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.
New England blues/blues rock group Dan Lawson Band kicks off its six-song CD with an old-school blues rhythm, groovy, shredding axework, and a seedy blues joint-worthy, half-spoken/half-sung, gravelly vocal growl on “Borderline.”
“Don’t Tell Me That You Love Me” is a classic blues jam, sporting only-in-blues lyrics like those from which the song title is drawn, “Don’t tell me that you love me, don’t be hanging ’round my back door.”
“Hell On Wheels” is that George Thorogood-styled, straight-ahead, attitude-filled blues rocker you’d expect from a good rockin’ blues group of the Dan Lawson Band’s caliber.
“Minor Issue” returns to slower, classic, poorly-lit club-style blues, much like “Don’t Tell Me…” earlier, serving up another tune built upon a classic blues rhythm, with wailing guitar supporting the emotional pleas of the vocals.
“Maryia” is the most classic rock-flavored song in this collection, with a ’70s or ’80s rock vibe. Striaght-ahead rock, “Maryia” brings to mind bands like the J. Giels Band, The Romantics, and the Michael Stanley Band. This tune would fall somewhere within the rock zone triangulated by that trio of rock mainstays.
“Turtle Soup” closes the six-song grouping with a frantic energy, sort of a rockabilly instrumental in blues-rock form. It’s as if the Dan Lawson Band is playing the patrons to the door, and indeed they are. The blues/rock club Abyssal Plain is closing for the night.
Throughout the disc, gritty, bluesy axework abounds, with all the energy of a top-shelf blues band at your favorite hole-in-the-wall dive bar packaged in album form. Thoroughly enjoyable beginning-to-end, I dig this disc.
Bonus
The band included its performance of “Santa Claus Wants Some Lovin'” in the review package I received. Available as a single, and dating back to 2014, I’ve gotta believe this groovy blues number is a favorite at the band’s holiday season gigs.
Looking Ahead
You can find where the Dan Lawson Band will be performing live via the “Calendar” page of the band’s website. There are currently 8 dates listed, in New Hampshire and Maine, from May through October, starting with a May 15th gig at the Kingston VFW in Kingston, NH. Check the website for details on currently scheduled shows and new performances as they’re added.
Looking for a light, enjoyable good time? “Sentimental” is a catchy, jangly, upbeat pop song that has more than a bit of character. You might recognize Eliza & the Delusionals from their energetic, catchy 2019 breakout song “Just Exist,” which has almost 300,000 views on YouTube. Well, if that given you high expectations for this band, don’t worry. You won’t be disappointed by “Sentimental.”
image courtesy of Reybee, Inc.
The song starts slowly and airy, but it grows quickly into a guitar-based pop song with a steady, progressive beat and rich wall of sound almost entirely throughout, with minor breaks in the beat only at the exact moments necessary, in addition to a distorted dancing guitar line, particularly late in the song, to give the song texture. If it hadn’t been released in the fall, I would suggest it’s an ideal song for the summer. No matter; just keep it in your playlist until next summer. I’m pretty convinced it has enough staying power that you’ll still appreciate it by then.
I’ve reviewed a lot of hard rock lately, so here’s a little balance for you. Zach Phillips is a soft rock singer-songwriter of exceptional talent, delivering in The Wine of Youth a well-constructed collection of songs and pleasant melodies delivered with his warm, welcoming voice. Its laid-back soft rock style incorporates healthy doses of soft Americana, more energetic roots rock and perhaps a hint of folk to create Zach’s unassumingly original sound.
Sometimes, as on “Spirits Rising from the Lake,” there’s a clear ’70s rock flavor to Zach’s music, maybe even a more modern Tom Petty flavor. It’s hard to place, exactly, since this song – most on this disc, in fact – just move along so pleasantly I catch myself bobbing my head left and right, tapping my feet, and enjoying. I’m sure you will, too.
Other times, like on “Stars Fading Behind Clouds,” the guitar picking suggests folk – just an example of one of the places I’m getting that vibe. In this instance, there’s an open-spaces, western, Americana flavor, as well.
photo via NAMM; photo courtesy of Zach Phillips
One of my favorite songs early on this disc, “Ladybird,” sports a different type of Americana flavor, with slide guitar (and the use of the word “magpie,” probably) giving it a down-home feel, though with a big, full sound like you might hear in a small-town concert hall.
“Cascadia” adds a little psychedelia – and much more volume – to Zach’s laid-back style. Then, next, as much as the power of “Cascadia” will shake you awake, “Stranded in the Sun” will let you drift off again. If you’re looking for the antidote to too much hard rock, this one of the recommended tracks, soft, meandering, and perhaps a little more thinly instrumented than most of the songs on this album. Introspective, as well, its deep thoughts conclude with “Please, would you take me as I am?”
photo by Gloria Taylor; photo courtesy of Zach Phillips
Other songs worth noting are “Cemetery Girl,” with a guitar and vocal style that are darker, producing an almost alt-rock vibe on what’s still very clearly a soft Americana style; “Caroline”, with a plodding pace that belies the song’s engaging, emotional slow build to power; and “Hey, San Diego,” which is a cheerfully uptempo ditty that lightly twangs, an open love letter to the city of San Diego.
The title song, “The Wine of Youth,” closes the album gently and nostalgically, a soft landing for an album that’s an ideal, welcome respite when you’re looking for a little calmness.
In total, The Wine of Youth is a sharply-assembled, enjoyable, laid-back soft rock album with the depth and breadth of underlying influences to pleasantly allow repeated listens. It’s a great addition to a broad-based music collection. I dig this disc.
Yes, you’ll know all of the songs. Or most of them, anyway. And we all know how cool popular songs can sound when exceptionally talented rockers give them a hard rock/light metal arrangement. This album does not disappoint. I always dig when hard rockers crank up the volume on covers of mellower tracks. When done well, you get… well, George Lynch & Jeff Pilson‘s Heavy Hitters.
Lynch and Pilson are joined on this album by Brian Tichy on drums and Wil Martin on lead vocals for most of the songs. Jeff Pilson takes the lead on “It’s the End of the World as We Know It (And I Feel Fine),” with Angelo Moore adding organ on that track. And Marq Torien provides vocals on “You Got the Love.”
The album kicks off with a delicious cover of Joan Osbourne’s “One of Us.” The big, open, slightly jangly sound of a George Lynch guitar opening is unmistakable, and the song builds slowly to power, pulling you in as you listen, loosening the reins just a little, and then delivering the goods with powerful guitars and vocals. Even though it’s a slow/mid-tempo number, it packs a huge punch and contains a dark, meandering guitar solo; it will soon be a favorite.
image courtesy of Glass Onyon PR
That’s followed by Lynch & Pilson’s renditions of Rufus and Chaka Khan’s “You Got the Love,” Carole King’s “I Feel the Earth,” Duran Duran’s “Ordinary World,” Madonna’s “Music,” OneRepublic and Timbaland’s “Apologize,” Martha Reeves and the Vandellas’ “Nowhere to Run,” Prince’s “Kiss,” R.E.M.’s “It’s the End of the World as We Know It (And I Feel Fine),” and Oasis’ “Champagne Supernova,” with Lil’ Richard’s “Lucille” as a bonus track.
Among those, in addition to “One of Us,” there are a few more standouts for me. (Your mileage – depending on your specific musical tastes – may vary.)
“You Got the Love” sounds like the sort of jammin’ funky metal you’d expect from Extreme – not the hits, the more adventurous album tracks.
“Ordinary World” is enveloped in one of those guitar-heavy music bubbles, with a little edginess in the vocals before hitting the big, open, feel-good chorus. Honestly, before looking at the album information, I forgot this was a Duran Duran song. With this arrangement, it seems more like something you’d hear from one of those ’90s post-grunge hard rock bands instead, though it was one of Duran Duran’s more guitar-rockin’ hits, so it didn’t need as big an overhaul as, say, “Rio” would.
“Music” is pretty true to Madonna’s original, except cranked up to eleven with Tichy beating the hell out of the drums, trying to knock them through the floor, keeping a heavy, steady rhythm, AM radio static-filled shout-sung-but-tuneful vocals from Martin, a notable funky bass bit from Pilson, and, of course, Lynch’s guitar wails. By the end of the song, you’ll forget the original wasn’t this heavy.
“It’s the End of the World as We Know It (And I Feel Fine)” is performed as a straight-ahead hard rocker, packing lots of oomph. And Lynch and Pilson mostly just add a full, rich, warm, rockin’ music base to “Champagne Supernova,” essentially turning it into the big-sound, six-and-a-half minute long slow-dance metal ballad on the disc… with the requisite late-song, super-long, shredding guitar solo, obvs. (Why do you think hard rock/metal guitarists are always so willing to do ballads?)
You’ll have other favorites, I’m sure, but those are mine. On the whole, this is a fun, really rockin’ album. George and Jeff have done a terrific job selecting songs that are well-designed for a hard rock/metal makeover. You know I love original music, but I also love super-original covers of great songs. If you do, too – especially when it’s George Lynch manning the axe! – grab a copy of Heavy Hitters.
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