Album Review: Fuzztones – NYC

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by Eric Harabadian, Contributing Blogger

Album Review of Fuzztones: NYC (Cleopatra Records)

Since 1980, lead vocalist-guitarist Rudi Protrudi has been at the helm of New York garage rockers Fuzztones. They have been named revivalists by some, but they actually are one of the architects of that classic proto-punk/alternative rock sound. However, in celebration of their 40 year anniversary, Protrudi and company decided to pay homage to those fellow New York City bands and songwriters that have influenced what they do. And it’s an impressive list of songs that could be ripped right from the playlist of Little Steven’s Underground Garage on Sirius Radio.

Fuzztones - NYC album cover

image courtesy of Glass Onyon PR

Joining founder Protrudi on this collection of eclectic musical nuggets are Lana Loveland on keyboards and vocals, Eric Geevers on bass and vocals and Marco Rivagli on drums and vocals. This is a tight and efficient unit that really knows how to effectively interpret their heroes, yet still retain a semblance of their own sound. Much in the spirit of the Sex Pistols’ Sid Vicious and his infamous take on Sinatra’s “My Way,” Fuzztones cover another classic by Ol’ Blue Eyes, appropriately, “New York, New York.” The band gives it a rocking spin that walks that line between irreverence and respect. Gender bending Jayne/Wayne County is represented here with a psychedelic take on their track “Flip Your Wig.” It’s very Seeds meets Question Mark and the Mysterians, with cool organ comps from Loveland and Protrudi’s buzz saw fuzz guitar work. The Cramps’ “New Kind of Kick” features a primal beat and screaming guitars. Greta harmonies frame a hazy, aural drug-like trip. The very lyrical and ‘60s-sounding “53rd & 3rd” is a Ramones cover. It’s reflective of life on the streets, with strong backup vocals and a catchy pop sensibility. Other highlights on this 15 track album are the urgency of the Dead Boys’ “High Tension Wire,” Blue Oyster Cult’s ultra-hip “Transmaniacom MC,” the lush production of Richard Hell’s “You Gotta Lose” and the fantasy feel of Patti Smith’s “Dancing Barefoot.”

The Fuzztones relocated to Los Angeles shortly after the release of their first album Lysergic Emanations in the early ‘80s, but have always remained close to their musical roots. “New York has always been at the core of the Fuzztones entity,” says Protrudi. “So, what better way to celebrate 40 years of fuzz than a tribute to the music that drew us there?”

Album Review: Marina V – In V Minor

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Marina V

photo courtesy of Marina V

Album Review of Marina V: In V Minor

Long-time readers know Marina V is a Blog favorite. Her expressive, soaring, sweetly clear yet powerful vocals combine well with her frequently-flowing songwriting. And, while she can and does show versatility and range when she stretches herself to faster-tempo and stylistically different songs seemingly effortlessly, Marina does have a musical sweet spot. It’s a designated lane on the soaring pop ballad musical highway that’s reserved for Marina and no one else, and it’s where her legion of fans expect a majority of her music to reside. In V Minor spends most of its time in this lane, perhaps more than her recent albums do, but it’s really hard to complain, especially as she swerves around within the lane quite a bit. And it’s fun to hear Marina release an album of new material mostly within her “greatest hits” zone sometimes. Plus, there are those aforementioned cool twists she puts on her subgenre, too. With depth and darkness, most of the time, you’re not likely to expect; she always does that. She’s Marina V.

Marina V - In V Minor album cover

image courtesy of Marina V

The first song in the collection is the beautifully, hauntingly drawn-out “Cold Cold Winter.” Marina’s piano skills combine with the guitarwork of special guest Jim “Kimo” West and the most beautiful edge of Marina’s voice to deliver a memorable ballad.

It’s followed by the sole cover on the album, a Marina V-tempoed rendition of “We Belong,” the Pat Benatar hit that was penned by the songwriting team of Lowen and Navarro. Marina blows the lid off of this track, and it features a truly special guest, as she sings it as a duet with the song’s cowriter Dan Navarro.

Marina V

photo courtesy of Marina V

Next up is another treat, a fan favorite, a rare (well, infrequent) Marina-penned full-on love song, “143.” It’s sort of the warm side of “Cold Cold Winter,” suitably placed with “We Belong” serving as a transition between the two tracks that are simultaneously similar and polar opposites. (Polar… winter… get it? Yeah, maybe not.)

“Rain My Love” opens with a semi-haunting piano, vocal, and string arrangement, a broad-sounding, soaringly-building sound that hints a bit at Scorpions’ “Wind of Change,” hinting at that sort of power but reining it in and polishing it with a softer edge. (Marina does a powerful rendition of “Wind of Change,” by the way, but it’s not on this album; it’s on Marina’s extended 2017 release of Inner Superhero.)

The power doesn’t dissipate on “Talk to You Sometimes,” it’s just redirected. Another song about strength and emotion – something Marina excels at writing and performing – this song will undoubtedly put a lump in your throat lyrically, and then it contains the best three-syllable delivery of the word “steel” I can recall, which helps release the tension. It’s all about the details.

Marina V

photo courtesy of Marina V

The third weather-titled song of the first six, “Love is Like Snow,” is a bit lighter, more playful, and hopeful. Still a slow song, but one you could move around a dancefloor to if you’d like, and the occasional twirl wouldn’t be at all out of place.

Next up is one of my favorite songs on the disc, “LKD.” And fortunately, like most of us, I’m not out in public much these days, or you might be concerned when you hear me singing the lyrics under my breath, “Live. Kill. Die.” “LKD” sounds like is was specifically written for a James Bond movie, with a breathy, cold, calculated delivery. Or perhaps it was created as an entry into a competition seeking a new theme song for the KGB. I actually researched the answer to this. After noting the Bond-esque edge to the song, I checked Marina’s song notes to see what inspired this track, and indeed, as an assignment in a songwriting group, “LKD” was written to sound like an end-credit song for a James Bond movie. I’m not sure how I feel, now, knowing that it was contrived bloodlust – not the actual thing – driving this song, but I’m pretty sure the word I’m looking for is “relieved.”

Marina V

photo by Justin Higuchi; photo courtesy of Marina V

Next up is another tune I often find stuck in my head, the encouraging “Back to Sunshine.” In addition to its hooks, the tune has Easter eggs for hardcore Marina V fans, as she slips old album and song titles into the lyrics of this song. It’s an neat trick, accomplishing that while writing a memorable, hopeful tune that’s engaging and catchy even without the insider information.

Marina returns to the dark side next with “Sick Sick Love.” The song cleverly builds tension and suspense musically, vocally, and lyrically, proving interestingly compelling, with just enough enthusiasm to suggest the song’s protagonist may not actually be interested in leaving this sick, sick love behind. Given the subject matter, this song is much more fun than it probably should be; I may be wrong, but I envision a mischievous glint in Marina’s eye while she recorded it.

Marina V

photo by Arsen Memetov; photo courtesy of Marina V

“No Time to Say Goodbye” returns to a semi-haunting tone. It’s actually the theme song for Bill Adler Jr.’s novella of the same name, and its sad desperation rather well matches the emotion you’d expect from the book’s plot summary. (No, I haven’t read the book, but I’m intrigued.)

Finally, the album closes with two lullabies. First, “My Love Lullaby,” a sweetly encouraging song about unconditional love. And then the Russian-language “Лунная Колыбельная (Russian Moonlight Lullaby).” No, I don’t understand the song, but thanks to the translation, it’s also quite sweet, and very much a sing-to-your baby song.

Marina V

photo courtesy of Marina V

That’s it. Over too soon? In V Minor is yet another dependably strong Marina V disc, as she has perfected the ability to release only top-notch material. This one, again, resides mostly within her sweet spot when it comes to tempo and taking advantage of her soaring voice and piano skills. The tone and mood ranges from very, very dark to light – to be fair, its touch is mostly soft and generally hopeful, but the breadth of emotion makes the album complex and enjoyable, like an interesting friend. Definitely a pleasure to have this disc as a listening companion during a pandemic.

Of course, as I mentioned at the beginning of this review, Marina has long been a Blog favorite. For more Blog coverage of Marina V, see my 2018 review of her album Born to the Stars. Before that, in 2015, as article #5 of my Blog-launching “Road Back to Music Journalism” series, I reviewed Marina’s Inner Superhero album and a 2014 house concert.

Marina V

photo by Arsen Memetov; photo courtesy of Marina V

Looking Ahead

Marina does twice-weekly livestreams – “The Marina V Show” – on Twitch. Started during her pregnancy, Marina perfected the format well before the pandemic hit, interacting with fans via chat and playing old and new favorites. Husband/guitarist/cowriter Nick and “Baby V” make appearances, as well.

If/when live shows return, you’ll be able to find information on the “Tour” page of Marina’s website. Currently, you’ll find dates and times of the twice-weekly “Marina V Show” livestreams. Generally, Sundays at 12:30 PM PST (3:30 PM EST) and Thursdays at 7:00 PM PST (10:00 PM EST).

Marina has also been on Patreon for several years. Her “2 Songs a Month Club” gives patrons two new songs (one original and one cover) each month for as little as $1 per song ($2 per month). Of course, higher tiers offer additional membership perks.

Album Review: James Williamson & Deniz Tek – Two to One

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James Williamson & Deniz Tek

photo by Anne Tek; photo courtesy of Glass Onyon PR

by Eric Harabadian, Contributing Blogger

Album Review of James Williamson & Deniz Tek: Two to One (Cleopatra Records)

With the pairing of guitarist James Williamson and guitarist-vocalist Deniz Tek you’ve got some proto-punk/alternative rock royalty right here. Williamson, of course, played on Iggy and the Stooges’ Raw Power and Kill City records. And Tek carved his legacy in the alternative rock world decades previous in the Australian-based band Radio Birdman. But, interestingly, they both have ties to Detroit and Ann Arbor, Michigan, and that Motor City rock ‘n roll sound jumps out of the speakers loud and clear. As Williamson puts it, “This is a no-frills, good old-fashioned guitar album.”

This 11 track album kicks off energetically, with “Jet Pack Nightmare.” The guitars are full and really mix melodically well. Tek sings in a low register monotone that grabs you from the get-go.

“Progress” follows and further solidifies that blend of Detroit-fueled power pop and Southern California panache. “Take a Look Around” features an earnest Tek vocal laced, with a socially-conscious sentiment. Williamson’s taut and focused solos really support the overall mood. The backup vocalists Petra Haden and Andrea Wasse further perpetuate a cool pop vibe.

James Williamson & Deniz Tek - Two to One album cover

image courtesy of Glass Onyon PR

“Good as Gone” mimics latter day Iggy Pop in a loving way. There is an immediate and urgent groove as Tek unceremoniously sings “We had a few good times, the rest was just a crime.” In addition, Williamson throws in some tasty minor-ish Spanish-type motifs ala Dick Dale.

“Stable” is a strong single that borrows slightly from the feel of The Stooges’ “No Fun.” Tek sings a pretty tough and honest lyric, with “Can’t you see that I’m less stable, trying everything to see what works. You say you got me, but I’m falling. What makes you think it doesn’t hurt.”

“Climate Change” is about as topical and current as they come. Tek bellows “Sun beats down on the city streets. They got nothing to believe in but the heat. It’s dry as dust and the old folks calling for rain. All the kids talking about climate change.” The mid-section features a Beach Boys-like vocal backing that gives the song an ironic surf’s up kind of twist.

“Birthday Present” is a break-neck rocker. The rhythm section of bassist Michael Scanland and drummer Michael Urbano offer a really smooth and brisk tempo. The solo parts recall early Amboy Dukes mixed with classic Beck-era Yardbirds.

“Small Change” is a song about the power of personal evolution. Tek sings “It only takes a little bit of change and a great big heart.” Truer words were never spoken. The song has a somewhat blues and folky-type veneer and Tek plays some appropriate harmonica to top it off.

“Liar” is a driving power pop masterpiece. Tek suffers no fools and takes no prisoners as he belts “I’m standing in the rain but looking for the sun. She’s a liar, can’t survive her.”

“No Dreams” is poetic and somewhat dark, with tasteful and dense solos and rhythms. Tek talks and sings his way through this one. The bonus track is a song about a coquettish femme fatale known as “Melissa Blue.” It’s a smooth mix of acoustic and electric textures. It’s also a nice way to conclude this diverse, yet thoroughly rocking album.

Two to One is a powerful statement, with great songs and brilliant guitar work. Overall, it’s a mix of lyrical honesty and technical prowess that is sure to connect with fans and six-string aficionados alike.

Album Review: Patsy Thompson – Fabulous Day

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by Eric Harabadian, Contributing Blogger

Album Review of Patsy Thompson: Fabulous Day

Released in 2020, this album from singer-songwriter Patsy Thompson was 12 years in the making. Essentially, that’s because family obligations came calling as the Canadian-born artist took care of her ailing mother. With not much support from family, she felt broken and burned out. But in the nick of time her long-time friend and co-writer/producer/guitarist Chris Rolin stepped in to offer her a chance to complete this album and get her back on a career track.

Fabulous Day is a record that is very personal for Thompson. She co-wrote 9 of the 10 songs here, and they all are taken from various aspects of her life and experience.

Patsy Thompson - Fabulous Day album cover

image courtesy of Glass Onyon PR

The title track opens the album with a tale of hope and new beginnings. The mood is ebullient as she sings with incredible range and conviction. It features a strong chorus and lyrical hook. That sets the stage for an enticing musical ride.

“Neon Lights” is a classic song of love and longing. It spotlights Thompson’s stellar vocals and her knack for storytelling. “Picking You Up” is an obvious single that should register mighty strong at country radio. It’s an uptempo honky-tonkin’ party tune. This focuses on throwing all your cares to the wind and stepping out with that significant other for a night on the town. Thompson sings with an aggressive growl that grabs your attention.

“Dreamin’” sounds like a cross between k.d. lang and Patsy Cline. It has a very ethereal vibe and a timeless country feel. Again, this shows another side to this stellar female crooner. “I Can’t Be in Love With You Tonight” contains a sentiment many folks can relate to. It’s a song for anyone that’s ever had any conflict over giving their heart to someone. Thompson talks about love feeling so wrong, yet feeling so right. Yeah, you’ve probably heard that used as a narrative many times before, but this is genuine and from her soul.

Patsy Thompson

photo courtesy of Glass Onyon PR

“Misery and Gin” is the sole cover here, and it’s a good choice. Again, this contains familiar ground that really mines the human condition. She sings “Looking at my life through the bottom of a glass, all I see is a gal who’s fading fast.” There is a strong sense of melancholy here performed in the style of Tanya Tucker or Tammy Wynette. There’s a nice guitar break that supports a subtle jazzy/blues tavern-like atmosphere.

“Passion” is another Thompson original that is a bit different from some of the other fare here. This would be an appropriate song to dance the tango by. She sings a sweet romantic lyric atop accordion, acoustic bass and a pervasive gypsy feel.

“Someone to Blame” addresses the chaos an old flame can create when the former lover can’t leave well enough alone. Select fiddle work from Mike Sanyshyn and a rocking blues feel push Thompson as she sings “Bad news is coming down like rain as you’re looking for someone to blame.”

“Joy Ride” is a straight forward and simply stated country barn burner. It’s got a spry up tempo kick similar to “Picking You Up.”

Thompson closes the album with a Grand Ole Opry-influenced Christmas tune called “I Think About You.” It’s the kind of song that makes you feel good all over. Here she sings about all the things that remind her of the one she loves, like standing under the Mistletoe, the smell of pumpkin pie wafting from the kitchen, and all that sort of thing. This has all the makings of a modern perennial classic. There’s some nice guitar and fiddle work too.

Patsy Thompson is a terrific songwriter, as well as vocalist, that has opened for some of the biggest names in country music like Willie Nelson, Clint Black and Rusty Weir. She’s also appeared at SXSW and has recorded at Willie Nelson’s Pedernales Studios. This is a momentous release that’s sure to please, and filled with a treasure trove of memorable hits.

Single Review: Home Cookin’ Band – “Working for a Good Tip”

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Home Cookin' Band

photo courtesy of Glass Onyon PR

by Eric Harabadian, Contributing Blogger

Single Review of Home Cookin’ Band: “Working for a Good Tip”

Home Cookin’ Band is a talented blues-rock troupe from Chicago. The band consists of Anastasiya Protasevych on lead vocals and guitar, Kevin Lahvic on bass, Michael Costelloe on lead guitar and Jeff Gilbert on drums. Protasevych, originally from Western Ukraine, relocated to the Chicago area in 2017. Her unique vocal style reflects notes of such disparate artists as Chrissie Hynde, Nico and Annette Peacock. It’s a sexy, come hither approach that is hauntingly memorable and smooth as silk. Costelloe simply smokes on leads and delivers a real meat and potatoes rock ‘n roll tone. Lahvic and Gilbert spent many years in the popular Chicago act Matthew Morgan and The Lost Brigade.

Home Cookin' Band - Working for a Good Tip album cover

image courtesy of Glass Onyon PR

The single “Working for a Good Tip” makes for a strong debut. Protasevych and Costelloe penned the tune and it’s a straight up depiction of life as a waitress. They certainly know of where they speak, having both plied their trade amongst wait staff in the many clubs they have played. The band lays down a classic mid-tempo Stones-like groove that should really connect with folks on the dance floor. Home Cookin’ are air-tight and really know how to succinctly present a hit. They seamlessly walk that line between blues and pop. This track has a lot of personality and soul. It’s also got some great hooks and clever turnarounds that prompt this reviewer to want to hear more.

Looking Ahead

Obviously there aren’t any live gigs at the moment, but when there are, you will be able to find them on the “Upcoming Shows” page of the band’s website or on the “Events” tab of the band’s Facebook page.

Album Review: Harmonica Shah and Howard Glazer – Ain’t Gonna Worry About Tomorrow

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by Eric Harabadian, Contributing Blogger

Album Review of Harmonica Shah and Howard Glazer: Ain’t Gonna Worry About Tomorrow (Electro-Fi Records)

Buddy Guy and Junior Wells, Smokin’ Joe Kubek and Bnois King, Sonny Terry and Brownie McGhee; these are just some of the famous duos, past and present, that have graced the American blues landscape. Although, perhaps not on that level of notoriety, Detroit heavyweights Harmonica Shah and Howard Glazer are certainly deserving of such stature. As a duo they’ve played their fair share of festivals and club dates throughout the U.S., Europe, Australia, and Canada. They’ve also had successful solo careers and partnered with other legendary blues figures like Emanuel Young, Honeyboy Edwards, Willie “Big Eyes” Smith and Mel Brown. They’ve also recorded together in the past, but it’s been far too long. However, that all changed when Andrew Galloway of Electro-Fi Records signed them to a deal and got them back in a Detroit studio in early 2020.

Harmonica Shah and Howard Glazer - Ain't Gonna Worry About Tomorrow album cover

photo by Gary Collver; image courtesy of Electro-Fi Records

Harmonica Shah is a one-of-a-kind character whose stock in trade is spinning off the cuff improvisational lyrics and hot harmonica fills to match. Howard Glazer is a master craftsman when it comes to the guitar. Whether it’s electric, acoustic, slide, Dobro, jazz, folk, rock, or whatever, he deftly works it all into his signature sound. Joining them are Detroit area vets Mike Blaszkiewicz on guitars, Steve Glazer and Ben Moore on bass and Skeeto Valdez on drums.

“Reality Blues (I’m Too Old to Be Your Man)” opens the disc in fine form, with a mid-tempo blues shuffle. Shah humbly sets the record straight with a woman in question that he’s simply too old to be carrying on with a relationship. Perhaps the generation gap is represented here in full effect.

They keep that mid-level groove happening with the next number, “My Bottle is My Bank Account.” This is an all too familiar tale of money changing everything. And fair weather “friends” will only be around as long as that money holds out. Shah has a folksy way of cutting to the chase with these kinds of human nature mini-dramas.

Sans drums, “Pretty Girl, Pretty Girl” almost puts the listener in a trance via Glazer’s oscillating and floating chords. Subtle harmonica shadings and Blaszkiewicz’s acoustic interplay give this a haunting swampy feel. “When My Wife Comes Home” is kind of a lighthearted tale. It’s a straight-up shuffle, with a humorous bent. In it, Shah entices his woman to stay the weekend and watch cable TV. But, ultimately, she’ll have to go Sunday night when his wife returns home. Uh, oh… there’s the rub! This features some tasty call and response soloing from the harmonica man and Glazer.

Harmonica Shah

photo by Gary Collver; photo courtesy of Electro-Fi Records

“Dirty Bastard Blues” has a really loose and live feel. It’s one of those self-effacing tracks where the band hits “record” and lets it fly. Everyone hits their musical marks, but Shah cracks up laughing in between lines of the song. It’s just got that nightclub vibe where you could picture him reacting to crowd response. Glazer really digs in here, with some great single note lines and incendiary leads. Fenton Robinson’s “Somebody Loan Me a Dime” is a classic that gets respectful coverage here. It’s a slow blues that features one of Shah’s better vocals and searing chicken pickin’ by Glazer.

“(I Just Wanna Be) Your Floormat” has a swing and shuffle to it. The rhythm section keeps a nice open pocket that gives room for some exceptional solos between the co-leaders. “Please Respect Me” finds Glazer really working various tonal registers on his axe. From a trebly single-coil attack to a grittier approach, he covers a stunning sonic spectrum. This is also Shah at his most vulnerable, where he pleads with his woman not to cheat on him. “She Penetrates My Mind” is another slice of life narrative where sometimes a certain kind of loving can be too strong. Shah sings “She’s got the kind of lovin’ that’s terrifying. Every time she loves me she penetrates my mind.” It’s a backwoods juke joint kind of song that will stick in your psyche for some time.

Chester Burnett’s classic “Who’s Been Talking?” is a spirited cover that gets a nice New Orleans swing feel. The mean, low down lyrics are offset by an uplifting and vibrant groove. Paul Marshall’s “So Many Roads” features a great Shah vocal along with some very agile harp runs. It’s a slow blues burner where Glazer employs great control and a skilled use of dynamics. “First Train South” is the sole instrumental on the album. It essentially spotlights the duo and really shows the strength of this co-led blues machine.

The title track “Ain’t Gonna Worry About Tomorrow” saves the best for last. It’s a hopeful sentiment that features a jazzy groove from Valdez and stellar interplay from Shah and Glazer. Anyone that follows the Detroit and Southeast Michigan blues scene should be very familiar with Shah and Glazer’s festival and nightclub work. But it has been many years since they laid any tracks down in a formal studio. Kudos to Electro-Fi Records. It was well worth the wait!

Album Review: Chris Pellnat – Rain

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Chris Pellnat

photo courtesy of Chris Pellnat

Album Review of Chris Pellnat: Rain (Houdini Mansions Records)

Artistry and songwriting skills. These are at the core of Chris Pellnat‘s Rain. His delivery is very singer-songwritery. Softspoken and matter-of-fact. The instrumentation is light and airy most of the time – its quirky cheerfulness often belying the seriousness of the lyrics – with occasional well-placed additional instrumentation.

Chris Pellnat - Rain

image courtesy of Chris Pellnat

Speaking of well-placed additional instrumentation, “Hold Me Now” opens the disc in carnival-esque fashion, with crashing waves of music providing emphasis. “Vie Vie Vie Vie Vie” follows with a tempo that suggests the song is walking along at an uneven gait, perhaps followed by all of the town’s children, as if a pied piper. Next up, “Black-Eyed Susans and Queen Anne’s Lace” continues that tempo, but with intriguing bridges tying the choruses to the subsequent verses.

Chris Pellnat

photo courtesy of Chris Pellnat

The harmonica lead-in to “It’s a Cruel, Cruel World” hints at a musical change of pace, though it’s just a modest one. I dig the lyrics, too; no sugar-coating.

“Turning of the Zodiac” is a quirky number – you’ll find yourself singing along with the “boop” sound, for goodness’ sake! – and sports brief sixties psychedelic instrument cameos, as if drawn by the word “zodiac” to this musical summer of love.

Chris Pellnat

photo courtesy of Chris Pellnat

On the back half of the album, I’m probably most drawn to a couple of the tunes. “Anything At All,” for its dark melancholy. And “Honor Bound,” though perhaps mostly because I dig the harmonica bits.

I also enjoy the final song, “Rain,” a memorable song with a bit of a hook that includes a hint of the musical crashing found to open the disc, this time in the form of storm clouds, providing a bit of a stylistic bookend.

Throughout, Chris’ original delivery provides a cohesive, memorable canvas for this collection of songs. The songs themselves are so tight and carefully written, they’d be equally compelling with different delivery styles and lusher production. As I mentioned at the beginning, the dude’s a songwriter. A talented one.

 

Single Review: Todd Rundgren – “Flappie”

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Single Review of Todd Rundgren: “Flappie” (Cleopatra Records)

If you’re looking for a demented bloodbath of a sweet little Christmas song, well, rock luminary Todd Rundgren has obliged with one. “Flappie” is Todd’s English-language cover of Dutch comedian Youp van ’t Hek‘s original. The most important takeaway is that, if a Dutch person tells you to avoid the bicycle shed, perhaps that’s a good idea. I suppose another useful lesson is not to mess with children’s pet bunnies.

Todd Rundgren - Flappie single cover art

image courtesy of Glass Onyon PR

Musically, it’s performed in a music box style, almost a jack-in-the-box style, lightly instrumented and tinny. Todd delivers his vocals in spoken-singing fashion. Stylistically, it is performed very faithfully to the original.

You’ve certainly not heard a Christmas song like this before – unless, I suppose, you’re Dutch. And it’s a little too dark and off-screen gruesome for me to listen to it with any frequency. But hey, it’s memorable, which may not be a good think if you’re easily haunted, and Todd did a great job with it, that’s for sure. And if you’re a big Rundgren fan, it’s available as limited-edition colored vinyl (250 each in red and green), signed by Todd.

Looking Ahead

Todd has been keeping busy. He has been releasing singles every few weeks from his upcoming album, Space Force, to be released in early 2021. He has also been planning the Clearly Human Tour, a series of 25 geo-targeted virtual concerts, beginning with Buffalo, NY on February 14th. You can get tickets to these shows, produced by NoCap, here: https://nocapshows.com/artist?name=toddrundgren.

Single Review: Electric Maestro – “On the Way Up”

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Electric Maestro - On the Way Up single cover

image courtesy of Exodus Music

Single Review of Electric Maestro: “On the Way Up”

I was doing a little new music exploration back in June when I first listened to the music of Electric Maestro, a musical identity of electronic funk musician Waynebo. Interestingly, he and I were members of neighboring – likely overlapping – musical spheres for many years back when I was publishing Geoff Wilbur’s Renegade Newsletter out of East Lansing, but we never crossed paths. That’s my loss, as this dude has serious talent.

Waynebo/Electric Maestro has been releasing a fair bit of music during 2020, much of it back catalog material. This seems to be one of his new 2020 releases, and it’s quite a compelling piece of music.

Electric Maestro

photo by Wes Stephens, Keep On Clickin’ Photography; photo courtesy of Exodus Music

An instrumental piece of classic-reminiscent, electronic, synth-driven, dance club dance music, “On the Way Up” reels the listener in initially with a sparse note, then a rhythmic hook, and next a beat. It’s a terrific slow-build, as the song forms element by element, engaging the listener each step of the way. As the song progresses, different beats, rhythms, and scenic aural landscapes come and go, woven in and out throughout a much-too-short six and a half minutes. Knowing its length at the beginning, it’s surprising how quickly the song flies by. You’ll hear a funky rhythm, some light, airy pop beats, and several rhythmic hooks throughout the track, such a variety that it’s amazing, in retrospect, that “On the Way Up” is able to feel so cohesive from beginning to end. It’s in part, I’m sure, due to repeating and recurring hooks, but mostly thanks to the mastery of Waynebo, the Electric Maestro.

“On the Way Up” is a welcome addition to my personal playlist; I eagerly await future releases from Electric Maestro. Based on what I’ve sampled of his recent and past work, this is an artist you simply must know about.

Electric Maestro

photo by Wes Stephens, Keep On Clickin’ Photography; photo courtesy of Exodus Music

More from Waynebo

There’s a lot going on at Waynebo’s website. You’ll find links to his various projects, free DJ mixes, a link to his podcast, The Afterglow, and more. You’ll also find him on Facebook, Twitter, and Instagram.

Most recently – just yesterday, in fact – Electric Maestro released “Dance of the Refugee.” I won’t do a full review, especially not based on a single listen, but the beats on “Dance of the Refugee” are exceptional. I’m a sucker for “radio edits,” but I can see spending the full seven-plus minutes on the dance floor to the full version and wondering how it went by so quickly. So be sure to check out Electric Maestro’s newest track, too.

Single Review: Jamie Hart – “Shadow”

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Jamie Hart

photo courtesy of Jamie Hart via Off the Stage Music

As you may have noticed, I’ve spent 2020 playing catch-up on some reviews I’d hoped to write the previous couple of years. Well, I’ve finally made it to music I received in 2020, starting with this single, a January 31, 2020 release by award-winning Boston-area artist Jamie Hart.

Single Review of Jamie Hart: “Shadow”

Jamie Hart - Shadow single cover

image courtesy of Jamie Hart via Off the Stage Music

This marked the second single since Jamie Hart dropped the “Lynn” from her moniker. (Worth mentioning in case you were already familiar with her as Jamie Lynn Hart.) And wow, did she ever come out swinging for the fences with this big single release! “Shadow” is one of those substantial pop songs you’d likely hear in The Voice auditions, if it were famous, that highlights a talented vocalist’s strengths. It’s a tuneful, catchy showcase for Jamie’s full range and skill set. Moving effortlessly from booming power to soft emotion, while traversing an appealing melodic path, you can hear Jamie connect with the emotional essence of the lyrics. And, as a fun bonus, you’ll find yourself singing some of the “oo-oo” parts along with her after a few listens. This is a song you’d turn up the radio for when you hear its first few notes.

Jamie Hart

photo courtesy of Jamie Hart via Off the Stage Music

Now, if this is your first introduction to Jamie Hart, yowza! I had sampled a little of her music before – not much, but enough to know she was on my short list of must-cover local artists. This, however, was the first song I’ve had the opportunity to give innumerable listens – the first I’ve gotten to know really well – and it’s an ideal introduction to this incredibly talented vocalist. So, enjoy the vocal showcase of “Shadow” and, if you’re like me, track down some more of her music, too, when you’re done.

I’m now looking forward to hearing a multi-song collection of Jamie Hart’s powerful pop masterpieces – I believe there was an EP in the works, but I haven’t heard more about it, so I assume this may be one of the many 2020 plans scuttled by the pandemic. And I can’t wait to get a chance to experience Jamie’s voice live sometime, too, when things get back to normal again.

Jamie Hart

photo courtesy of Jamie Hart via Off the Stage Music

More recently…

This fall, Jamie was featured on Steeple Doves‘ single, “Louder,” a soaring, rhythmically addictive, defiant anthem that takes great advantage of Jamie’s vocal power. Of course, if you want to go back to last fall, you can listen to Jamie’s impressive September 2019 emotionally powerful pop single “Get Closer.”

Looking Ahead

You can find Jamie’s live show schedule, when there is one, on the “Shows” tab of Jamie’s website or on the “Events” tab of Jamie’s Facebook page.

Oh, and for the full range of sites where you can hear “Shadow” for yourselves, here’s Jamie’s “HearNow” page: https://jamiehart.hearnow.com/.