck in my head is the chorus that begins with “I see the world through different eyes than you…” The song itself is a fast-paced rocker, exactly what you’d play to get yourself psyched up for an evening out, for competition, or just to get the blood pumping in the morning. And when it ends, so does By Blood Sworn. Time to take a deep breath, stop pumping your fist in the air, and collapse back into your chair exhausted, refreshed… and maybe ready to start the album over again.

Avid fans of Ross the Boss probably already have By Blood Sworn in their collections. More casual rock fans – or those of us whose attention is diverted from constantly seeking out new music by working a demanding job, spending time with my family, and writing reviews (OK, that’s me) – may have missed that Ross the Boss had emerged with this talented cadre of co-conspirators to release By Blood Sworn in 2018… and, just this year,, Born of Fire, which I look forward to seeking out. Certainly, By Blood Sworn is a great, energizing, adrenaline-filled heavy metal ride.

Looking Ahead

As I mentioned twice already, Ross the Boss released a new album, Born of Fire, earlier this year. To catch live performances, check the “tour dates” page of Ross the Boss’ website. A 3-week European tour is slated to kick off on November 11th in Sweden, with dates in Norway, Germany, the Netherlands, Switzerland, and Italy. A two-week tour of Spain and Portugal is slated for April-May 2021. And Ross the Boss is slated to perform on July 2, 2021 at the Big Gun Festival in Pereslavl, Russia.

Album Review: Karen Nash – Love & Justice

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Karen Nash - Love & Justice album cover

image courtesy of Karen Nash

Album Review of Karen Nash: Love & Justice

That timeless style of country music delivered by its powerful female stars. Maybe a little Patsy Cline. Some Loretta Lynn. Modern, sure, and until the last decade or so, from country’s female stars, there was always a harkening back to this classic sound. A sound that dominated ’70s country music through stars like Tammy Wynette, Lynn Anderson, and Crystal Gayle. Or Linda Ronstadt, Emmylou Harris, and Tanya Tucker. Though mixed with a light California country airiness and energy, much like those ’70s stars and a bit like more recent country hitmakers, Karen Nash‘s music centers around that throwback twang and lilt. She’s a country music crooner, suited perfectly to those old dance halls whose huge dance floors were filled with couples in western shirts, big belt buckles, boots – and fringe, of course. Plenty of slow dances, but also a marching-forward rhythmic energy. And strength. Lyrics about adversity, but also the strength in facing it. These days, I suppose, you’d categorize Karen’s sound as soft Americana. But it’s really classic Opry music.

The album starts with “Safe,” a mid-tempo number with a subtle, jangly guitar hook whose opening lyrics set the table for Love & Justice: “Honey, you ain’t no angel, but you might just save me…” It’s also a great lead-in to one of my several favorites on the disc, “I’m the Fool,” which packs a little more energy and utilizes the whole bag of tricks to make it memorable: a catchy chorus, little guitar runs, backing harmonies, and a throwback, everpresent twangy guitar line.

Lest the energy get too high, that’s followed by a slow dance crooner, the melancholy, wistful, heart-achingly delivered “Let My Heart Break.”

Next are the two songs that seem to most often pop into my head from this album. First, “I Never Want to See You Again,” where ivory tickling, drum runs, and guitar flourishes support Karen’s powerfully assertive vocals, forming a deliberately-tempoed anthem for women trying to psych themselves up to kick their disappointing, worthless suitors to the curb. It’s followed by “Last Lost Cause,” the previous song’s smoothly swaying flip-side, utilizing the rich texture and subtle power of Karen’s voice as its emotional currency.

In addition to the vivid pictures painted lyrically by “Bright Star,” it’s notable for the a guitar line that follows the vocals through the melody. And its western flavor leads well into the next track, “Brave Eyes,” which sports a bit of a Chris Isaak-ish vibe, something you’d expect to hear in an indie film during strange goings-on in the parking lot of a rundown two-story motel on a rural southwestern desert highway somewhere.

“Circle” is a bit of a folk country song – structured like some of my favorites from songwriters like Davey O and Tom Ingersoll, but with a distinctly country twang in the soft guitar line supporting Karen’s sweetly reminiscent pleas.

“Somewhere to Be” follows, with driving guitar suitably accompanying Karen’s defiant vocals. The crunchy guitar on the following song, “Long Gone,” roars along with Karen as if it’s going 85 mph down a country highway, as is the first-person character in the song, likely, on the run. If one were to remake the Thelma & Louise soundtrack, “Long Gone” would be a perfect fit, stylistically for sure; lyrically, well, close enough.

With the final song, Karen calms things down again a bit with a very traditional-sounding crooner, “Too Close to Gone”: “Well, you’re too weak, and I’m too strong. We’re too far apart, and too close to gone.” And with that, the album itself is gone. Unless you have it playing on repeat, which you probably will.

Perhaps the only thing you could fault Karen Nash for is her timing. She would have found certain success if she had come along in the ’70s, when her style would have matched the dominant, rising female stars on country radio. Even today, though, this is timeless, classic, exceptional music. Written and performed with the utmost skill. Well-produced. Supported by an exceptional band. I first heard Karen’s music more years ago than either of us would like to admit, and this album is as good as anything she’s ever delivered. I’m so glad to have Love & Justice as part of my collection. Be sure to check it out.

Album Review: Jann Klose – In Tandem

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Jann Klose - In Tandem album cover

image courtesy of Glass Onyon PR

Album Review of Jann Klose: In Tandem

Longtime Geoff Wilbur’s Music Blog favorite Jann Klose is a soft rock singer-songwriter. In old radio terminology, he’d be an adult contemporary staple with occasional pop crossover hits. In equally outdated music video parlance, he’d be in steady rotation on VH1 with his videos also finding some MTV airplay. You could drop him into any pop or rock festival line-up, and he’ll accumulate new admirers from a broad variety of fan bases. He’s a versatile, talented songwriter whose instantly recognizable, rich, comfortable voice has surprising range and carries an edge. And the songs on In Tandem carry a variety of emotions, depending on the song, though joy is the most infectious of the bunch.

I heard many of the songs on this disc during a very special stop on Jann’s 2018 tour in support of In Tandem, and as much as I like a live Jann Klose acoustic performance, the full studio treatment of these songs is outstanding.

Jann Klose

photo courtesy of Glass Onyon PR

One of the many collaboration highlights on this album include an inspired rhythmic, light, airy version of Peter Gabriel’s “Don’t Give Up” on which Jann is joined by Annie Haslam, their voices well-matched and almost entwined at times.

Aside from the collaboration with Haslam, most of the album was recorded in South Africa, where German-born Jann spent some of his childhood, and features a who’s who of noteworthy South African artists. For example, Tamara Dey joins Jann as co-writer and co-vocalist on “You and I (Cosmic Love),” a fun, light, soft-danceable, catchy number that recalls images of bell bottoms and free love. Karen Zoid joins Jann as writing/singing collaborator on “Pour the Champagne,” an upbeat tune whose rhythm combines with light guitar flourishes as the song’s successful hook, with a late-song key change sealing the deal. And RJ Benjamin is featured with Jann on the slow-building, introspective “Win This Fight,” which is built upon the continually increasing range and power of Jann’s voice throughout the song, including nailing some high notes at the end.

Of course, additional songwriting credits and supporting musicians for the project also hailed from South Africa, naturally, with the recording occurring there. In fact, many of the writing collaborations stemmed from a 2016 BMI songwriting camp Jann attended in Cape Town.

The album itself kicks off with “Love High,” a bright, uptempo number that deftly utilizes a few trademark tools from Jann’s vocal repertoire. At times smooth, high, and strong, and at others emotional and straining, the tempo and vocals served notice about the type of energy that could be expected across the remainder of the disc. Soft but uptempo, emotional yet cheerful with a breezy sound bed.

A couple of my other favorite songs on the album, potentially hit-worthy, are “Dear Mel” and “What It Is.” The warm energy of “Dear Mel” supports the reminiscing lyrics in this song about past friends. “What It Is,” meanwhile, thumps along, slowly building to an explosive, catchy chorus melody. While I’m listening to it, it’s my favorite song on the album, though for some reason “Dear Mel” has more of that particular earworm quality that causes it to return to memory randomly several hours or days later. (What’s up with that?!)

Of course, let’s not forget “Take Me 2 Forever,” a hip-shaking number with jangly guitar and a syncopated rhythmic percussion that’s memorably original.

And, finally, a song Jann wrote for his mother’s wedding, appearing twice on In Tandem. First, “Hochzeitslied” in its original German, and later “Wedding Song (Hochzeitslied English Version).” The latter closes the disc, with its restful warmth setting the listener down softly at the end of an album-long journey.

As always, Jann is a songwriter whose pop-friendly soft rock style and exceptional vocal range carry broad appeal. This recording, in which the always-present South African segment of his life journey is brought to the fore and explored musically, is a terrific addition to his catalog and would serve as a great introduction for new fans.

Since the Album

I’m still working my way through a writing backlog after a couple years largely away from writing, so it’s not surprising Jann has created more music since releasing In Tandem in 2018. Most recently, this spring Jann released a new single, “Pilot Light.”

Looking Ahead

Jann’s itinerary currently lists two upcoming shows this fall – in Glen Head, NY on Friday, November 20th, and in Brooklyn, NY on Saturday, November 21st. Details are on the “Shows” page of Jann’s website. Obviously, no one knows what this fall will bring, so check with the venues closer to the shows’ dates to make sure they don’t fall victim to the pandemic. And also check back to Jann’s website for additional dates as they’re added.

 

Album Review: Annie Brobst – My First Rodeo

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Annie Brobst Band

photo by Matthew Allen Photography; photo courtesy of Annie Brobst

by Eric Harabadian, Contributing Blogger

Album Review of Annie Brobst: My First Rodeo

Annie Brobst is a master storyteller and singer-songwriter based in the Boston area. Originally from Columbus, Ohio, she made the move to the North Shore in Massachusetts and has become a musical fixture on the traditional and modern country circuit. Brobst has performed at numerous festivals, community events and media-related functions throughout New England. And the list of contemporary country artists she has opened for is stunning, including everyone from Big & Rich, Frankie Ballard and Gretchen Wilson to Don McLean, Wynona Judd, Uncle Kracker, Darius Rucker, etc.

Annie Brobst - My First Rodeo album cover

image courtesy of Annie Brobst

Annie Brobst’s first full-length release is called My First Rodeo. And it’s the follow up to 2016’s EP Ghost. On it she mines personal influences such as Miranda Lambert, Ashley McBryde and Jason Isbell, with tales of human interaction; love and loss, with a focus on herself and the observation of others. Brobst partnered with top co-writers on this album, including Rodger Hagopian, Ryan Dupont, Brian Alex and Drew Smith.

My First Rodeo features a dozen original tunes that cover a wide swath of melodic invention, passion and emotional investment. Even though Brobst draws from a variety of sources she really dives into the material and owns it.

Annie Brobst

photo by Lisa Czech; photo courtesy of Annie Brobst

It’s an album that is experiential, with an arc that begins with “Before I Leave,” which is upbeat and melodically earnest, with a message of connection and staying in touch with the ones you love. “Still Water” has a traditional country lilt powered by a steady snare beat and the combo of banjo and fiddle.

“Love You More” changes things a bit, with a subtle funky pop undertone. Atop a great groove Brobst sings “Maybe I love you more than I could ever love myself.”

That’s followed by the 2018 New England Music Awards Song of the Year, “Change of Heart.” It’s an insightful tune about how love can erode over time, with tight harmonies and framed by some beautiful acoustic guitar.

In her bio Brobst, refers to “bro-country” as part of what she does. I guess “We Were Breakin’” would fall into that category. It’s got that playful Gretchen Wilson/Tanya Tucker kind of romp to it, with the hook “Breakin’ it down while we were breakin’ up.” Definitely a crowdpleaser to be sure!

Annie Brobst

photo by Lisa Czech; photo courtesy of Annie Brobst

“Ghost” is a strong song about changes in a relationship and picking up the pieces of one’s life. It has a very autobiographical feel to it as she sings “I’m moving out from the city I need the most. I’m movin’ out from the man I love the most. I’m movin’ out so raise your glass and make a toast, and that’ll leave me here as nothin’ but a ghost.”

Other highlights include “You Either Love Me,” with its old-time honkytonk vibe and hot groove. Tasty pedal steel, piano, fiddle, and lead guitars really make this a knockout. “The Teacher” also is a showstopper, with a fine melody and great hooks. Brobst really draws you in with the illustrative lyrics: “Some things teach you how to fall in love, some things teach you how to hold a grudge, from all the bridges I’ve burned, I still know I’ve got a whole world to learn. Thank God life’s one hell of a teacher.”

Annie Brobst’s newest releases, since My First Rodeo, include the singles “Little Girl Dreams,” which came out earlier this year, and “Red Wine on My Mind.”

Annie Brobst Live

Annie is a memorable live performer, and while shows are infrequent these days, for obvious reasons, hers have been much less infrequent. Annie has been staging “house tours,” performing from a trailer/stage around the region. Check out the “Tour” page of Annie’s website for upcoming live performances, both now and as more are added. She has upcoming performances on Thursday, August 20th in Danvers, MA; Friday, August 21st in Hampton, NH (with a livestream available); Friday, August 28th in Danvers, MA (also featuring a livestream); and Saturday, September 19th in Manchester-by-the-Sea, MA.

Album Review: Mychael David – Heroes & Honkytonks

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Mychael David - Heroes & Honkytonks album cover

image courtesy of Beard Artist Management

The Backstory

I first heard Mychael David about four years ago, when I checked him out in advance of a local concert and realized there was a veteran, elite country music singer in the area, if only I had previously taken the time to investigate.

Mychael has that classic country voice, but with the energy level to bring “real” country to the masses in a powerful arena setting, with a hint of classic rock power that only adds to his appeal. His patriotism, support for the troops, and appreciation of good police officers is at the forefront of his performances, and it’s genuine and sincere. There’s no need to try to package Mychael David. He is the package. I love that he plays frequently here near his New England home, and we enjoy the heck out of him, but I’d love for the big-arena, national country music world to discover what we already know: This guy’s one-of-a-kind. The real deal. 100% USDA prime country music.

But you already know the purpose of the Blog is to introduce you to music you really need to hear. So with great pleasure I’ll begin my review Mychael David’s most recent album, Heroes & Honkytonks.

Album Review of Mychael David: Heroes & Honkytonks

Mychael is known for consistently stocking his band with top country/classic rock musicians, and Heroes & Honkytonks doesn’t disappoint, with guitar runs and a rhythm section that provides supportive and, at times, explosive music behind Mychael’s world-class deep, strong country voice.

Mychael David

photo by Geoff Wilbur

Mychael kicks things off with a number that hints at some classic country roots, the uptempo, room-rockin’ “Goodbye is Still Goodbye,” with a subtly hooky riff you’ll be humming in your head for hours afterwards, a hook I swear reminds me of a guitar lick from an ’80s rock hit, but I can’t quite place the song. He follows it by going all-in old-school and keeping the tempo up with his rendition of “Folsom Prison Blues.” Mychael has a rare voice that can do icons like Johnny Cash justice, yet he maintains a tone of his own that makes every song he performs a Mychael David song, even if it is a relatively faithful version of someone else’s.

Next up, “Little By Little” is an engaging, energetic song about building a life together, about everyday life – one of those identifiable, everyday life, everyman songs.

It’s followed by a powerful song that’ll leave you choked up, guaranteed. Recalling the good ol’ days, when the “good guys” used to win, referencing several of our favorite TV show sheriffs as a proxy for the changes in modern life, as well, in “Put Your Badge Back On.” Mychael’s spoken/sung delivery on this song is well-suited to the emotion. And oh, man, there’s some sweet Southern-rock-meets-country guitar noodlin’ going on in the background, too.

Mychael David

photo by Geoff Wilbur

How do you follow a song that emotional? With humor. “The Dog Don’t Know Sit” is one of those well-crafted fun ditties you might have expected on a Ray Stevens record, though I’d posit this is a silly song with plenty of heart.

The album’s lyrical content turns toward varying degrees of sorrow for the next three songs. “Stranger in My House” kicks things off with powerfully-voiced relationship-ending anguish supported by bluesy-country riffs. “Whiskey Ain’t the Only Thing (Running Out On Me)” adds some twangy slides and a lower tempo to support a more sadly acquiescing vocal tone with just a hint of an emotional quaver, so well-suited to the track. And “This House Just Ain’t a Home” utilizes piano as the primary support for Mychael’s vocals in a soft-yet-strong, powerful lament.

If you’ve been paying attention to either the words or the tone of the preceding tracks, you’re in dire need of a pick-me-up at this point, and Mychael delivers. The next song is a dance hall dancefloor-filler that’ll lift your spirits, “Who Wants to Honky Tonk.”

Mychael David

photo by Geoff Wilbur

The disc closes with Mychael’s tribute to the military, the soaring, anthemic “Some Gave All.” I’ve seen this in concert, with Mychael walking through the crowd, shaking hands with veterans in the audience. It’s a powerful moment at a concert, and a strong finish for this record.

A big voice with a powerfully updated spin on classic country music. Again, why isn’t this guy headlining stadiums? So if you’re not familiar with Mychael, check out Heroes & Honkytonks; it’s an album that belongs in any serious country music fan’s collection.

Looking Ahead

As can be expected, a lot of Mychael’s summer dates have been cancelled, but some outdoor summer concert series performances have gone on as planned, just a little more socially-distanced than usual. There’s currently one upcoming show on Mychael’s schedule, per the “Tour” page on his site: a Sunday, August 16th date as part of the West Boylston Summer Concert Series at the Town Common in West Boylston, MA. Keep an eye on Mychael’s website for additional upcoming show dates, as they’re added.

Single Review: Houston Bernard – “American Dream”

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Houston Bernard - American Dream single cover

image courtesy of Houston Bernard

by Eric Harabadian, Contributing Blogger

Single Review of Houston Bernard: “American Dream”

Singer-songwriter Houston Bernard has graced the Boston and Northeast U.S. music scene for years now. He has delighted audiences, with his emotive vocal style and rootsy Oklahoma charm. He has shared bills with some of country music’s finest such as Luke Bryan, Old Dominion, Marshall Tucker Band, and Clint Black. And now he is poised to join those esteemed ranks, with his latest single “American Dream.”

Houston Bernard

photo by Geoff Wilbur

“American Dream” tells a story that is simple in delivery, yet complex in content. Bernard spins a tale about two American kids from the heartland of the USA. In fact, they could be the grown “Jack and Diane” of ‘80s John Mellencamp-penned fame. But, in this case, the couple in question is Johnny and Annie. A lone banjo and electric guitar set the tone for the story followed by a strong, incessant beat. Johnny is a kid that grew up on a farm and continues to work the fields because it’s the family business, and he doesn’t wanna let his father down. Johnny marries Annie the homecoming queen, and they raise a family together. But after a while, reality sets in, as Bernard sings “A month lasts longer than money and Johnny’s coming apart at the seams.” As the couple tries to accomplish their goals in life, the “American Dream” seems tangible, yet murkily elusive.

“American Dream” is a song that seems to praise the hopes, aspirations, and values of the traditional United States while questioning them at the same time. It shines a light on that struggle. Bernard delivers a strong narrative and has a distinctive, dramatic voice. The guitar work on here is lively and wonderfully succinct. It really helps to drive the song home. It’s a tuneful single that is just starting to make some waves at radio and CMT.

Houston Bernard is a star, and it’s intelligent, well-crafted material like this that will pave the way. “American Dream”’s thoughtful lyrics and honesty will surely resonate with audiences for some time to come.

Looking Ahead

You can see the video for “American Dreams” on YouTube, but also be sure to watch for the video’s debut on CMT on Friday, August 14th.

If you’d like to catch Houston Bernard live, you have a couple chances coming up this month, per the Events tab on Houston’s Facebook page: On Thursday, August 13th at Breakaway in Danvers, MA, and on Thursday, August 20th at the Sea Shell Stage in Hampton Beach, NH.

Single Review: Simon Scardanelli – “It Really Is a Pity”

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Simon Scardanelli

photo courtesy of Simon Scardanelli

by RST, Contributing Blogger

Single Review of Simon Scardanelli: “It Really Is a Pity”

Genre-defying, retro-futuristic, or just plain anar-chronistic, “It Really Is a Pity” is a surprising and entrancing new release from Simon Scardanelli which takes the listener on a voyage to a mysterious point in spacetime. Simon’s early influences of Kraftwerk, Brian Eno, and Vangelis glimmer through the track as he continues to play with the inexhaustible human fascination for machine-made synth sounds. As a comment on the state of humanity, it remains true to Simon’s consistent message throughout his catalogue – we might not quite be on the right path.

Simon Scardanelli - It Really is a Pity single cover

image courtesy of Simon Scardanelli

The track starts in an eerie, empty place, with a lone alien machine voice broadcasting, somehow emotively, the pitiful state of affairs.  Imagine Daleks, but sensitive, and vulnerable. A constellation of strange, familiar, and beautiful sounds create an enthralling dimensionality for the track, and the listener can’t help but groove in assent while they’re being judged. Despite the verdict, this song is neither bitter nor angry, but instead presents a possible perception of our reality with clarity and understatement. The song pays off, and as the aliens announce their necessary departure (probably something to do with the “dangerous mad men in charge”) the drop will have you dancing to your own damnation, and wishing these aliens well as they get out of Dodge. Can I come with?

[Editor’s Note: The reviewer is Simon’s daughter, but that I love what she wrote and agree completely with her assessment of his music and this single. -GW]

Upcoming Events

You can find Simon’s upcoming performances via his Songkick listings. It currently lists a single upcoming show, Friday, August 14th at Café de la Forge in Guillac, France.