Album Review: The Lucky Losers – In Any Town

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The Lucky Losers

photo courtesy of Frank Roszak Promotions

The Lucky Losers – In Any Town

Album Review of The Lucky Losers: In Any Town

Cathy Lemons and Phil Berkowitz are the lead vocal pair of San Francisco’s The Lucky Losers, a place where the blues meet ’60s psychedelic organ rock while fronted by a cloud-pleasing vocal duo with chemistry and sometimes almost loungy banter. The band is rounded out by Marvin Greene on guitar, Chris Burns on keyboards, Tim Wagar on bass, and Robi Bean on drums.

The Lucky Losers - In Any Town

image courtesy of Frank Roszak Promotions

The Lucky Losers kick off In Any Town with “So High,” whose soaring blues vocals and organ are supplemented by Berkowitz’s harmonica-work and psychedelic lead guitar from one of the many guest musicians on the album, Kid Andersen.

Lemons opens the next song, “It Ain’t Enough,” with a sultry vocal that’ll bring to mind a hot summer day in New Orleans in a shady PI’s office, with the constant hum of the fan obscuring a troubled dame’s pleas for help solving a crime when the cops won’t help, even though she can only pay the investigator with her grandmother’s diamond necklace, and the gumshoe isn’t entirely sure she wasn’t behind the crime all along. Or something like that. And the song maintains that feeling through keyboards, harmonica, and guitar riffs that complement the vocals.

The duo introduces its interpersonal playfulness on “Jackson,” though the true showcase for their banter is “I Can’t Change Ya,” a tune which, itself, has frenetic energy.

The Lucky Losers

photo courtesy of Frank Roszak Promotions

Perhaps my favorite song on the album is “Blind Man in the Dark,” a peppy number that mixes Motown and blues along with almost Randy Newman-esque vocals.

“In Any Town” has the sparse, tumbleweed Western ghost town blues flavor, slow and soulful with Berkowitz’s harmonica riffs punctuating Lemons’ rich, lamenting vocals, complemented by meandering guitar.

And closing track “Small Town Talk” is a vocal duet that just seems like an album-ender, coolly and confidently winding down the record as if it’s playing the performers off of the stage at the end of a show.

Really, beginning to end, this is a solid disc; a collection like this will satisfy loyal fans while expanding these talented singers’ audience.

Looking Ahead

You can catch The Lucky Losers live tomorrow night, Friday, November 18th at The Carlos Club in San Carlos, CA. In December, they’ll also be at the Smoking Pig (with Kid Andersen) in Fremont, CA on Friday, December 2nd and at The Saloon in San Francisco, CA on Thursday, December 15th. To see more information on those dates, new dates as they’re added, and 2017 dates already scheduled in Berkeley, CA, Houston, TX, New Orleans, LA, Englewood, FL, and Vero Beach, FL, check the live show calendar on The Lucky Losers’ website.

Live Review: The Dayz at the Knitting Factory

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The Dayz

photo by Geoff Wilbur

The Dayz

Knitting Factory, Brooklyn, NY

November 12, 2016

The Backstory

On my final night in New York, I gathered with my oldest group of friends for dinner, some live music, and coffee/dessert in Williamsburg. Well, except that there was traffic that caused some of us to run late, so while the rest of my crew was finishing dinner next door, I zipped over to catch The Dayz at the Knitting Factory.

I’ve known The Dayz’ frontman Dax Callner since my days publishing Geoff Wilbur’s Renegade Newsletter, but I had never seen him perform live with this or any previous band, so I was looking forward to it. I’d heard the band’s music, so I knew I was in for something good.

The Concert

I estimated the set start time incorrectly, so I missed about half of the set. A shame, since what I caught was, as expected, tight, catchy, and original.

The Dayz

photo by Geoff Wilbur

The Dayz, at least on their Facebook page, refer to themselves as a “collective.” Elsewhere online they use the more common term “band,” but I kind of like collective. The seven-piece outfit is comprised of Dax Callner (vocals/guitars), Aaron Green (bass), Alix Brd (vocals), Richie Phillips (saxophone), Terry Shook (drums), Alroy Teves (guitars) and Michael Villarosa (keyboards). But, as one might expect from a collective of talented musicians who enjoy playing together, any of them can carry the musical load for significant stretches of a given song. At times in the few songs I heard, Dax, Richie, Alroy, and Michael all ably took the lead and stamped their musical signatures on significant song segments while still maintaining a Dayz sound.

I was just settling in during the end of “Waves,” so the first song I heard in full was “Ascension,” a funky, smooth, jazzy number with great harmonies and a silky sax contribution I really dig. Its hook is in its rising vocal line.

The Dayz

photo by Geoff Wilbur

“Ice Breaks” features a quick-strumming ’70s style and, once into the meat of the song, the sax notably rocks it as hard as the guitars. It was followed by “The Contrarian,” which struck me as having a bit of that David Bowie “Modern Love” vibe but a bit more rockin’ with interesting piano/keys meanderings. Plus saxwork featured as a full solo.

The final song of the evening, “The Fourth Estate,” is truly something special. It could clearly be The Dayz’ signature song, a catchy number that would get any club or arena crowd on its feet and moving. Look for this tune to turn up in pop culture at some point.

And that was it. Short and sweet. A few exceptional songs from a talented collective of musicians.

In a single phrase, I’d probably describe The Dayz as a soulful rock band. Stylistically, However, they deliver the live, party-atmosphere energy of a big-time ska band in rock ‘n roll wrapping with some soulful vocals and melodic jazz elements sprinkled in for original flavoring.

Looking ahead, you can catch The Dayz live December 7th at 8:00 pm at The Bowery Electric.

 

Live Review: Station at Arlene’s Grocery

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Station

photo by Geoff Wilbur

Station

Arlene’s Grocery, New York, NY

November 11, 2016

There’s always a place for a solid, fun, melodic hard rock band. Something you’d see on the Sunset Strip in the 1980s. And, of course, across your radio dial during the same time frame. That’s where Station comes in. They’re a fun-loving, talented five-piece that carries that 1980s-style small-venue concert party atmosphere into its rightful place in the current music landscape.

This concert reminded me of my pre-rock journalist days, catching great touring hard rock bands at Paolo’s in Grand Rapids, The Apple Core Lounge in Shelbyville, or the Silver Dollar Saloon in Lansing (before it “went country”). It reminded me of the great “hair band” (I always hated that term — it’s about the music, the performance, and the atmosphere, not the hair) scene in Boston when I was writing for Tough Tracks in the late eighties/early nineties, hitting clubs like The Channel, Axis, Bunratty’s, and Narcissus.

And I’m enjoying seeing this style return to the scene a bit more, since this is the kind of music that can provide that big arena show experience in a small club. At least, that’s true when it’s done right. And Station rocked Arlene’s Grocery with gusto last night. In addition, many of the fans in the packed venue were singing along, enthusiastic to see the band’s final New York City show of 2016. When the crowd knows the words, you know you’re seeing a band with a loyal following.

I arrived as the show was beginning, walking in during “Dressed to Kill,” an ’80s rocker with great rhythm in the vocal, an ever-so-slightly funky edge to an otherwise straight-ahead, forceful rockin’ tune.

Station

photo by Geoff Wilbur

At times during the set, the bands songs reminded me of The Who (specifically “Baba O’Riley”), ’80s Kiss, Nazareth, Faster Pussycat… most often, though, Station’s music was an interesting blend of hard rocking Legs Diamond and more purely melodic Sleeze Beez. Station’s performance was built around ample use of appropriate, well-placed, often blistering guitar solos, an occasionally stage-stealing bass player, and vocals that frequently jumped an octave or two during the more intense segments of the songs.

Other standout songs during the evening included “With Me Tonight,” with a monster lead guitar hook; crowd-pleaser “Everything,” on which the vocals most closely recalled Paul Stanley in spots; and “Never Say Never,” which reminds me of Nazareth during the beginning guitarwork and is driven by a heavy rhythm and vocal screams.

It’s also worth mentioning a couple of the band’s new songs, which show there are some solid new songs in the pipeline. Of course, I’m just guessing at the song titles, but the first “new one” of the evening, “If You Want It Hard Enough You’ll Find It…” features a pulsing rhythm and high, emotional vocals. Ample vocal screams and multi-part harmonies accompanied a well-placed tempo change late in the song.

The other new song of note, “Always Be a Part of Me” sports a medium-fast tempo. It’s a romantic song with emotional vocal highlights, a steady rhythm, and a bit of a guitar hook.

Station

photo by Geoff Wilbur

Late-set standout “Are You Sleeping Alone” struck me as a potential hit, with melodic harmonies and hooks, all within the requisite guitar-heavy framework.

The encore, “I Don’t Want to Know Your Name,” was another song with a potentially broad appeal. Musically, it sported the entire guitar hero arsenal, which a catchy rhythm and exceptionally melodic vocals, rising and falling with power and emotion. A crowd-pleaser, this was a great way to end a gig.

In the end, Station delivers some pretty standard melodic metal fare. The band has its own performance and songwriting style, which is how fans distinguish among this type of band to find their favorites. But the show itself is guaranteed to be a crowd-pleaser. And on this night, Station did a fine job of rocking Arlene’s Grocery with an hour and a half of guitar shredding, hard rock screams, and party atmosphere, maintaining an intensity of 10 on a 10 scale non-stop for 90 minutes. Absolutely a band worth catching for those seeking a rock concert experience. I also look forward to hearing what Station’s next album brings.

Looking Ahead

Station has a couple Connecticut shows coming up later this month: November 19th at Cook’s Cafe in Naugatuck, CT and November 29th (with Theory of a Deadman) at The Ridgefield Playhouse in Ridgefield, CT. Check the band’s “shows” page for additional information and future dates as they’re added.

Meanwhile, I’ll be wrapping up my New York trip tonight by attending my fifth show in six nights. I’ll be at the Knitting Factory in Brooklyn to see The Dayz.

Live Review: New Myths at Brooklyn Bazaar

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New Myths

photo by Geoff Wilbur

New Myths

Brooklyn Bazaar, Brooklyn, NY

November 10, 2016

The Backstory

Earlier this year, I discovered New Myths’ music. I don’t recall how or where, but I was intrigued by their uniquely original sound and placed one of their songs on a personal playlist I listen to when I’m in the office. So, by now, I’ve heard the band’s “Edge of the World” dozens of times. When I planned this New York trip, I checked to see if any of my already-favorite New York bands were playing. So I was excited to get a chance to see New Myths live.

New Myths

photo by Geoff Wilbur

The Concert

Brooklyn Bazaar wasn’t a venue I was aware of before this show. What a cool, spacious room its upstairs concert room is. Like a funky multi-function room with style. And as New Myths’ set time approached, the room began to fill.

With a bit of a foggy haze on the stage, New Myths’ initial song began as an atmospheric soft pop-punk number with haunting vocals and then cranked things up a notch. I’m not sure there’s a fitting category for New Myths’ intriguing, edgy, alluring sound other than alt-pop-punk.

New Myths

photo by Geoff Wilbur

Varying across songs, of course, there are elements of Blondie and The Muffs on the one (more rockin’) hand, and Missing Persons, ’til Tuesday, Human League, and Berlin on the other (synth-pop/New Wave) hand. It’s a blend of familiar sounds presented in a new way with subtly catchy hooks. New Myths display the energy and oomph of punk but with more of the aural aspects of the poppier New Wave artists.

As for the concert itself, with the lights, fog machine, and New Myths’ on-stage rock ‘n roll attitude, this did feel like a smallish, relatively intimate concert rather than a club show.

The songs throughout the set varied. One was a pulsing number driven by the drums with edgy, atmospheric vocals and a catchy bass line. The next had a catchy drum rhythm with the bass line doing the muscle work. And always there were the vocals – wailing, cracking, squeaky, haunting… always fitting the song, sometimes in surprising ways.

Often in the songs there were vocal harmonies, too. On one track, in particular, I noted that, with the catchy beat and vocal harmonies set against an aggressive musical backdrop, New Myths sounded a bit like the angry Go-Go’s

New Myths

photo by Geoff Wilbur

And the occasional rough edges? They’re in line with the band’s punk attitude.

“Playing With Fire” was a highlight, with a bass line that weaves around and a catchy drum rhythm, plus what I can best describe as a wall of vocals.

“Edge of the World” is my longtime favorite, the song on my personal playlist, and I knew it from the first opening riff of the song-starting guitar hook, which drives this track, featuring squeaky, atmospheric vocals supported by harmony vocals.

But there was one other song that stood out even more for me live. It features a harmonic, haunting punk-rock war cry, surf punk guitarwork, and a playful drum beat. Based on those notes (since I only knew the one song very well before the show), after a skim of the band’s songs on SoundCloud this morning, I’m pretty sure it’s “False Gold.” Seriously, this one could have monster crossover appeal.

I would absolutely recommend catching a New Myths show. They’re stylistically original in a corner of their sub-genre that’s not commonly done. At least, it’s not usually executed nearly as well as New Myths do it.

New Myths

photo by Geoff Wilbur

Looking Ahead

New Myths have one upcoming gig listed on their website, a December 10th date at The Mercury Lounge. Watch the band’s “tour” page for details and future shows as they’re added.

My week in New York continues tonight. I do have a concert in mind, and it’s a bit late, so I’m not sure if I’ll get a review posted tomorrow or if my two remaining nights of reviews won’t be online until a couple days after the shows. There are some other, earlier shows I have my eyes on, too. I’ll decide later today. I’ll finish my extended sampling of the New York live music scene on Saturday night when I’ll be at the Knitting Factory in Brooklyn to catch The Dayz.

Live Review: Lindsey Luff and Milow at The Mercury Lounge

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Lindsey Luff and Milow

The Mercury Lounge, New York, NY

November 9, 2016

I didn’t get out to a live show on Tuesday night. Instead, I spent the evening with some of the publicists I’ve known since the very beginning of my writing career. But I was back out at the clubs again last night for the early show at The Mercury Lounge, where Brooklyn-based Lindsey Luff opened for LA-based Belgian singer Milow.

It was my first visit to The Mercury Lounge in 18 years; in 1998, I made it to a Lisa St. Ann–Willie Nile performance there. (Not that I’ve been avoiding this great venue; I’ve only been to a few shows in New York since then.) In any case, the room feels as welcoming as it did nearly two decades ago.

Lindsey Luff

photo by Geoff Wilbur

The Opener: Lindsey Luff

I was impressed immediately as singer-songwriter Lindsey Luff kicked things off in a slow rockin’ Americana-ish number featuring a vocal that’s more accurately described as a power wail which, in this case, seems to carry a bit of Irish folk song anguish. In the second song of the night, in fact, her plea of “run away with me” is very convincing.

Lindsey Luff

photo by Geoff Wilbur

Lindsey’s songs throughout her set were very consistent, with her haunting, insistent, often plaintive voice maintaining enough edge (with perhaps a hint of gravellyness) to set that energetically relaxed tone that keeps the audience engaged.

“What I Wouldn’t Do” pairs Lindsey’s convincing vocals with a wicked-catchy simple bass hook, while “Anything At All” sports a more brooding vocal supplying the soft power.

Lindsey Luff

photo by Geoff Wilbur

Lindsey’s edgy crooning vocal is featured on the mellow “Wishing,” a great song to get the audience swaying. “Remind Me” is worth noting, too, with guitar, vocals and, notably, drums building to power; here, also, was particularly effective use of emotional, cracking vocals.

Lindsey closed the set with a rousing, arena-swaying audience singalong number, sporting determination in her vocals and featuring a nice atmospheric guitar solo. Perfect way to leave the audience wanting more.

Milow

photo by Geoff Wilbur

The Headliner: Milow

As Milow’s set time approached, the crowd noticeably built, as an enthusiastic chunk of New York’s Belgian community came out in force to show its support.

Milow’s rich, full, emotional, deep vocals provide his catchy songs a smooth vibe. I guess he’d be best described as a singer-songwriter, and he spices his music up with a playful streak. In fact, I often found myself thinking his songs were a bit of James Taylor-meets-Barenaked Ladies, if you can imagine that. And that carries over into his stage presence, as he’s great at connecting with the crowd during his between-song bits. By the end of the first song, even, it was obvious Milow is a headliner-quality performer.

His second song made a connection with a good chunk of this New York crowd on this given night, “(Gonna Move to) Canada.” Of course, in the song “Canada,” he’s off to meet Neil Young. The track features great keyboard work and guitar strumming and, wow, what a voice! Plus, by the end of the song, it’s the first introduction to the playfulness in some of Milow’s lyrics, not unlike that band I mentioned earlier, whose sound I hear a bit of in this (in part due to tempo and phrasing) and who he could, in fact, meet in Canada, Barenaked Ladies.

Milow

photo by Geoff Wilbur

With so many good songs during Milow’s set, it’s hard to know what to highlihgt. “No No No” would probably be one of my favorites; I love the way the power builds in spots.

Cheerful “Happiness” proved to be a crowd favorite. It’s a rather odd, unusual love song, quite silly, with a twisted sense of humor shared broadly by his audience.

I was very fond of “The Fast Lane,” a hit single-quality song that impressed me with its mellow, smooth, and rich vocal. “We Must Be Crazy,” meanwhile, is one of his many lyrically-interesting tunes, as he doesn’t always make the most obvious choices in his lyrics, and that’s a good thing.

“Swimming Against the Tide” again displayed his hit songwriting skills, as this catchy number again caused me to invoke a combo of Taylor and the Ladies for comparison.

A cover of “Blue Skies” showcased Milow’s phrasing skills, as he really drew out some syllables so they could pop, making a very old song new again.

Milow

photo by Geoff Wilbur

“You Don’t Know,” with its cool, energetic medium tempo, proved another crowd singalong favorite.

Milow promised he’d bring the mood back up after “You’re Still Alive in My Head,” a sensitive, Simon and Garfunkel-ish number with a notably cool guitar-pickin’ bridge.

He delivered with “Howling at the Moon.” This uptempo, fun song about traveling and the changing seasons is perhaps my favorite of Milow’s singalong songs, as it offers those who sing along a chance to, in fact, howl along. And everyone needs a good howl.

For his encore, Milow sang his cover of “Starboy,” which he just Shazammed. Dude really made it his own. It was a terrific end to a great concert.

Milow is quite obviously a headlining performer. And I had a terrific time; it’s always fun to discover a new artist at a show alongside a throng of his enthusiastic, adoring fans.

Looking Ahead

Well, I plan to be in Brooklyn tonight, catching New Myths at Brooklyn Bazaar. It’s one of the two dates I had placed on my calendar “in ink” when originally planning this New York jaunt; I look forward to hearing them live.

Lindsey Luff doesn’t have any upcoming gigs listed on her website, but keep an eye out on her “shows” page for them.

Milow is heading to Canada for three shows this week. You can catch him tonight, November 10, at Imperial Bell in Quebec City; tomorrow, Friday, November 11, at the Corona Theatre in Montreal; and Saturday, November 12, at the Drake Hotel in Toronto. He’ll be on tour in Europe soon, too, kicking off in Luxembourg on November 30th and wrapping up in Leuven, Belgium, on December 18th. In between, he’ll perform in Groningen, Diest, Cologne, Utrecht, Hanover, Wagrain, Vienna, Prague, Lausanne, Nijmegin, and Antwerpen. See his “tour” page for dates and times of these shows, plus for other future tour dates in the future.

Live Review: Jess Labus at Rockwood Music Hall

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Jess Labus

photo by Geoff Wilbur

Jess Labus

Rockwood Music Hall, New York, NY

November 7, 2016

The Backstory

Yes, I’m in New York this week. On Sunday night, my wife and I saw an exceptional show on Broadway, Cirque du Soleil: Paramour. And last night, I was on the Lower East Side catching some great, local live music, the first of several sets I’ll be seeing — and reviewing — this week. In this case, I spent a bit of time sifting through performers on Monday’s night’s docket around the City, so I was not at all surprised to be entertained by Jess Labus. [Ed. Note: Since this review posted, Jess is now Jes Justice.]

I arrived just a few minutes before the set time, so I only heard one song of the previous artist, whose name I didn’t seek out, but who sang a stirring rendition of Simon & Garfunkel’s “America.” And then it was time for Jess to take the stage.

Jess Labus

photo by Geoff Wilbur

The Concert

Jess Labus delivered a strong vocal performance at Rockwood Music Hall’s Stage 2 last night. Her individual songs called heavily upon a wide variety of musical styles but all centered around her own brand of pop-rock, driven by vocal power in much the same way Pat Benatar’s songs are. But the way her voice can power a song is the basis for the Benatar comparison. There was a very different band whose sound Jess and her band continually reminded me of, driven as much by the songwriting as by Jess’ voice. Unfortunately, the name of that band — a major, successful mid-tempo rock band from the last decade — escapes me. That’s the downside of writing a live review; I don’t have weeks to try to remember, as I would for an album review.

Jess Labus

photo by Geoff Wilbur

Jess kicked the set off solo with her acoustic guitar, singing “Levi,” sporting the most expressive version of her versatile voice, cracking for emotional effect in the right spots. The song’s engaging texture was a result of Jess’ voice really dancing around the melody, moving around within the pocket. In the end, there was a bit of a rockin’ country-folk vibe, in part because it was a story-song, though the way she delivered it gave it more of a Gavin DeGraw (“I Don’t Want to Be”) feel.

The entire band joined Jess for the rest of the set, beginning with “California,” a mid-tempo number whose big sound came from the hooky guitar line and the keys’ rich organ sound, which supported Jess’ vocal roars. Indeed, as nice as the solo acoustic opener was, Jess’ talented, equally versatile supporting cast was the key to the breadth and depth of the set.

Jess Labus

photo by Geoff Wilbur

Next up was “Downtown,” a funky rockin’ vocal track that would fall in the power pop-rock category. It was followed by “I’ll Just Be a Prostitute,” whose bluesy vocal and guitar riff were so catchy they’d almost ensure that, by the end of a second or third listen, if it was on the radio or an album I owned, I’d be singing along. (I had started by the end of the song last night, the first time I heard it.)

“Break Me” featured a powerful, strong vocal, though the song’s engine was really its rhythm. “Come Over,” next, had kind of a funky R&B rhythm supporting Jess’ more soulfully delivered vocal. Next up was “Judgment Day,” a high-energy rocker with power guitars; this song did, in fact, feature a short, blistering axe solo.

Jess closed her set with “Quietly,” which she delivered as a bit of a torch song, continuing to showcase her vocal versatility. And when vocals are delivered with a bluesy, down-home, country edge like this, you call it crooning.

Jess Labus

photo by Geoff Wilbur

After the engaging set, Jess treated the audience to an unveiling of her new, not-yet-released video for the song “Judgment Day,” a tale of gin — or, perhaps, wine — and salvation.

An energetic performance from a powerful singer with a talented band is a great way to kick off a week of live shows. And, indeed, this performance has left me looking forward to hearing more of Jess Labus’ music.

Looking Ahead

Jess’ website has upcoming shows listed in Manchester, NH on December 2nd, in both Bennington and Barre, VT on December 3rd, and in Brooklyn, NY on December 8th. Check out the “tour” page of her website for additional information and new dates as they’re added.

Album Review: Adam Lee – Sincerely, Me

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Adam Lee

photo by Paul Andrews; photo courtesy of Adam Lee

Album Review of Adam Lee: Sincerely, Me

My first impression of Adam Lee is that of a rockabilly Chris Isaak with a little Billy Joe Armstrong-meets-Elvis Presley thrown in for good measure.

And that’s not a bad starting point. Adam’s voice is smooth yet has a rough edge that seems to suggest he’s always dangerously close to flying completely off the rails. He inhabits a raucous corner of the Americana genre. The former frontman of Kansas City’s Adam Lee & the Dead Horse Sound Company, Adam landed a 2015 Ameripolitan Award nomination in the Honky Tonk Group category. Sincerely, Me is his solo album debut.

Adam Lee - Sincerely, Me

image courtesy of Adam Lee

The song that most often pops into my head from this album is “What I Need,” a rattling, energetic, number replete with clever hooks that features ragtime-reminiscent piano… and whose closing lyrics were purloined for the album title.

Also particularly memorable is “Patrick” is an Irish-style folk song with the requisite odd storyline. “When She Danced,” on the other hand, is more like an Irish hymn, with the absolute flip side of what seems like perhaps the same vocal edge.

Adam’s Western-inspired “Misery” mixes a haunting twang with a slow build that never quite explodes, creating an enjoyably artistic tension.

Adam Lee

photo by Paul Andrews; photo courtesy of Adam Lee

Another favorite on this varied disc include the album-opener, not-as-hopeful-as-it-seems “Good Days,” which features the full emotional breadth of Adam’s rough voice and singing style, itself quite conspicuously unique; while the vocals are enunciated as if spoken, they’re simultaneously tunefully sung. And, as I mentioned earlier, smoothly rough and ragged. And the more piano-motored “Son of a Gun,” which uses horns and tempo changes to provide it with an oddly hypnotic energy.

Finally, worth noting, I do love some of the lyrics in “Stray Cat,” including gems like “I’ve found the less you say/The more interested they are/Yeah, a man who talks too much is a man who starves.”

In summary, this disc is a harshly pleasant, boisterous, rockabilly-infused alt-country disc with great depth and style. And Adam Lee provides the sort of memorable vocal that almost sounds as if he sings with an Elvis-inspired quivering lip. The dude’s got style.

Looking Ahead

Per the tour page on Adam’s website, he’ll be at the Bremen Cafe in Milwaukee, WI on Wednesday, November 16; at GLM Live in Lafayette, IN on Friday, November 18; and at the Six Strings Club in Bloomington, IL on Sunday, November 20th.

Album Review: Lee Delray – Brand New Man

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Lee Delray - Brand New Man

image courtesy of Frank Roszak Promotions

by Eric Harabadian, Contributing Blogger

Album Review of Lee Delray: Brand New Man

NYC native Lee Delray wields a soulful voice and an even more soulful guitar approach. He unleashes his full blues rock onslaught on his latest effort, Brand New Man. He is also a very talented songwriter who is able to connect with audiences on a number of levels.

The album kicks off with a strong and spirited track, “Meet My Maker.” Delray lays down a steady I-IV-V pattern while stating his slide guitar prowess from the outset. This track establishes right away that this is, indeed, a young master at work. That is followed by a standard popularized by everyone from Albert King to Kenny Latimore called “I’ll Play the Blues for You.” This is smooth urban blues, with a jazzy feel and some nice conversational rap from the leader in the mid-section. Along these lines, Delray continues that rap/blues hybrid on “First-String Man.” His guitar establishes a Stevie Ray Vaughan-meets-Jimi Hendrix kind of vibe and pairs that with embellishments from the hip-hop team of Young Chizzy and Deejay NoGood. It’s an unlikely musical marriage, perhaps, but one that works and really pays off well.

Lee Delray

photo courtesy of Frank Roszak Promotions

Delray writes catchy hooks and really has a flair for melody and succinct thoughts and lyrics. This is most evident on the seemingly autobiographical “Blues Came Callin’.” He picks up the pace for the follow up “Love Line.” This is a funky number that features tasteful note choices delivered in a Carlos Santana/Coco Montoya manner. “Cookin’ in My Kitchen” is one of those typical love and suspicion kind of songs. It’s a shuffle, with a lot of attitude and spark. “Hollar” is just like the title sounds; blues with a raw exclamation point! It continues that rough and tumble shuffle style that really smokes. Delray unloads some wicked slide guitar work here, as well.

“Gotcha” follows and is pure Chicago-styled swing. Kudos go to the leader’s trusty rhythm section of bassist Scott Ward and drummer Ken Conklin, who really lay it down here. “Mine All Mine” is a very syncopated R&B-influenced track somewhat reminiscent of Robert Cray or Delbert McClinton; a strong funky underpinning that’s perfect for dancing or jamming. And that brings us to, not the least, but the last track, “Yesterday’s Tears.” This is a tune that could easily be a hit on country, pop or r&b charts. Mike “Sweetharp” Smith’s harmonica and Lenny Hayden’s acoustic guitar give this a very appealing back porch/Dobie Gray type feel.

Lee Delray is, simply, the complete package. He is extremely versatile, able to assess his audience and their needs. And he truly delivers, whether the song calls for rock, country, jazz, funk and, in the case of the aforementioned “First-String Man,” even hip-hop. He is an artist with a sense of adventure, yet he still has his finger on the pulse of appealing to his fan base. I’m sure he will generate a number of new fans too with his latest, Brand New Man.

Upcoming Live Gigs

Lee is scheduled to perform on December 9th at The Lakeside in Saylorsburg, PA; on January 28th at The Brown Pelican in New Bern, NC; on January 30th live on-air at the Raeford Morning Show in New Bern, NC; and at the All Day International Blues Challenge in Memphis, TN (January 31st through February 4th). Check his website for additional live dates as they are added.

Album Review: Mick Kolassa – Taylor Made Blues

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Mick Kolassa

photo courtesy of Frank Roszak Promotions

by Eric Harabadian, Contributing Blogger

Album Review of Mick Kolassa: Taylor Made Blues (Swing Suit Records)

Mick Kolassa is a bluesman for all seasons. First of all, he’s got a voice chock full of character, able to hit the high notes when required or talk in a low conversational manner. He’s also an insightful songwriter, with a wry wit and sense of adventure. Examples of this can be found throughout, from the laid back acoustic feel of “Baby Face Louise” and “Taylor Made Blues” to the lighthearted “I’m Getting Late” and the funky socio-political “In the Day.”

Mick Kolassa - Taylor Made Blues

image courtesy of Frank Roszak Promotions

Joining Kolassa on guitars, song arrangements and co-production is Jeff Jensen. He adds a certain spark to the proceedings and gives everything a rich sheen and ambiance. While this is primarily an original record, Kolassa has selected three choice covers that fit in very nicely with the overall program. Graham Nash’s “Prison Song,” Townes VanZandt’s “Lungs” and Norman Whitfield and Barrett Strong’s “Can’t Get Next to You” are brilliant adaptations and each given a unique spin.

Perhaps one of the key things about Kolassa is his ability to straddle that line between adhering to his traditional Southern blues roots while dipping his toes in the pools of rock, New Orleans-style funk, gospel and folk, as well. And he does it all with authenticity and conviction that really draws the listener in.

Mick Kolassa

photo courtesy of Frank Roszak Promotions

In addition to Kolassa and Jensen, the album features contributions from a laundry list of first-call session players and vocalists spotlighted in the gracious and thoughtful track “Friends Like Mine.” Kolassa is a very special artist, indeed, and all proceeds from album sales go to The Blues Foundation’s HART Fund and Generation Blues programs.

Upcoming Live Gigs

Mick currently has four upcoming shows listed on his website. On Monday, November 14th, he’ll be at the Bluesberry Cafe in Clarksdale, Mississippi. On Sunday, November 20th and Sunday, December 4th, he’ll be at the Rum Boogie Cafe on Beale Street in Memphis. And on Friday, February 3rd, 2017, he’ll be at fuBAR, upstairs from Rum Boogie, in Memphis. Be sure to watch for additions to Mick’s schedule on the “events” page of his website.

 

Album Review: Reverend Freakchild – Illogical Optimism

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Reverend Freakchild

photo courtesy of Frank Roszak Promotions

by Eric Harabadian, Contributing Blogger

Album Review of Reverend Freakchild: Illogical Optimism (Treated and Released Records)

This is the sixth album for this cosmic musical preacher and, perhaps, his most ambitious. It’s a three-disc set that is a quirky cross-section of some of the best psychedelic blues rock and acoustic country/folk this side of Detroit’s Howling Diablos or classic Country Joe and The Fish.

Reverend Freakchild - Illogical Optimism

image courtesy of Frank Roszak Promotions

You might say this is kind of a concept package in that each disc seems to have a central focus to it. Disc One is entitled “Odds, Ends and Other Amazingness” and is probably a pretty comprehensive representation of what Reverend Freakchild is all about. He does everything from John Lennon’s “Imagine” and Bob Dylan’s “All Along The Watchtower” to full-on gospel, with “I Still Have Joy” and “Cryin’ Holy Unto the Lord.” There are also more traditional slide guitar anthems too like “Shark Boogie” and “Yer Blues.” But one would be advised to use that term “traditional” rather cautiously when referencing the good reverend, as nothing he does is by rote. He’s got a keen ear for nuance and humor and can change up a familiar song arrangement and give it a whole new character and spin.

Reverend Freakchild

photo courtesy of Frank Roszak Promotions

Disc Two gets a little weirder and basically features a dozen variations on his song “All I Got is Now.” Each track renames the song a little bit and, with that, each is a different version, from funk to punk to reggae to acoustic. There are even versions sung in German and French. Remember when various ‘60s bands like The Beatles would do alternate takes of their hits in different languages in addition to English? But I digress! This is an intriguing concept, but a tad self indulgent at the same time. But then, maybe that’s the point!

Disc Three presents something that kind of references Disc One. It is called “Kairos” and is the works of an artist — apparently one that Reverend Freakchild admires —named Ramblin’ Jennings. There are eight songs here that can best be described by what appears on the CD itself: “It’s gospel blues, with declamatory vocals, wailing blues harmonica and slide boogie guitar.” It appears that Freakchild is a bit of a talent scout here and presents to the world an artist very much in his own likeness.

To be fair, it’s really hard to put a finger on what Reverend Freakchild does. He can play a mean Dobro, electric and acoustic guitar for sure and has a soulful voice to back it up. And his original writing and selection of material is interesting and progressive in a curious sort of way. He certainly does not fit the mold of a “traditional” bluesman (there’s that word again!), but it’s obvious he wouldn’t have it any other way.