Album Review: Stewart Eastham – Dancers in the Mansion

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Stewart Eastham

photo by Katrena Rochell; photo courtesy of Skye Media

Stewart Eastham – Dancers in the Mansion

Album Review of Stewart Eastham: Dancers in the Mansion

It’s always fun to stumble across a talented, old-fashioned country dancehall-style crooner. That’s the essence of Stewart Eastham, though he is capable of performing the whole breadth of styles encompassed by such a description and subtly incorporates some external influences while he’s at it. As a result, his latest collection, the 15-song Dancers in the Mansion, is a welcome listen; a fresh adaptation of a comfortable old musical friend.

Stewart Eastham - Dancers in the Mansion

image courtesy of Skye Media

Stewart’s music swings, and his voice is medium-deep but comes across with the power of the deepest country voices. I’m not comparing him to Kenny Rogers, but some of this album is stylistically similar; Stewart could share a stage with The Gambler in Kenny’s heyday. The rest is reminiscent of old-school, slide guitar twang-driven, Opry-ready tunes. All the while, though, Stewart maintains a fresher, more modern edge to his vocals. The result is a record that should appeal to traditionalists while also drawing in many newer-country fans.

Stewart Eastham

photo by Katrena Rochell; photo courtesy of Skye Media

Stewart does show off some variety over the course of the album. The disc opens with “In the Morning,” a side-to-side sway-inducing number that’s a bit of California country meets jazzy Americana. Occasionally during “Windshield” the music recalls for me the Eagles’ “Desperado,” perhaps “twanged-up” a bit, and it’s delivered in a way I could envision Garth Brooks singing it. There’s a hint of Waylon Jennings in “Jackpot.” And Stewart’s tone and delivery of “Fruit Cocktail Cannery Blues” reminds me a lot of Joshua Kadison.

Stewart Eastham

photo by Katrena Rochell; photo courtesy of Skye Media

But regardless of the stylistic variances on individual tracks, there’s a traditionally country dancehall twang and swing that permeates the disc. “Lonesome Melody” is one such heartfelt crooner, and it’s paired on the disc with the title track, the energetic, emphatic, fast-pickin’ and ivory-ticklin’ country dance number “Dancers in the Mansion.” Elsewhere, Stewart lends his deep voice to a song like “Carry On,” an old-fashioned country heartstring-tugger that sports a hint of ’70s pop-country behind its more traditional steel guitar-driven, storytelling crooning.

Throughout, this is an impressive album, delivered with strength, power, and sincerity by an artist well-suited to carry this brand of traditional country music into the next generation. If this sounds like a style of music you like, give Stewart Eastham a listen.

Looking Ahead

Keep an eye on Stewart’s website for upcoming gigs.

Single Review: Bethan Lees – “Post Festival Blues”

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Bethan Lees

photo courtesy of Bethan Lees

by James Morris, Contributing Blogger

Debut Single from young English singer-songwriter Bethan Lees: “Post Festival Blues”

Just heard this single get its first play on a UK radio station. I loved it and so quickly got down to writing this review to share it with the world. “Post Festival Blues” is the debut single from Bethan Lees released 10th September as a digital download on Folkstock Records’ Bandcamp page. I believe there is an EP to follow, which I look forward to reviewing for you, but for now I’m excited with this first chance to hear a new and rare talent.

Bethan Lee - Post Festival Blues

image courtesy of Folkstock Records

This is a very well-timed release as the summer draws to a close and all the many festival goers have to wend their weary ways home. Away from the fun and frivolity, the music and the mud, it’s easy to feel down once you hit the mundane routine of normal life.

Bethan has obviously been there and taps into that mood with her engaging and inspired song.

The songwriting is highly unique, and her use of imagery and words belies her young 20 years. The song is genuinely uplifting and also rather fun. Her voice is also captivating. It is, in fact, beautiful and vulnerable all in one. She seems to effortlessly mesmerise with her voice and songwriting.

Bethan Lee

photo courtesy of Folkstock Records

There is a quaint Englishness in her lyrics, rather like Ray Davies or Lily Allen but with a unique style all of her own. The song is written from a personal perspective, trying to lift the rather disconsolate mood of a friend suffering from the end of summer post-festival blues. It starts with a rather laid-back feel, “I’m sitting on the coffee table, cup of tea upon my knee, you’re singing me those silly songs it’s a life of luxury”. Relaxed, simple, and acoustic, it draws you in with its gentle storytelling brushstrokes before grabbing you with both hands and jumping you up on your feet to swing you around the room to its gypsy folk/ska beats. All-in-all an infectious and uplifting dance of joy.

That’s it in a nutshell, a small glimpse of Bethan Lees and her enchanting talent. I am really looking forward to her full-release EP and to hear that lovely voice again and see what stories and journeys she will take me on. A fantastic new singer songwriter to listen out for. Watch this space.

 

Live Review: Jay Taylor at Jasper Hill Cafe & Bistro

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Jay Taylor at Jasper Hill Cafe & Bistro

photo by Geoff Wilbur

Jay Taylor

Jasper Hill Cafe & Bistro, Holliston, MA

September 7, 2016

The Backstory

Earlier this year, when perusing live music schedules in the area, I stumbled across a Jay Taylor listing at the Jasper Hill Cafe & Bistro. I couldn’t get out to that gig, but I was impressed enough with his music that I added one of his tunes to a personal SoundCloud playlist – yes, I’ve been remiss in posting a new public playlist, but when I do, Jay’s “Hold On” will be on it. In any case, when he was back in the area this time, I made sure to get out to hear him. Coincidentally, he was at the same venue through whose concert listings I initially discovered his music.

The Concert

There ain’t no two ways about it. This dude has a special voice. It’s mid-range, but it’s rich and smooth, with the ability to go deeper if necessary and to add emotion without adding too much gravel to his voice. That’s – here’s that word again – special. Not that this was a surprise, of course. I’ve heard his recordings. It took a unique talent to get me to drive so far for live music on a Wednesday night.

Jay Taylor at Jasper Hill Cafe & Bistro

photo by Geoff Wilbur

Jay is currently touring with a full band. A very talented band, at that. Guitarist Steve Hensley periodically stole the show with his guitar histrionics, at home across genres. And Alex Pierson (bass) and Russ Sternglass (drums) comprised a tight rhythm section that could keep up with Jay – or toy with him a little when they wanted to. Jay added acoustic guitar to the mix while, of course, manning the lead vocals (except on a couple songs, on which the guys did a fine job, but they ain’t no Jay Taylor).

Jay opened the night with “Wagon Wheel,” showcasing his crisp, powerful vocals and sporting his harmonica. The Eagles’ “Peaceful Easy Feeling” also made an early appearance. Songs moved from mellow to rollicking throughout the night, and genre lines were crossed and blurred.

I noticed three songs from Jay’s EP Hold On during the evening. The title track (and still my favorite) was the earliest entry, following the Eagles and, dare I say, kicking the Eagles’ butts, in part due to its increased tempo, of course. All the sharpness, power, kick, and hook of the recorded version made their way over to the live rendition and, if anything, were amplified. A little later, Jay growled his way through “How I Wanted To,” accompanied by a tale that exhibited both his stage presence and his comfort in front of an audience.

Jay Taylor at Jasper Hill Cafe & Bistro

photo by Geoff Wilbur

A bit later in the set, the other song Jay performed from Hold On, “The Green Dress Song,” was delivered with a hint of twang and a pretty strong, hooky rhythm that was stepped up a bit from the recording. It was followed a few songs later by Jay’s fourth and final (that I noticed, at least) original of the night, a solo acoustic performance of “Back Road”; this tune starts out its verses in a vocal tone that initially seems ominous before becoming more apparently sentimental as each verse unfolds. I’m not sure I’m describing it properly, but it’s another sign of Jay’s deft vocal skills and worth noticing if you listen closely enough.

The rest of the set, which stretched almost three hours, ranged from Alabama to Bruce Springsteen, from Randy Travis to Elvis, and from Merle Haggard to Eagle Eye Cherry. As the hours passed, the tone of the evening grew more and more country, particularly old-fashionedly so.

The Elvis song, “Can’t Help Falling in Love” was loungy (in a good, Vegasy Elvis way), boppin’, and smooth. I also quite enjoyed Jay’s vocally oh-so-smooth version of John Anderson’s “Seminole Wind.” And he shook the room with a rousing rendition of Garth Brooks’ “Friends in Low Places.”

As impressed as I was with Jay Taylor’s recorded music, I left the live performance that much more convinced he is one tiny break away from being a big-stage concert favorite; you know, the one “tiny” thing a talented, hard-working musician can’t control. (I’m almost never this impressed by a male country singer; this dude’s really good.) Of course, now that you know, there’s no reason to wait to hear Jay on the radio; check out his music for yourself… now.

Jay Taylor at Jasper Hill Cafe & Bistro

photo by Geoff Wilbur

Looking Ahead

Jay has several upcoming gigs listed on his website. You can catch him tonight, Friday, September 9th at Loretta’s Last Call in Cambridge, MA. Tomorrow, Saturday, September 10th he’ll be taking the stage at 3:15 at the 19th Annual Wachusett Mountain MusicFest, on the main stage right before local favorite and former The Voice top-five finisher Kristen Merlin. The other September gigs are Tuesday, September 20th at the Opry Backstage Grill (Nashville, TN); Wednesday and Thursday, September 21st and 22nd at Tin Roof (Louisville, KY); again Wednesday, September 28th at Tin Roof (Louisville, KY); and Friday, September 30th back at the Opry Backstage Grill (Nashville, TN). The remaining gigs listed are all at Tin Roof bars – Fridays, October 21st and December 2nd in Charlotte, NC and Saturdays, October 22nd and December 3rd in Columbia, SC. Obviously, there are a bunch of open dates in there, so keep an eye on Jay’s website to see if those dates are filled in at clubs near you.

Album Review: TOS – Killer

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TOS

photo courtesy of TOS

TOS – Killer

The Backstory

For those of you who read my review of TOS’s CD release show, you know the backstory. I stumbled across this incredibly talented young band solely because I was looking for some live music here in the outer Boston suburbs one weekend. I’ve been listening to the Killer CD ever since, including most days during my commute. (I have also more recently reviewed another of the band’s concerts, and I may continue reviewing their shows regularly if they keep scheduling gigs a whole lot closer to my house than any of my other favorite local bands.)

Album Review of TOS: Killer

TOS - Killer

image courtesy of TOS

TOS is a rock band with timeless songwriting, talented musicianship, and a unique, identifiable, modern sound.

The band is led by singer/songwriter Sophia Ward, whose sensitive-but-powerful, often haunting vocals provide an appealing delivery of her well-crafted lyrics; both the delivery and songwriting lend artistic credibility to TOS, a band that can be easily considered both rockers and artists.

Her comrades are talented enough to be up for the task. Many of the songs seem to be driven by the rhythm guitar, generally acoustic, delivered ably in varied stylistic formats by Jonathan Sommer. This frees up lead guitarist Jackson Parker to add texture to the songs with his electric axework, his solos proving difference-makers on a few tracks. Then there’s the rhythm section. For the most part I’d label bassist Jae Mannion and drummer Mitch Rolla as steady and dependable. Occasionally one or the other will add a hook or featured run to a song while the other holds down the rhythm fort; the two work together well as a team.

TOS

photo courtesy of TOS

The album-opener “Death of Me” is the standout on the disc, though it’s one of a half-dozen I’d consider exceptional. But this song is appealing on multiple fronts. It introduces the listener to both Sophia’s quintessential somewhat haunting vocal and her occasionally called-upon insistent wail, the strumming rhythm guitar that propels most of the song, the subtlety of the rhythm section (there’s an occasionally recurring bass hook that unassumingly raises the song’s memorability level), and a lead guitar line adds texture in fortuitous spots. As a result, it’s a potential fan favorite with staying power.

Throughout Killer, it’s the variety on the disc that helps it stand up over multiple listens. That begins with the songwriting. There are a couple of my favorite lines that exhibit the lyrical cleverness I look for.

First, during the band’s anti-love song, “Need This Love” – one of my favorites – in a tone that reaches sadly into the soul, supported by a blues-infused rhythm, you’ll hear “I need this love/To go away/’Cause all it’s brought/Is tears and hate.” Great blues lyrics from this alt-rock outfit.

TOS

photo courtesy of TOS

Also, in “Mouthful.” Musically, this song crept up on me but is now on heavy rotation on my stereo. Sophia’s voice dances around the melody deftly in fits and spurts in this one. It’s moody, at times either sultry or sadly angry, and delivers another of my favorite lines on this disc, “Your biggest mistake starts with my name.”

Oh, but the songs get deeper. “Ghost,” anyone? Another haunting song with powerful musical builds and tempo variance. It’s a catchy song you’ll find yourself singing along with, one of the standout tracks on the disc… about being abducted in the woods and held captive. It’s jolting every time you realize what you’re singing along to, but it’s oh-so-well-written.

Lest you think the album’s serious and/or angry, don’t. Even the aforementioned songs are fun listens in all their seriousness. Also, at the absolute opposite end of the spectrum, beginning with an electric guitar riff that’d make a ’70s metal band proud before flowing into a rather pop-rocking, energetic song, is “Reckless.” A partying song that features an excellent, well-placed electric guitar solo.

TOS

photo courtesy of TOS

Another amusing tune that’s a personal favorite is “Cry Baby,” an energetic, rock-strumming-driven ditty with the electric axe line almost a modern twist on ’60s surf rock-style guitar.

And while “Soul Keeper” is yet another relationship song that’s not exactly cheerful, it’s not all romantic doom and gloom in TOS’s repertoire. “Waterfall” is reminiscent and wistful, while “The One” is rather romantic and hopeful, even if its opening reveals that it’s a bit neurotically so.

The disc closes, though, with its title track, “Killer.” Another anti-romantic song. The guitar line is like something Metallica would come up with if it were to write a heavy alt-rock song. And “Killer” does, indeed, close the album emphatically with power-howled vocals, aggressive stop-start drumming, mile-a-minute acoustic guitar picking… every tool in TOS’s kit but the kitchen sink. The ideal album-ender to leave the listener content and out of breath.

So yeah, I’ve been enjoying having this CD in my car the last several weeks. It’s a rockin’ disc from a tight, talented group, containing enough depth and musical variety to remain interesting across dozens of listens.

TOS at The Pleasant Cafe

photo by Geoff Wilbur

Looking Ahead

Get out to hear TOS if you can. This is absolutely one of the best live bands in Boston. TOS’s next performance is Saturday, September 10th at the Remember September Music Festival in Brockton, MA. The band also has an upcoming Saturday, September 24th gig (11:00 AM-1:00 PM for you morning people) at the 22nd Annual Weston Car Show in Weston, MA, a Saturday, October 1 early afternoon (2:00 PM) set at MaynardFest in Maynard, MA, and a Friday, October 10th gig at Out of the Blue Too Art Gallery in Cambridge, MA with Company One and Pillbook. Check the band’s website for more information on those gigs and others as they’re added. You can also sign up for their mailing list like I did.

Album Review: Angie and the Deserters – Blood Like Wine

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Angie and the Deserters

photo courtesy of Miles High Productions

Angie and the Deserters – Blood Like Wine

EP Review of Angie and the Deserters: Blood Like Wine

Angie and the Deserters - Blood Like Wine

image courtesy of Miles High Productions

Your jugular. That’s what Angie Bruyere grabs you by with the opening strains of “Country Radio,” the first track on this energetic, engaging six-song collection. Americana-billy, if I had to give it a name. Angie and the Deserters pair a country twang with a rockin’ attitude and rhythm, with an engaging fiddle mixed in for good measure. If I had to compare Angie’s voice to anyone’s on this first track, I’d say it reminds me of Sarah Borges.

But it’s followed by the crooning twanger “Smile,” a Patsy Cline-ish, school-dance-in-a-gymnasium ballad that’s soaked in slide guitar and fiddle in all the right places. Two songs in, and it’s obvious Angie and the Deserters have range.

Angie Bruyere

photo courtesy of Miles High Productions

“The Gift” is a rather spooky, deserted old-west flavored, haunting tango.

“Ain’t Goin’ Down” comes across like an Angie and the Deserters spin on Tom Petty… if Tom Petty had a hoarsely sexy voice that cracked with emotion like a young Demi Moore and combined it with a country bad-girl attitude.

“Don’t Cry” is a more sensitive number, Americana-meets-Fleetwood Mac at times. It’s smooth enough to cross over to fans of soft rock, top 40, country, classic rock… I can see nearly endless avenues of appeal for this well-written, melodic track.

Angie Bruyere

photo courtesy of Miles High Productions

The package is wrapped up by “On My Way,” another rockabilly-Americana blend, though this is a mellower, more wide-open-spaces take on the genre. Still, as throughout the disc, Angie’s voice cracks in all the most alluring spots, providing an edge to an otherwise smooth, crisp sound.

From beginning to end, Blood Like Wine just jumps out of the speakers and grabs the listeners by the throat… or maybe the ears. But with just six songs, it ends too soon; but not for long. Impatient new fans can reach back and seek out the band’s 2015 debut, the full-length album West of The Night. And Angie and the Deserters also plan to release another EP in October, sharing the second half of the band’s recent Nashville recordings. Not such a long wait to hear more of what this group has to offer.

Album Review: Body English – Stories of Earth

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Body English

photo courtesy of Body English

Body English – Stories of Earth

Album Review of Body English: Stories of Earth

Body English -Stories of Earth

image courtesy of Body English

Supertramp meets Phantom of the Opera. Gordon Lightfoot covers Looking Glass’ “Brandy (You’re a Fine Girl).” Don McLean co-writes with Harry Chapin and Squeeze. High-vocalled soft-progressive ’70s-style pop-rock with a modern twist. Body English is a unique group that combines disparate elements of that certain style of classic rock with a modern progressive flair. It’s a style from that era whose sound is not as often updated by modern rockers and, as such, Stories of Earth is an especially interesting bit of ear candy.

Body English

photo courtesy of Body English

This collection kicks off with perhaps its most commercial, catchiest track, “Kiss Them.” Blending ’70s pop-rock guitar and dynamic, emotional vocals before a wall-of-sound backdrop at times, this track is an energetic, cheerful welcome.

Another standout on this disc, “Prose and Poetry” adds a nicely sensitive, folk-reminiscent vocal crackle to a building, eventually relatively psychedelic (perhaps a bit Who-inspired) musical backdrop by mid-song.

Body English

photo courtesy of Body English

You’ll certainly have your own favorites. Perhaps “I Don’t Wanna Be a Housewife (For Someone Else’s Family)” with its horn-driven opening and clever lyrics. Maybe the energetic “Rock and Roll Will Save You,” a song that somehow incorporates the occasional rockabilly note into its otherwise very progressive DNA. Or possibly the 10 1/2 minute magnum opus that closes the disc in true ’70s progressive rock form, “The Humour in the Heart of the Old Grey Mountain.”

Give this album a few listens. Its spin on the genre is a bit unexpected, but it really grows on you.

To check it out, you can find a stream of Stories of Earth on SoundCloud.

Album Review: Idlewilde – 90 Proof

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Idlewilde – 90 Proof

Album Review of Idlewilde: 90 Proof

Idlewilde - 90 ProofTogether since 1981, Southern New England’s Idlewilde knows its way around the blues. Though I’m aware they’re a group of top-shelf musicians with good day jobs, if I hadn’t known otherwise before being handed this CD, I’d’ve pegged these guys as full-time blues cats. 90 Proof is a fun, diverse collection of rock and blues songs that, after just a few listens, quickly became an old friend (as a blues album should).

Featuring Dale Binsberger (bass, vocals), Jon Gould (lead guitar, vocals), Ryan Snyder (drums, vocals), Phil Spillane (guitar, harmonica, vocals), and Denny Hartzell (“all things keys”), Idlewilde delivers grit and growl that lets you know these guys are blues veterans.

I’m a big fan of the bit-by-bit album opening, and Idlewilde leads with instrumental “Bodeca,” whose sparse intro gives way to blistering guitars, a pulsing, catchy rhythm, and playful blues organ.

“Red Clay” is strung-out, soulful, growling-vocalled, classic blues. It’s followed by mid-tempo yet raucous “When I’m Gone.”

“Trouble,” which features a truly gravelly growl and harmonica opening, settles into a groove that recalls a bit of “Cheap Sunglasses”-era ZZ Top.

And in that vein, the album continues, a club-rocking mix of blues and blues rock that I’m sure translates well to live performance and produces a rousingly fun night for local clubgoers and is well-represented throughout this disc.

There are a few other songs well worth mentioning in this collection. Musicians, for example, are likely to most appreciate the energetic “Telecaster,” an ode to a bluesman’s beloved axe.

Perhaps the most soulful blues song on the disc is “A Darker Shade of Blue.” You may find yourself listening to that one with your eyes closed and your head swaying.

My favorite song on the album is probably “Damn That Rock & Roll” because it’s just so blue. Great organ opening combined with soulful harmonica, a blue beat, and anguished, all building to climax ever-so-slowly. It’s a smoky barroom-flavored, cascading, classic soulful blues number.

And the second of the two “bonus tracks” that close the disc, “The Whiskey Song,” is an old Irish drinking tune that sounds like it was a lot of fun to record.

Idlewilde is, indeed, a longtime favorite “’round these parts,” and with 90 Proof delivers a solid album showcasing plenty of blues-based variety for broad appeal. I’d also consider it proof these guys must put on an energetic, fun live show, one I look forward to catching when the opportunity arises.

Live Review: TOS at Solomon Pond Mall

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TOS at Solomon Pond Mall

photo by Geoff Wilbur

TOS

Solomon Pond Mall, Marlborough, MA

August 26, 2016

The Backstory

If you read my review of TOS’s CD release gig in July, you’ll understand why I couldn’t pass up an opportunity to see these guys so close to my home, at the mall I drive past 2-3 days a week on my way to my favorite breakfast joint for an omelet and my personal playlist. Yesterday morning, in fact, my phone shuffled up TOS as part of my playlist, which I shared on Twitter, as I often do. Yesterday evening, I stopped at the mall to see one of my now-favorite local bands.

TOS at Solomon Pond Mall

photo by Geoff Wilbur

The Concert

I’ve never seen a concert in a mall before. This is a band with the talent to make this concert an excellent first.

Because I’ve provided in-depth coverage of TOS before and (spoiler alert) will soon complete my review of the band’s album Killer, I’ll focus mostly on the songs performed and the flow of the concert; and though I won’t mention every song, I’m able to mention each song by name and offer a much more detailed review because I had access to a set list while scribbling my notes. Always a helpful bonus.

The gang opened with “Reckless,” filling the corridors with boundless energy. They followed it with “Not My Love,” combining a funky beat with a unique, varied tempo; the song closed with a nice guitar solo and flowed well into “Soul Keeper.”

TOS at Solomon Pond Mall

photo by Geoff Wilbur

“Primadonna” is a live favorite of mine; it’s a good boppin’, catchy pop rocker but with a bit of vocalist Sophia Ward’s haunting howl. TOS then slowed things down a bit on “Mouthful,” a personal favorite from the band’s recent release, Killer, before bringing the energy back with “(Dyin’) Without You,” another boppin’ alt-rock song with a good tempo and another well-suited guitar solo from lead guitarist Jackson Parker.

On haunting album standout “Ghost,” bass player Jae Mannion stepped forward to provide prominent support vocals, adding texture to the song’s sound. Next on “Cry Baby,” another of my personal favorites – a song my wife and I were singing as we arrived home after the show, in fact – I really enjoyed Mitch Rolla’s punched-up ’50 soda shop-reminiscent drumming that provided the song with a fresh feel.

Some other songs stood out, as well. “Side Effects,” for example, kicked off with almost a ’70s jet-setting start, a little psychedelic.

“Death of Me” is as much a treat live as it is on the recording, in part because it’s a song that very obviously and prominently features contributions from all five band members. Sophia’s trademark haunting vocals are supported by a great strumming opening, an important electric guitar line, drumming that defines the stops and starts that propel the song, and a bass part that contributes the key hook.

TOS at Solomon Pond Mall

photo by Geoff Wilbur

“Crush” is a subtly interesting song; it’s solid and steady but made unique by a bit of a funhouse mirror edge to the vocals, electric guitar, and bass lines.

“A Better You” is a mellower acoustic guitar-strummer with sweet vocals and a hint of ’70s lounge-style jazz in both the vocals style and the wandering electric guitar line. “Need This Love” next amped things up with electric power; it has ’70s rock anthem-level power when it peaks. It was followed by “Waterfall,” the sensitive, flowing, raise-your-lighter song in the band’s repertoire.

“Sleep” is interesting, powered by its Wonders-esque (as in the That Thing You Do! Wonders) drumming. It also features the clever lyric “Don’t need love/I just need sleep.”

Finally, toward the end of the set, TOS presented its mellowest number “The One,” a primarily singer and acoustic guitar-driven song with a sensitive sound and sweet vocals showcasing singer Sophia Ward and acoustic guitarist Jonathan Sommer. The 21-song set closed with “Never Wanna See You Again,” utilizing a surf rock undercurrent to add texture to this otherwise growling rocker.

For an encore, the band performed “Killer,” the powerful rock song motored by exceptional acoustic guitar, powerful vocal wails, and an almost wall-of-sound feel. An ideal way to end a concert… and this most unusual evening at the mall.

TOS at Solomon Pond Mall

photo by Geoff Wilbur

Looking Ahead

TOS has three upcoming shows listed on its website: Friday, September 2nd at Sally O’Brien’s in Somerville, MA; Saturday, September 10th at the Remember September Music Festival in Brockton, MA; and Friday, October 7th at the Out of the Blue Too Art Gallery in Cambridge, MA. Keep an eye on the band’s website for additional upcoming dates. Also watch this blog in a couple weeks for a review of TOS’s recently released CD, Killer.

EP Review: Mark Webb – Home

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EP Review of Mark Webb: Home

The 5-song collection from Greenville, South Carolina’s Mark Webb kicks off in impressive fashion, presenting a pure, Opry-ready country music sound with Mark’s medium-deep, soulful country voice in such a way that it grabs the listener from the very first note, then again from the very first vocal. Immediately, it’s clear this guy is a big-time talent.

Mark’s talent also manifests itself in the varied song styles he can perform within his musical sweet spot, ranging from old-fashioned country to a folkier Americana-infused brand of softly rocking country. None of the tracks on this EP are particularly loud or brash, perhaps because Mark lets his smooth-yet-textured voice tug at the listeners emotions via carefully crafted lyrics, which touch upon everyday people’s experiences and emotions.

Mark Webb - Home

image courtesy of Gold Ship Records

EP-opener “Queen” is a mid-tempo twanger with enough thump supporting soaring musical and vocal moments to satisfy fans of multiple country music sub-genres.

It’s followed by “Can We Make It Right,” a soft-touch, mid-tempo number that’ll get the listener swaying side-to-side with its rhythm, seasoned by Mark’s Southern-sweet vocals and guitar-strumming with a more Eagles-like soft country-rock flavor.

I’d consider “Come Back Home” as a more traditional country song in the vein of “Can We Make It Right.” In tempo and vibe, though, this also recalls for me the Eagles; in this case, “Peaceful Easy Feeling.”

Sandwiched between the two is “Weak Enough,” a relatively pure country ballad-style track. It opens with sparse strumming that emphasizes the raw, heartfelt tenor in Mark’s voice. A little slide guitar twang joins in, as the music builds with the song’s emotion. Altogether, the song is well put-together, tugging at enough heartstrings with its odd refrain “I’m not weak enough to leave you now.”

Mark closes the EP with “Friend of Mine (Just Like You),” another emotional tune, this one a slow, soft-touch ballad on which his rich, full voice particularly shines. It’s deep, heartfelt country music with perhaps a hint of folk and just the scarcest country twang. Mark sings as if he’s pouring his heart out on this one, and it feels like the sort of song that would quiet a room as the audience connects emotionally and soaks it all in. Terrific end to a solid disc.

From beginning to end, Home is an enjoyable listen. It’s an EP that shows off Mark’s considerable talent. And hopefully it marks the beginning of big things for this talented country singer/songwriter.

Looking Ahead

Mark has a few upcoming live dates listed on his website, including a Saturday, September 17 show in Bristol, TN at the Bristol Rhythm & Roots Reunion and a Thursday, October 13th Fall For Greenville gig with Turnpike Troubadours at Peace Center Amphitheater in Greenville, SC. There are also some dates listed with information TBA. Keep an eye on the “tour” page of Mark’s website for further information about catching him live.

Live Review: Ashley Jordan at Loft 266

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Ashley Jordan

photo by Geoff Wilbur

Ashley Jordan

Loft 266, Worcester, MA

August 24, 2016

As I’ve mentioned before, I often strike up conversations with people about local music. And during several of those conversations, with both fans and people within the music scene here in Massachusetts, I have been asked “Have (I) seen Ashley Jordan?” So, with a nod to the “where there’s smoke there must be fire” school of music journalism, I finally made a point to catch Ashley last night during her Wednesdays-in-August residency at Loft 266. And though I was only able to stay for her first set, I can confirm that there is, indeed, fire.

At just 23, Ashley has been performing for 10 years and is a recording studio veteran, as well, with four albums in the past six years. A quick glance at her bio shows a long list of awards dating back six years; she particularly seems to have swept most of the local country music award categories the last four years. If one of the next batch of young country stars comes from Massachusetts, it’s a good bet Ashley’s your gal.

Ashley Jordan

photo by Geoff Wilbur

Performing an acoustic set of mostly originals last night, Ashley showcased her broad range. When she sings quietly, I hear a bit of Clare Bowen in her voice – that’s “Scarlett” to fans of the TV show Nashville. Some of her mid-tempo, high-but-spunky/powerful bits recall Dolly Parton; when you hear it, you’ll know what I mean. And I’m not sure which blend of young pop-rockin’ country stars she reminds me of when she sings with strength, but her mellow-to-power vocal runs suggest she could be one of the special ones.

A couple of the originals that made an impact – there were more than two, but these were the only ones whose titles I jotted down – were “Angels,” which shows shows vocal range, and “He’s Crazy,” which features a range of vocal dynamics. (Both songs are featured on Ashley’s new album, He’s Crazy.)

A notable cover was Ashley’s rendition of “Black Horse and a Cherry Tree,” as it shows off a richer, soulful low end and some energetic howls that hint at the full extent of her vocal talents.

The one thing I was left wanting at the end of set was a chance to hear Ashley perform with a full band. An acoustic set is fine, but I can just imagine the songs with their full arrangements…

Looking Ahead

Tonight, Thursday, August 25th you can catch Ashley at the Hard Rock Cafe at Foxwoods (Mashantucket, CT). I’m sure that’ll be a heck of a show. And next Wednesday, August 31st, she finishes her August residency at Loft 266 in Worcester, MA. She also currently has two September gigs scheduled, both at Perfect Game in Worcester, MA – Friday, September 2nd and Friday, September 16th. You can keep abreast of Ashley’s live performance schedule via the “Tour” page on her website.