Album Review: Roger Silverberg – The Old Dog

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Roger Silverberg

photo courtesy of Roger Silverberg

by Stefanie Seskin, Contributing Blogger

Album Review of Roger Silverberg: The Old Dog

As on his prior albums, Silverberg’s never been shy about letting his sixties and seventies sensibilities show, and on The Old Dog, they really shine, thanks to veteran engineer and producer, Philadelphia’s Jim Salamone. Vintage Fender Rhodes and Wurlitzer electric pianos, Hammond organs are heard, mainly behind acoustic guitars. If you’re familiar with Daryl Hall & John Oates’s earlier albums and Warren Zevon’s mid-70s work, there’s plenty on The Old Dog to savor, both lyrically and melodically.

Roger Silverberg - The Old Dog

image courtesy of Roger Silverberg

On The Old Dog, Roger Silverberg weaves stories; about childhood memories, desire, courtship, marriage, and aging, with just enough specifics to make his stories relatable. The music itself has a classic feel – Silverberg is well past the point of caring whether his songs are hip enough to be pop hits even as he hopes that some of his music will outlive him – but that doesn’t mean he sounds trapped in the past. This is a very “listener-friendly” album that has an obvious Side 1 and Side 2.

Roger’s Upcoming Gigs

Per Roger’s website, he has a few upcoming shows scheduled: a Jan. 23rd gig, where he’ll be one of 13 artists slated to perform at an acoustic showcase in Ronkonkoma, NY; a Feb. 24th show at Lighthouse Waterfront Cafe in Glen Cove, NY; and his Feb. 25th NYC CD release show at Desmond’s Tavern in New York, NY. For additional details, check out the show listing page on Roger’s website.

About the Writer

Best known for her many years as lead singer/songwriter/flutist for blue number nine, Contributing Blogger Stefanie Seskin currently performs with Bad Ass Beauty. In addition to her music career, Stefanie has spent many years on the business side of the entertainment industry.

Live Review: Everett Pendleton at Chopps

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Everett Pendleton

Chopps American Bar and Grill, Burlington, MA

January 5, 2016

Everett Pendleton

photo by Geoff Wilbur

The Backstory

I started writing about music during my first two years in Boston. One of the bands I wrote about back then was a jazzy pop-rock outfit called The Amazing Mudshark, Everett Pendleton’s band.  In fact, you can see me sporting an Amazing Mudshark shirt in this Throwback Thursday tweet from a photo op at the end of an Anthrax press conference back in the early nineties. So I’ve been a fan of Everett’s music for… a few years.

In any case, when I learned Everett was performing an early 6:00 show at Chopps tonight and realized it fit into my schedule, I jumped at the chance to hear him sing.

The Show

Everett Pendleton

photo by Geoff Wilbur

I arrived a couple songs into Everett’s first set and was able to stay for about a set and a half. Everett has a smooth, rich, strong voice that’s well-suited to radio-friendly soft rock, country, and blues. And it’s always worth it to get out and hear this guy sing, even at a venue like this where he mostly performs cover tunes.

When I entered the room, Everett was singing the Eagles’ “Take It Easy.” He followed it with “Driving With the Brakes On,” a Del Amitri soft rock ballad he delivers with what could be interpreted as a hint of country style.

A couple songs later, I was treated to the one original Everett performed while I was there, “The Devil You Know,” a mid-tempo soft rocker with emphatic vocals; a song well-suited to his strengths.

Everett Pendleton

photo by Geoff Wilbur

Throughout the rest of the evening, Everett showed off the breadth of his vocal and stylistic range. Matchbox 20’s “When She Smiles” was one of the more uptempo numbers of the evening, showcasing the richness of his vocals. The variety of the evening, however, ranged from Men At Work’s “Overkill” to Vertical Horizon’s “Everything You Want” to Van Halen’s “Dance to Night Away.” Other notable covers included Tom Petty’s “Free Falling,” Oasis’s “Wonderwall,” Jason Mraz’s “I Won’t Give Up,” Hootie and the Blowfish’s “Let Her Cry,” and Train’s “Calling All Angels.” And a couple of my favorites were Everett’s delivery of Lowen & Navarro’s “The Spell You’re Under” and energetic strummer Ben Harper’s “Steal My Kisses.”

At least as far as I’ve ever seen, Everett always delivers. In this case, the early gig fit my personal schedule quite well, resulting in a great evening of soft, acoustic rock music, covering songs spanning several decades and multiple genres and sub-genres.

Album Review: Jann Klose – Mosaic

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Jann Klose – Mosaic

The Backstory

I first met Jann Klose at Undercurrents Music Conference in Cleveland in the late ’90s, where I chatted with him briefly and later reviewed a recording that contained selections from his Enough Said release. Not too long thereafter, in 2000, Jann relocated to New York City. We stayed in touch off and on over the years. I followed his career even while I was out of the business, something made easier by the fact that he ended up working with a publicist whose press releases have consistently graced my inbox for the better part of two decades.

As for Jann’s backstory, as you can read elsewhere, he grew up in Kenya, South Africa, Germany and the United States and now lives in New York. More recently, his voice was featured in the 2012 film Greetings From Tim Buckley. The album I’m reviewing, Mosaic, won three 2014 Independent Music Awards.

Album Review of Jann Klose: Mosaic

Jann Klose - Mosaic

image courtesy of Jann Klose

During the last decade and a half, while living in New York, Jann has built a solid music career on the strength of his strong, versatile, identifiable vocals and his insightful, crisp, varied songwriting, joining the ranks of New York’s exceptional pop-rock singer-songwriters. With his album Mosaic, Jann has crafted a varied collection of memorable, radio-friendly songs with cross-genre appeal.

The disc opens with “Make It Better,” an energetic pop-rock song with a catchy hook that – paired with its engaging video and timely message of tolerance, acceptance, and equality – is perfectly in step with the marriage equality movement this past year. It’s followed by “Know What’s Right,” another song imploring action, this one leveraging Jann’s ability to deliver a powerful, insistent vocal with conviction within the confines of a mid-tempo acoustic guitar rocker.

Jann’s voice has a rich texture that helps create emotional ballads, as well, and he employs that extremely effectively on “On and On” and “Still.”

Another ballad, “Long Goodbye,” shows off Jann’s rockin’ guitar chops as it builds in power late in the song; combined with Jann’s wail, there’s a bit of ’70s wall-of-sound flavor during the latter parts to this particular track. You’ll find a similar ’70s guitar rock feel to the more uptempo “Falling Tears,” as well.

Jann shows off a folky side, as well, with catchy country-folk-pop-infused numbers like “Four Leaf Clover” and “Beautiful One.” I want to say “The Kite” also fits this style, though it’s really just more of a catchy song, one that will creep into your mind an unleash itself back into your consciousness when you least expect it.

Jann closes the album by showcasing a clear, almost Gospel-like vocal on his powerful, a capella version of Tim Buckley’s ballad “Song to the Siren.” Just wow. Seriously.

The “Special Edition” of Mosaic contains six additional songs. They’re demo versions of some of the 10 songs on the album (plus the song “Anything”), which tend to be rougher instrumentally, showing off Jann’s vocals. They’re a nice added bonus.

In total, Mosaic showcases a talented singer-songwriter’s skills by weaving many diverse influences into a cohesive, engaging album of hummable, radio-ready pop-rock songs with social, lyrical, and musical depth. As a listener, you’ll have a different favorite song depending on your mood each day, and you’ll catch yourself singing a few as you walk around during your day. This is an exceptional collection of songs and a great performance.

What’s Next?

Jann’s next release is a collaboration with Gary Lucas. Gary Lucas & Jann Klose: Stereopticon is scheduled for a January 8, 2016 release. (Watch for a review of that in the coming weeks.)

Jann will also kick off 2016 on tour. Dates listed on his website include shows in Germany January 2-10 (hitting Hamburg, Barmstedt, Lübeck, Kiel, Osnabrück, and Bielefeld), a January 13 gig at The Bedford in London (a venue I visited during my “Five Nights in London” a few weeks ago), and California gigs at the NAMM show in Anaheim on January 22nd and at The Hotel Cafe in Los Angeles on January 27th. Jann already has several other shows listed as he begins to fill in his 2016 calendar, so be sure to check his website to see if/when he’ll be near you next year.

Album Review: Trysette – Feel So Pretty

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Trysette – Feel So Pretty

Trysette

photo by Robin Craig; photo courtesy of Trysette

The Backstory

I was initially introduced to Trysette through some common musician friends. As was so often the case during my hiatus from music journalism, longtime music industry contacts were behind my introduction to a great new musician.

As for Trysette’s backstory, she is a classically trained pianist and a pop singer/songwriter. Her latest CD, Feel So Pretty, was recorded in Los Angeles with a talented supporting cast including Mike Baird (Joe Cocker, Journey), Randy Ray Mitchell (Donna Summer), and Bob Malone (John Fogerty). I became familiar with Trysette’s music through her video for the title track, “Feel So Pretty,” and “Good Day,” a song from her previous album, Le Cafe Ancien, she shared for free download this past year (I believe this past summer); “Good Day” has since been a mainstay on my smartphone playlist.

Album Review of Trysette: Feel So Pretty

Trysette - Feel So Pretty

image courtesy of Trysette

Trysette generally tends toward mellower songs befitting her sweet, high voice. The production on Feel So Pretty is crisp, highlighting Trysette’s voice, and the songwriting is well-constructed, delivered with tight musicianship befitting the caliber of musicians she had surrounding her in the studio. But, of course, a soft pop album is all about the songs, and these are the sorts of songs that grow on the listener with each run through her album.

The first track on Feel So Pretty, the exceedingly pleasant “You Must Know,” opens slowly and builds, constructed to capture the listener. Track two, “Hands on Me,” opens with a sassy, twangy rock guitar line that hints at the lyrics yet to come.

“Under My Skin (Band Version)” highlights more of the nuances Trysette’s voice is capable of. But that’s nothing compared to the depth the piano accompaniment draws out in her vocals during “Like Water.”

The middle of the disc shifts gears just a bit, featuring some songs with impact. The title track is catchy, and it will cause the listener to sing along. So beware, gents, because “Feel So Pretty” will surely provide you with an awkward public moment or two if you add it to your mobile playlist. Catchy, fun tune.

Trysette

photo by Fred Bailey; photo courtesy of Trysette

That’s followed by an emotional rendition of “Chasing Cars.” Trysette’s discussion of how she chose to record this song as her album’s cover song is interesting, and one listen proves the selection of this sogns was a good call; quite simply, this song suits her voice, and she delivers a personal, original version of it.

The next cut, “Keep Me Dancing,” is a soaring, powerful, soft ballad, my favorite pure ballad on the album. It’s a rich, full, orchestral pop ballad suitable for radio airplay and slow dances.

The next song, “City Boy,” is my personal favorite, not because it’s better than the others but, rather, because it strikes a personal chord with me. The song was originally recorded by Trysette a long time ago, but I’m glad she included it on her Feel So Pretty disc. I’m not familiar with the original version, but this is a catchy, lush recording whose lyrics (“The more you earn/The more you spend/The more you got/The more you want“) transcend time, leading into the tuneful wail of “ciiiity boy.”

Trysette

photo by Robin Craig; photo courtesy of Trysette

The home stretch of the disc features songs whose insistence vocals suggest a deeply personal connection. I imagine the last section of this disc, for this very reason, may be many listeners’ favorite. It kicks off with “Is That What You Said,” a soft, sweet, emotional piano ballad. The following song, also balladic, soars, with Trysette’s delivery of the entreaty “This Should Be a Good Thing” giving away the lyric’s true emotion.

The final two tracks, “Take a Bow” and “Under My Skin (Intimate Version)” close the album by showcasing Trysette’s soft, high, strong vocals with their unique, identifiable intonation. Feel So Pretty takes the listener on a pleasant journey, a journey that gets more pleasant with each listen, as different favorite songs emerge.

In summary, Trysette has recorded a unique disc full of well-written soft pop songs, delivered in a unique vocal style. Well worth checking out; within a few listens, you’ll have selected your own favorite tracks.

Album Review: Shayna Leigh – Drive

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Shayna Leigh – Drive

Shayna Leigh

photo by Ben Helmer; photo courtesy of MLC PR

The Backstory

I was introduced to Shayna Leigh‘s music more than two years ago at the urging of a longtime music journalist friend. He has terrific taste in music, and if he recommends an artist this highly, I’m usually glad I followed his suggestion. Shayna’s release at the time was the catchy “Drive Away,” and it found a heavy-rotation spot on my personal playlist. A few months later, I found her 3-song EP, The Cold Hard Truth and the Dream, which featured “Drive Away” along with “Next to Me” and “Map of My Heart.” That was enough to completely sell me on Shayna’s talent, and I knew that, if I began writing about music again any time soon, she’d be one of the first artists I’d contact for a review. That was nearly two years ago. A lot has changed for Shayna since then.

In the time since I first heard her music, Shayna Leigh has progressed from a critically acclaimed independent musician to a recording artist with a big-time album release. In July of this year, Shayna’s full-length album Drive was released by S-Curve Records/Universal Music Group; it became available for digital download on July 28th. And December 4th, just a few days ago, was the release date for physical copies of the CD. That is the album I’ll be reviewing…

Album Review of Shayna Leigh: Drive

Shayna Leigh - Drive

image courtesy of MLC PR

Vocal and song-driven catchy soft pop/rock. Shayna Leigh does it well, and she’s instantly recognizable. Not just her voice but her vocal flourishes set her apart. You’ll realize this quickly, as Drive opens with the title track, one that showcases the soft, strong, and unique sides of Shayna’s delivery all in one song. Yes, Shayna has a great voice, but she also has great pop music instincts. Throughout the album, her recognizable tone weaves its way throughout catchy, soft pop tunes.

The song “Drive” was released publicly in the summer of 2014, so I was already quite familiar with it; it is joined by another tune I knew well, one from the The Cold Hard Truth and the Dream EP, now entitled “Next to You,” a song that dances around the melody a bit more than the slightly more directionally straight-ahead “Drive.”

Other songs also jumped out quickly at me. The first of these other memorable songs is “Last Criminal,” a lyrically clever, engaging track that has a unique vibe I first heard a few months ago when its video was released. Indeed, it’s easier to understand that unique vibe when you see the video for “Last Criminal,” a film noir-style short that plays upon the clever lyrics and atmosphere of the song. The other track that engaged me quickly is a very poppy number, “Dirty Laundry,” which paints a graphic and not particularly enticing picture of a slobby, loser boyfriend in its verses, surrounding a catchy pop chorus.

Shayna Leigh

photo by Ben Helmer; photo courtesy of MLC PR

But as much as the aforementioned songs were the quickest-hits in the collection, as I have accumulated album-listens, I’ve actually started to catch myself singing other songs, as well, particularly the uptempo, upbeat-sounding “Goodbye July” and the fast-paced “Crash,” with its insistent, tense energy and cathartic releases.

Also worth noting is second track “Typhoon,” another catchy, pop radio-ready number with a clearly identifiable hook that plays in the pop range of Shayna’s vocals. “Typhoon” is an energetic number that features an accompanying music video.

Shayna shows her softer side on songs like “Paradise Lost,” a song about moving on, putting the past behind, and reaching for a better future. (Yes, “Last Criminal” is technically also a ballad, but “Paradise Lost” is a more traditional pop ballad.)

Overall, Drive is a varied collection of catchy songs that show off the emotionally-connecting voice of a talented, young, fast-rising pop singer, a stellar first full-length effort, a strong album without a weak link. Every listener is likely to have a different favorite; and a single listener may have a different favorite each week.

Obviously I think Shayna Leigh is an exceptional talent, but don’t take my word for it. I provided a couple of links to songs in the text above. Check out her music for yourself.

What Else?

Go to Shayna’s website and get a free download of her Christmas song, “Wake Me When It’s Christmas,” while you wait for Santa to leave her album in your stocking.

Album Review: Alchemilla – Hearts

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Alchemilla – Hearts

Alchemilla

photo courtesy of Alchemilla

The Backstory

I discovered Alchemilla‘s 4-song EP, Hearts, through the disc’s producer, who’s an old music industry friend of mine. He was raving about the band, and my old music biz contacts are often great sources for discovering talented new bands, so I took a listen to the advance promo video for Hearts and was intrigued; then, when available, the EP blew me away. Since discovering the band about a year ago, I have tried on a few occasions to catch a live performance but have always had schedule conflicts. One day I’m sure you’ll see a live review of one of Alchemilla’s shows in this blog. For now, however, I’ll give a quick review of this four-track EP.

EP Review of Alchemilla: Hearts

Alchemilla

image courtesy of Alchemilla

Loud. Distorted. Heavy. Real rock music. First song “Live Life Over” kicks off the disc with distorted power chords and a near-wall of sound meant to serve notice that this album will rock you. Hard. Then Kat Burke’s vocals kick in, slicing through the noise with confident strength, demanding attention with each extended vowel; always controlled, never wavering. Commanding “we will not grow old,” this song certainly doesn’t. In addition to well-constructed guitar bridges that form a solid song structure, the necessary (and necessarily blistering) hard rock guitar solo serves as appropriately measured punctuation. It’s clear from the first track on Hearts that Alchemilla will be a raw, rough, energetic live band, which is why I’m still trying to get to a gig. It’s also a clue that the listener is about to hear four well-constructed songs.

Title track “Hearts” follows, and it’s a bit more atmospheric though still 100% hard rock. The vocals are sung distinctly syllablically, with the measured vocal approach matching the plodding power of the ever-growing wall of guitar and vocals that sneak in over the course of the track. Again, as with the first track, the guitar solo hits the spot, though it’s toward the end of “Hearts,” leading into the powerfully fading final vocals.

Alchemilla

photo courtesy of Alchemilla

Vocalist Burke hits some hauntingly almost-awkward (but no, she nails ’em; that’s the intent) high notes on track three, “In My Head.” This is the least wall-of-sound song of the four, or perhaps it only seems so because of the less dense beginning and ending. It certainly is the catchiest of the four, as I more often catch myself singing “there’s someone in my head…” than any other lyric on the EP.

Final track “One Way” kicks off with distorted guitar and power vocals, somewhat like the EP-opener but with a bit more finesse. Alchemilla works in some soaring vocals, driving rhythm, and solid vocal-driven bridges for a solid conclusion to its EP.

Overall, this EP plods, but I mean that in a good way. It has a slow, heavy pace. Like a steamroller. Like a really cool hard rock steamroller. One that belongs in your hard rock music collection and in your earbuds making your ears bleed and your head bang. From a band whose gig seems like it’s probably a must-see. But, of course, when I say this is cement-truck-heavy, well-constructed hard rock, you don’t have to take my word for it. Listen for yourself.

Album Review: Bridget Davis and the Viking Kings – I Wasn’t Planning on the End

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Bridget Davis and the Viking Kings  –  I Wasn’t Planning on the End

Bridget Davis and the Viking Kings

photo by Larufoto; photo courtesy of Bridget Davis

The Backstory

You already know the backstory if you’ve been reading this blog. However, the short version is that I discovered Bridget Davis and the Viking Kings purely by accident at a Rockwood Music Hall show in New York. At the time, this album was in production. I decided to order the CD before I decided to return to music journalism. As such, this is the last CD I purchased prior to re-entering music journalism. Because I hadn’t spun this disc enough times before I wrote about Bridget and company a few weeks ago, I saved the album review for later. Or, rather, now.

CD Review of Bridget Davis and the Viking Kings: I Wasn’t Planning on the End

I’ll begin by pointing out that Bridget has an outstanding voice. She hits the notes with clarity and emotion, with the extraordinary control required by this sort of music. Her voice is soft and strong, ideal for the sort of alt-rock/Americana/roots-rock blend her band plays. However, in this particular genre, it is rare for a voice to set a band apart. And it probably doesn’t do the trick here, either. Vocals simply aren’t dominant enough in this relatively laid-back brand of music to prove the difference-maker. To quote your college philosophy professor, great vocals are necessary but not sufficient to set a band apart when playing this style of music. And, indeed, Bridget’s exceptional vocals more than fulfill that “necessary” requirement.

Bridget Davis and the Viking Kings

artwork by Cassie Kelly; image courtesy of Bridget Davis

Indeed, while Bridget and the Viking Kings could have drawn a nice following simply playing a mellow, sometimes vaguely haunting sort of flowing folk-rock, they don’t do that. And it’s all about the songwriting. Indeed, that’s what’s special about this band. Each song, to a varying degree, has an “engine,” as I call it, driving the song. It’s too catchy/grabby to be a rhythm, but it infiltrates too much of the song to be a hook. It’s what makes Bridget Davis and the Viking Kings unique in a style of music in which it might otherwise be easy to get lost among the crowd. And it’s why I ordered this album as my last “civilian” act before starting this blog. I Wasn’t Planning on the End is a heck of a final purchase. The 10-song disc includes 3 re-recordings of previously-released songs plus 7 all-new originals.

“Elizabeth” is an excellent choice to start the disc, as it begins thinly and builds. Ultimately a slow-to-mid-tempo number, its “motor” is largely built upon the slightly-complex drum line; regardless, the slow-build nature of the song is well-structured to engage the listener. It’s followed by “Transient,” an intriguing number that draws a bit of the hauntingness out of Bridget’s voice while powered by bass and rhythm guitar. Debut single “Transient” acted as a “preview” track for the album, released online in advance of the CD release, so I was already relatively familiar with it. As with several of BD & the VKs’ songs, there’s a nice spot mid-song that utilizes silence and the return initially of a single instrument to grab the listener. (Did I mention I’m impressed with the band’s songwriting?)

Next up are two songs re-recorded from the band’s 3-cut January EP. First, that EP’s title track, has a catchy recurring guitar hook that melds with a rhythm-driven “motor” to drive the song along while featuring Bridget’s crisply expressive vocals and other extra, enjoyable nuggets of musical detail. It’s followed by “The Breakdown,” whose catchy little guitar hook is what convinced me to investigate this band’s music in greater detail because they just might be something very special. Because that hook was still dominantly running through my head the afternoon after I first heard Bridget and the Vikes, even though I had only heard it once (and had seen a heck of a good band perform after them, as well). There’s a bit of an Old West feel to “The Breakdown,” as I could see movie musical cowboys swaying to it while on a cattle driven,though perhaps it’s more Great Plains, as I’d more likely visualize a lonely farmer or two lamenting a life as it might have been while staring across their fields, with a soft wind blowing on the prairie.

Bridget Davis

photo by Larufoto; photo courtesy of Bridget Davis

Next up is “Rollaway,” an engaging, well-crafted, fun song driven by a rolling rhythm but punctuated by a tension-building run or two before release. It’s followed by a rendition of “Trouble Comes in the Threes,” the title track from Bridget and the VKs’ first EP. The catchy strumming pattern at the beginning draws the listener in, and it combines with a vocal that seems to whisper even though it doesn’t. Where “Rollaway” goes somewhere, “Trouble Comes…” just sits on its relatively slow-tempoed motor and let’s the listener enjoy.

The album cranks up only a very small notch with “Let Him Down,” and actually, with the motor being a bit more subtle, it almost feels like it has slowed down a touch. It’s probably the purest song on the CD that hits at the core of BD+VKs’ style, even if the band’s style seems to be all about straying from its center, rarely settling in. So it’s a nice job of song placement to have the album centered just in time for the next track, “Sarah’s Song,” which for me is the biggest potential breakout hit of the collection. It is the only song whose “motor” is a background vocal, one that’ll have the listener “oh”-ing along by halfway through. Comparatively speaking, the tempo is relatively faster than the others on the disc, the lyrics are interesting… and then the song throws this Chris Isaak-esque “Wicked Game”-ish guitar bridge to seal the deal. Um, yeah, “Sarah’s Song” is something special.

“I’m Ready” is a bit of a blend of the two previous tracks, with the eeriness of the slower parts of “Sarah’s Song” and the centeredness of “Let Him Down.” The song begins at a much slower tempo with muted instrumental flourishes, though it does build to power in a couple spots and end much noisier than it begins. I’ve seen “I’m Ready” mentioned as an album favorite in comments by some of Bridget’s core fans, which is evidence that, even as a band should strive for music that could attract new listeners (like “Sarah’s Song”) and to grow outward as musicians and songwriters, it’s important for a band to grow inward, to remember its center, to try to create variations on its central theme because that’s what its long-term followers love.

The last song on the CD is the title track, and it’s a bit of a slow, mellow, haunting bookend to the first track. Both guitar and percussion are the slow motors that move forward “I Wasn’t Planning on the End.” The whole song has a bit of a melancholy feel, ending where the album began, a bit mellow and unsure of the world around it, simultaneously definitive and uncertain. Very much Bridget Davis and the Viking Kings.

So yes, this band will never rock your face off or blow your mind with freakish feats of vocal or musical amazingness. But they consistently deliver good songs, vary the tempo, provide hook-type “motors” you’ll remember. If there’s a place in the world for a truly fine, song-driven band — and really, if we’re being honest, that’s at the core of most long-term success in the music business — you’ll find that right here.

Looking Ahead

Bridget Davis and the Viking Kings’ next performance is Saturday, December 5th at 10:00 pm on Stage 1 at the Rockwood Music Hall in New York. I’d be there if I could. I can’t, but if you can, you should go.

Live Review: Balkansky at Arts at the Armory

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Balkansky

Arts at the Armory, Somerville, MA

November 21, 2015

Balkansky and guests

Balkansky and guests; photo by Geoff Wilbur

The Bulgarian American Cultural Center Madara, as part of its 15th anniversary celebration, featured this concert including headliner Balkansky, featuring Theodosii Spassov, Ivan Shopov (DJ Cooh), and Ivo “Kuker” Christov.  I had never been to Arts at the Armory in Somerville before, and while the building is an interesting one on the outside — it is, obviously, a repurposed armory — the performance room itself is a large, admirably unique space. But, of course, this night was about the music, which opened with performers from around the Balkans…

Elitsa Stoyneva and Christiane Karam

Elitsa Stoyneva and Christiane Karam; photo by Geoff Wilbur

Opening Act: Elitsa Stoyneva and Christiane Karam

The evening opened with a traditional folk song performed by Elitsa Stoyneva and Christiane Karam. This talented pair of vocalists were a terrific choice to kick off the night’s performances.

Jasna Duran Band

Jasna Duran Band; photo by Geoff Wilbur

Second Act: Jasna Duran Band

The second act of the evening was a two-song performance by the Jasna Duran Band. In addition to Jasna Duran (vocals), the band consists of Andrea Charls (vocals), Gretchen Schadebrodt (guitar and vocals), Negah Santos (percussion and vocals), and Tania Mesa (violin and vocals). The group opened with a traditional vocal performance; then the band broke out its instruments to perform one of Duran’s very well-written and performed original songs. It was a nice introduction to Jasna and her group’s musical abilities.

Balkansky

Balkansky; photo by Geoff Wilbur

Headliner: Balkansky

The headlining act, Balkansky, is a multi-media performance group consisting of legendary Bulgarian instrumentalist-singer Theodosii Spassov, DJ Ivan Shopov (DJ Cooh), and Ivo “Kuker” Christov providing visuals. Though he performed with three instruments during the evening, Spassov’s specialty — that for which he is widely known around Bulgaria — is the kaval, a traditional instrument in the flute family; for most of the evening, he performed on the kaval.

Theodosii Spassov

Theodosii Spassov; photo by Geoff Wilbur

Musically, the result of the blend of kaval, vocals, and DJing is a unique mix that sounded to me like an extremely intriguing mix of experimental ambient jazz coupled with techno influences (through Shopov’s DJing). As my wife and the other Bulgarians around me pointed out, though, many of the melodies were deeply rooted in traditional Bulgarian folk songs, and the crowd easily recognized it. During one song, in fact, perhaps a third of the audience joined in a traditional dance around the room. Regardless of your familiarity with the origins of the sounds (or instruments) involved, this was an interesting, enjoyable performance fusing traditional and modern musical methods into a unique evening, enhanced by carefully-selected visuals.

Balkansky with Elena Koleva

Balkansky with Elena Koleva; photo by Geoff Wilbur

During the show, Balkansky was also joined on stage twice by local musicians.  For two songs, highly-regarded, talented Boston-based jazz singer Elena Koleva (of the Fifth Season Quartet) lent her voice to the performance. Later, guitarist Asen Vaptsarov (from Berklee) joined Balkansky on stage for a couple songs. The blend of local talent, young and experienced, with the touring tour de force Balkansky rounded out the evening of fun, artistic music, blending seemingly-disparate musical styles seamlessly.

Balkansky with Asen Vaptsarov

Balkansky with guitarist Asen Vaptsarov; photo by Geoff Wilbur

And if you’re still unsure what sort of music I’m describing, which is likely the case since it’s almost impossible to explain, check out Balkansky’s YouTube video for “Rada.”

Closing/Dance Party

After Balkansky played its final note, the night concluded with a Bulgarian dance party, led by Ludo Mlado‘s Peter Petrov, with traditional dance instruction to help those who needed it, though I needed to leave just getting started, so I missed the end of what was certain to be a party continuing much, much later into the night.

Looking Ahead

Balkansky’s North American tour continues for about two more weeks: Dec. 1 at the Padonia Village Clubhouse in Baltimore; Dec. 3 at the DoubleTree by Hilton Atlanta-Northlake in Atlanta; Dec. 4 at Molly Malone’s in Los Angeles; Dec. 5 at the Great Town Hall in Seattle; Dec. 6 at the Croatian Center in San Francisco; Dec. 10 at the Museum of Contemporary Art in San Diego; and Dec. 12 at the John Dutton Theatre in Calgary. (Dates and locations are listed on the group’s website.)

Live Review: Sarah Borges at The Backyard

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Sarah Borges

The Backyard, Brighton, MA

November 20, 2015

Sarah Borges

photo by Geoff Wilbur

The Backyard is an interesting venue, hosting house concerts, typically in — you guessed it — the backyard. In late November, however, the concert was held inside, in a very unique downstairs space. As is often the case with house concerts, The Backyard’s concert series consists of a potluck before the show, a concert-style performance, and a little mingling afterwards. I had not seen Sarah Borges perform before, but she came highly recommended, so I made an effort to get out to see her perform this year; this concert, indoors at The Backyard, was my best opportunity.

The Concert

Sarah Borges

photo by Geoff Wilbur

Shortly after I first heard about Sarah, I briefly checked out her music online, but that was months ago, so I entered this concert quite unaware of the style of music I was about to hear. And, indeed, the music is easy to identify but hard to describe. She’s bluesy, rockin’, rootsy, rockabilly, with a hint of old-school country but an alt-rock/punk-rock edge. Got that? (Sarah’s SoundCloud page lists her style as “Rock/Americana/folk/indie,” so yeah, that sounds about right.) It really works, and it provides a fun concert atmosphere. Musically, she could share the stage with anyone from Karen Nash (Americana/country) to The Empty Hearts (old-school Orbisonesque rock) to The Baghdaddios (NYC raucous punk-rock) and still win over their audiences. Others who came to mind during various portions of Sarah’s two sets were Patsy Cline, Elvis Presley, Joan Jett, and The Wonders (yes, the band in That Thing You Do!). One tune even evoked for me the Beatles’ “I Saw Her Standing There.” As I said, an intriguing mix that really works.

Sarah Borges

photo by Geoff Wilbur

A few songs stood out for me (actually many, but this is limited to those whose song titles I could easily discern, as I was not familiar with Sarah’s music prior to this gig). The first was a tune with great energy, “Can’t Go On This Way,” which features a little ’50s, old-school rock rhythm and stylistically fitting vocals. “It Comes to Me Naturally” is a rollicking number that could be a cousin to Chuck Berry’s “Johnny B. Goode.” Finally, “The Waiting and the Worry” is a tuneful, catchy crowd favorite that features Sarah’s insistent vocals at their best, well-placed guitarwork, and a hook that might keep it in your mind for days.

In summary, this was a fun concert from a charismatic singer — heck, a charismatic band. A great evening out. And proof why I’d heard so much buzz about Sarah before finally getting out to one of her gigs.

Looking Ahead

Sarah Borges

photo by Geoff Wilbur

Sarah’s next performance is tonight, November 28, at the Narrows Center for the Performing Arts in Fall River, Massachusetts. Her next flurry of performances is four shows in four nights with Amy Black (Dec. 16 at The Grey Eagle in Asheville, NC; Dec. 17 at The Evening Muse in Charlotte, NC; Dec. 18 at Motorco in Durham, NC; and Dec. 19 at IOTA in Arlington, VA), followed by a return to Massachusetts (December 31st at the Lizard Lounge in Cambridge; Jan. 9 at Atwood’s Tavern, also in Cambridge). Of course, all of Sarah’s upcoming dates are listed on her website.

Album Review: Casey Weston – Young Heart

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Casey Weston – Young Heart

Casey Weston

photo courtesy of Casey Weston

The Backstory

I discovered Casey Weston through ReverbNation back in 2013. She was one of the website’s featured artists. Her entire 2013 release, Find the Moon (on bandcamp, where you can listen to full songs and purchase a download) was available to listen to on her ReverbNation site. I downloaded the songs that were available as free downloads and added them to my listen-while-I-work playlist. They soon rose to the top of my list. I was amazed by Casey’s vocals, her lyrics, the ease with which her songs were listenable and memorable. Indeed, while the full 13 songs on Find the Moon are outstanding, ranging from “Crazy Fools” and “The Good Times” to “Back to the Start” and “Ain’t Life Beautiful That Way,” it’s one song, “Happy,” that became a must-listen for me for several months. Catchy, country, sarcastic and independent, it’s a song that appeals to country fans, pop fans, and anyone who likes clever lyrics. As I like to say (and have tweeted), with apologies to Pharrell Williams, Pharrell’s “Happy” is only the second-best song of that title released in 2013, behind Casey Weston’s. Surprisingly, after discovering Casey’s music, I later discovered she had been a final-eight contestant (as part of Adam Levine’s team) on Season One of The Voice. I watched that season of The Voice but didn’t remember Casey; I guarantee if she had been singing her own songs, though, I couldn’t have missed her.

So it was after more than a year of continued appreciation for Casey’s Find the Moon album that I decided to pre-order her Young Heart CD in early 2015. (In CD format so I could more easily play it in my car.) In fact, Casey Weston’s Young Heart is the second of only three CDs I have ever pre-ordered (and I blogged about my first pre-order, blues singer Danielle Miraglia’s Glory Junkies, in my “Road Back” series). I was confident I wouldn’t be disappointed by Casey’s CD, and (spoiler alert!) I wasn’t.

I discovered a lot of great music in my last 2-3 years as a “civilian,” before relaunching my writing career. With that as the backstory, I’m glad to finally be able to share with you the best new country artist I discovered during my hiatus from music journalism, Casey Weston.

CD Review of Casey Weston: Young Heart

Casey Weston - Young HeartFrom the first time you hear Casey Weston’s voice you know it. She’s country. She’s 100% country. She could sing Mötley Crüe’s “Shout at the Devil,” and it would be country. She could sing Lorde’s “Royals,” and it would be country. She could sing the entire soundtrack of The Phantom of the Opera, and it would be The Phantom of the Opry. Casey’s voice has the lilt and the twang. And the emotion, so much more than you’d expect from such a young country singer, still solidly in her early twenties. And power, so much power when it’s called on, yet also the softness that suggests deep lyrical understanding. And a solid lower register, as well, that drives the verses of some of her songs. Casey’s the complete package, and it would take perhaps just the smallest break to break her huge on country radio (with the occasional crossover pop hit). But I’m getting ahead of myself.

Casey’s current album, Young Heart, showcases the various different styles of her music. First, there are the young, energetic songs. The ones that would take over pop-country radio in a heartbeat. Songs like album-opener “Play It All Again,” which is about the sort of energetic pop-country you’ll find on the country charts, and “Little Bit of Everything,” a celebration of individuality and the seemingly-contradictory parts that make up an interesting person’s whole. (“Play It All Again,” by the way, has introduced the phrase “a good kind of crazy” into my family’s lexicon. Then again, that’s what lyrics with well-turned phrases can do.)

Casey Weston

photo courtesy of Casey Weston

Then there are her more timeless mid-tempo and uptempo numbers. Indeed, Casey’s voice often expresses the depth and experience of a much more mature country artist, and she draws upon that particularly well on a couple of this disc’s tunes. Mid-tempo “Waking Up” tells a good story about coming to one’s senses. “No Strings Attached,” meanwhile, is a cheatin’ crooner that comes across as if from someone with a whole lotta life experience. And such well-crafted lyrics; you’ll find yourself singing along with the chorus once you’ve committed them to memory. (In fact, I’ll link to the Bandcamp page for “No Strings Attached” so you can read the lyrics while you listen.)

There’s also a song on Young Heart that throws in a little of Casey’s trademark attitude. It’s not exactly sass; it’s more like spirit combined with clever lyrics. This is the stuff I really love. There were a couple songs like this on Find the Moon; here, there’s one, the balladic “Never Come Back.” (“Do us both a favor/Don’t come back/Please never come back …”) It’s not as if the rest of the album is devoid of this spirit; rather, this song is fully packed with it. Great for one or two tracks per album; a bit of a trademark her fans certainly look forward to.

One of the more unique songs in Casey’s repertoire, a tune that’s a little more rocking and has a feel and flavor I couldn’t quite place, is “Graveyard.” It has a speaker-rattling rhythm, a little darkness, is very lyrically interesting, of course, and showcases Casey’s vocal agility, lending additional variety to an already-quite-varied album. This song is so engaging that there’s even one spot during which, when my wife and I are listening in the car, all conversation stops so we can sing along with Casey, “You make me go insaaaaane.”

Casey Weston

photo courtesy of Casey Weston

Young Heart closes with a sentimental, drippy romantic ballad. And no ones squeezes the emotion from a balladic lyric any better than Casey does. “Lock & Key” is a lyrical and emotional gem. This song, if it became widely known, could be a first-dance wedding favorite. Great lyrics. (“We fit perfectly/Like a lock and key/I was made for you/You were made for me…”) Classic delivery.

There you have it. An amazing album from a talented young country singer. Casey Weston’s voice is instantly recognizable, and her music is the sort of varied, well-constructed country blend that could be the foundation of a long, successful career. With luck, success will find her soon enough. In the mean time, those of us “in the know” can enjoy some amazing country music the rest of our friends don’t yet know about.

What’s Next?

For Casey, hopefully a fast-growing career. I don’t generally plan to write such long reviews, but I am absolutely, exceptionally impressed by Casey Weston’s music, and I hope a few more of you can discover it through this article. I also hope she tours the Northeast sometime in the near future, though that’s mostly just so my wife and I might get a chance to see her perform live.

For the blog, I’m already working on a few more reviews in and around my busy work schedule. I’ve also been having discussions with a few writers – mostly people who wrote for my old publication, but also others I know from my old magazine publishing days – who have expressed an interest in writing for this blog. So I look forward to continuing to treat you to great music reviews, news, and interviews and introducing you to some great additional voices who will do the same.

As for you, if you enjoy reading about great music regardless of genre, please also check out some of the other articles I’ve written in the few weeks since launching Geoff Wilbur’s Music Blog, and please consider signing up to receive this blog in your inbox. We plan to post no more than once per day – initially, as we get started, likely a lot less – so you won’t have to worry about a clogged inbox. On your PC, there’s an option to subscribe at the bottom of the column along the righthand side of this page. On your smartphone, the e-mail subscription option should be at the end of this page.