Tag Archives: Album Review

Album Review: BlitZ – Rock City Symphony

Posted on by

image courtesy of BlitZ

Album Review of BlitZ: Rock City Symphony

You’ve read about BlitZ here before, so you know these guys rock! Last year, I reviewed the band’s Kicking Up a Storm album; well, they’re back and rockin’ as hard as ever with Rock City Symphony. The band is a blast from the past – ’80s-style guitar rock, for the most part, with powerful, almost-always-on-10 vocals that are as important to the songs’ enthusiastic delivery as the dynamic guitarwork.

This Nottingham-based throwback melodic metal outfit is comprised of Stuart Corden (vocals, bass), Kevin Simpson (guitar, keyboards, piano, backing vocals), and Mat Davis (drums, vocals). The trio’s latest full-length release isn’t just a feast for the ears. No, it also comes with an 11-page color comic book that tells the story behind Rock City Symphony. So, you know, multimedia, but the old-school kind.

photo courtesy of BlitZ

Musically, Corden’s voice reminds me of an amalgam of ’80s rock voices, but repeatedly in the band’s songs on this album I hear elements of Kix. I’m not suggesting soundalike vocals, but Corden’s voice has some of the same dynamic elements that made Steve Whiteman such a legendary frontman. Simpson’s axework, meanwhile, can shred, but more often it’s his nimble, tuneful guitar lines that carry the songs forward, slightly reminiscent of late ’80s/early ’90s guitar-driven rock bands like Trixter (especially the album tracks, a bit heavier than the hits but still hook-laden) and Sweet F.A. In any case, BlitZ’s sound is very familiar, but after a few listens, you realize it’s all their own.

Indeed, since I already knew the band, I immediately knew I was listening to a BlitZ record from the opening chords of the album-opening title track, “Rock City Symphony.” And if “Rock City Symphony” sets the album’s tone, then the opening funky hard rock lead-in to second track “Tear Down the Walls” establishes the fact that this band has a variety of influences. Despite a harsh wall of noise that ratchets things up early on, the song soon erupts into a bit of a sing/shout-along with a monster guitar hook that’ll reel in just about any listener.

Mostly fast-paced guitar rock songs follow. There’s “Hurricane,” on which I hear hints of Black ‘N Blue, and “The Score,” which sounds like something current kickass, classic-style, somewhat raw melodic hard rock band Dirtbag Republic might play.

photo courtesy of BlitZ

The album maintains its energy level following “The Score” with “Skin of Our Teeth” until finally slowing things down on “Vampires of the Dawn,” a somewhat hauntingly sparsely instrumented number apart from the build to power during the chorus and the bridge following the second chorus, which leads to a slow-paced, wailing guitar solo. The song’s power holds until the last minute, which is guided by soft piano. In your mind, you may picture a piano being played in a soft mist on the stage as “Vampires of the Dawn” fades out.

The mist dissipates quickly, though, as “Hollow Man” brings the energy and aggression back from its very first notes. It’s a ragged and distorted heavy rock anthem for hollow men (“I was born in a lab, cloned from a rat”), and it sports a really cool blistering axe solo whose intricacy belies the song’s blunt-force heaviness.

“Anti Hero” brings forth a little bit of a heavy prog, storytelling edge, with exactly the sort of rhythm and heavily floating wall of guitar you’d expect to find in progressive-influenced heavy rock songs about fantasy worlds with dragons. Or, perhaps, Norse mythology.

photo courtesy of BlitZ

Put a pin in that thought, though, as “Song 4 Life” is a catchy-af song that blends pop-punk enthusiasm, particularly in the fun chorus, with an old-school Sunset Strip vocal and lyrical vibe. Yes, this one’s probably going get some repeat-play action on your (and my) playlist!

Now, back to that pin. BlitZ goes full-on heavy theatrical with Rock City Symphony‘s penultimate track. Seriously, the opening voice-over could be something a dungeon master might spout at the beginning of a quest, at least if they were a dramatic DM who valued high production value. The song itself mixes ultra-heavy verses that feature the closest to a heavy metal death growl you’ll find on the record with a chorus of “we ride to Valhalla for vengeance” that’s the next-heaviest thing on this record but comes off as almost soaring compared with the verses. Indeed, it’s the polar opposite of the preceding track.

The album closes with “Kick It Up,” a song that could be the featured anthem on any ’70s (or early ’80s) straight-ahead hard rock disc.

Rock City Symphony is a record that’ll give you whiplash. In a good way, if you enjoy when bands show their versatility, as BlitZ has done here. Old-school AOR fans will dig the bookends of “Rock City Symphony” and “Kick It Up,” while the band – as you see from my review – goes both much heavier and much lighter over the course of the record. My personal favorites are the title track, “Tear Down the Walls,” and “Song 4 Life,” but with the song-to-song variance on the disc, I’m sure you’ll have your own faves.

EP Review: Thool – Cwmcerwyn

Posted on by

image courtesy of Unsung Hunger

EP Review of Thool: Cwmcerwyn (PRAH Recordings)

I enjoy music from a wide variety of musical style, but this is a subgenre that doesn’t grab me nearly as often as music from other categories. Sometimes there’s something special that can cross genre lines and reach fans of other styles; in this case, me. And when I hear something I really dig in a style I don’t often listen to, you know I’m gonna share it with you!

Thool is a longtime UK-based electronic music duo whose music is interesting, engaging, and structured with enough direction that it remains fresh throughout multiple listens. For me, that’s usually a key element if I’m going to really enjoy electronic music. The album Cwmcerwyn is an interesting instrumental electronic release – I mean, there are actually words occasionally, but they’re mostly unintelligible, always buried deep in the mix, and not really lyrics, so yeah, this is an instrumental album.

image courtesy of Unsung Hunger

Album-opener “Cwmcerwyn,” the title track, buzzes, thumps, and squeaks along, progressing through softer spots and more prominent rhythms to form a satisfying listen. It’s the EP’s longest track, clocking in at nearly 7 minutes, which I only really mention because longer songs can begin to feel repetitive, but again, “Cwmcerwyn” does not; rather, it takes an interesting, progressive journey. Meanwhile, as much as “Cwmcerwyn” is more meandering, second track “Gwin Priseli” is built upon a steadier, rather dancefloor-worthy beat. Indeed, this is a song I could imagine hearing thumping away at a nightclub.

Next, “Waun Maun” takes a more mid-tempo approach, though with some nifty sound effects late that might be a spaceship taking off. “Magellanic Gloom” has a funky bass rhythm underpinning its recurring beat and varied musical experimentation, which, again, isn’t unusual for electronic music, but Thool is great at varying it enough to maintain interest while still tying it together into a cohesive song, with each song notably different from the others. And the final track, “Helpful Realm,” while a little more grounded in a prominent rhythm than more soaring numbers, would still fall largely into that category, though it really seems to build toward the end, combining several interesting sound patterns. Basically, a cool way to end the EP.

On the whole, for those who like to dabble in a broad playlist but for whom electronic music isn’t a staple – well, that would include me – this could be a nice addition to your collection, something you’ll enjoy spinning when you’re in the mood. I won’t attempt to speak for hardcore fans of this genre, though I imagine if I’m drawn to the uniqueness of Thool’s Cwmcerwyn, perhaps you’ll find it interesting, original, and unique, too.

 

Album Review: Namedroppers – Cool Blue Shoes

Posted on by

image courtesy of the Namedroppers

Album Review of Namedroppers: Cool Blue Shoes

There’s something about the Namedroppers‘ brand of blues. Despite the band’s ragged, emotional vocals, there’s a lightness that bring joy with the blues. If that’s your style of blues – blues as therapy rather than downtrodden commiseration – then the Name Droppers are a band you oughta know.

I reviewed the band’s last disc, Starshine, and now I’m giving Cool Blue Shoes a spin. As expected, Cool Blue Shoes is a collection of Namedroppers-style potential new favorites. The new album showcases the band’s broad-based talent, delivering a fun collection of new music, Namedroppers styled!

“Killing Floor” opens the record with a rhythm you’ll recognize quickly as the Namedroppers if you’ve heard their previous records. It’s a loose, soulful style of laid-back blues, and there’s just something about the music and vocal style that lets you know it’s gotta be the Namedroppers; it can’t be anyone else. Indeed, all the elements sound familiar, but the band has carved out its own signature sound, something few bands can do. As such – a tune that clearly identifies the band – it’s a great disc opener. “Cool Blue Shoes,” next, still has that hint of a herky-jerky rhythm but leans into its instruments’ repeated patterns just a little heavier.

“Be Alright” is a big-stage performance number, with plenty of background vocals and an uplifting rhythm. The song sports a kind of a blues meets soul meets ’70s rock vibe. You can almost see the greens, browns, oranges, and goldenrods of the ’70s if you close your eyes and listen to the funky guitarwork.

“Keep Pushin'” combines a George Thorogood-esque guitar crunch with some serious ivory-tickling and a fast tempo.

“That’s the Way My Love Is” is a bit of a late ’70s/early ’80s laid-back distorted rocker, the sort that would be reminiscent of the summer of love in a style that’d likely place it a little more than a decade later. It’s a pretty cool number in that it shows the band’s range, falling a little farther than usual on the straight-up rock ‘n roll fringe of the band’s blues style, though still clearly being a Namedroppers tune. “Hard Way,” too, leans old-school rock, with sixties-style vocal harmonies and organ-style keywork setting the stage for a very cool, very bluesy blues-rock guitar solo. It’s followed by a rocked-up, modernly-stylized version of Willie Dixon’s “I Cry For You.”

A fun, energetic, kinda silly “Think Yiddish” – playing on the phrase “think yiddish, dress British” – follows, dropping in a brief “hava nagila,” while also serving as a vehicle for a nifty keyboard solo, all delivered with some typically ragged, cool Bobby T vocals.

The album’s second-to-last song, “Yes I Will,” carries the spirits of ’50s-style rock ‘n roll, with an almost Chuck Berry-ish guitar riff, maybe a little Chubby Checker style in the song’s rhythm and its rockin’ blues.

Then Cool Blue Shoes closes with the slowly swaying, spoken-over-doo-wop “Out of This Blue.”

In all, Cool Blue Shoes is a solid blues record with forays into adjacent styles that showcase the Namedroppers broad range while also providing a fun disc whose variety – all containing the Namedroppers’ cohesive, identifiable sound – make for an interesting listen, an enjoyable follow-up to Starshine.

Looking Ahead

Well, you won’t have to look far ahead to find the Namedroppers’ next album. Let’s Live Together is scheduled for a June 12th release. That’s next week! I, for one, look forward to more music that, I have no doubt, is gonna be a welcome addition to my playlist.

Album Review: The Peppermint Kicks – Pop Rocks in My Chewing Gum

Posted on by

photo courtesy of the Peppermint Kicks via Knyvet

Album Review of The Peppermint Kicks: Pop Rocks in My Chewing Gum (Rum Bar Records)

The Peppermint Kicks are Boston duo Sal Baglio (The Amplifier Heads, The Stompers) and Dan Kopko (The Shang Hi Los, Watts), who according to the credits both seem to play the same instruments – so I guess it varies by song – though only Kopko is listed as playing bass. They’re also accompanied by a trio of top drummers, varying by song: Kevin Rapillo, Chris Anzalone, and Napoleon Hashimoto.

The Peppermint Kicks’ Pop Rocks in My Chewing Gum is modern pop-rock with its roots firmly in the early days of rock and roll, carrying a ’50s/’60s Dick Clark’s American Bandstand vibe throughout the record, though to be fair, the same stylistic elements were popular in pop-rock music as late as the ’80s, so the Peppermint Kicks’ musical style is actually pretty timeless. The result of the band’s latest recording session, Pop Rocks in My Chewing Gum, is a fun, imaginative, rockin’ romp centered around this type of timeless rock ‘n roll. The biggest modernization is some of the wildly raucous guitarwork, so yeah, this isn’t throwback music, but it is throwback-inspired. Smash Mouth did the same sort of things on a few songs of their Astro Lounge album, though not exactly the same way. (They’re different bands, after all.) But Smash Mouth’s “Diggin’ Your Scene” and, to a little lesser extent, “Who’s There” and “Radio,” carry the same sort of throwback vibe you’ll find on this record. As for a comparable band with a longer run as a major act, this is the sort of sound you’ll hear from Cheap Trick from time to time, too. The Peppermint Kicks also seem to infuse a punk rock energy into these songs, certainly moreso than any of the comparison bands I’ve mentioned.

image courtesy of Knyvet

The first track, and the first single from the album, so I’ve been listening to it the longest, “Radio Wam Bam Boom” is probably my favorite song on the album. Not by much, mind you. But the quick-starting throwback energy, the old-school city callouts, and the brief radio DJ interjections all combine to make for a fun romp (there’s that word again!) that makes it an ideal first single, concert-opener, or otherwise first exposure to the Peppermint Kicks.

“Too Sweet (Oh Yeah)” follows as an equally fun number – sometimes this is my favorite on the album! – with a little slower tempo and a sound and lyrical tempo that recalls The Archies’ “Sugar, Sugar,” though the Peppermint Kicks are much faster-tempoed and harder-rockin’, so consider that a stylistic comparison, not a “sounds-like” one (because I’m not puttin’ an Archies song on my personal playlist, but this one’s absolutely getting added). Still, you get similar feels. Listen, too, for the album title in the lyrics, as “Too Sweet (Oh Yeah)” is where that line resides.

“Number One Record” has a little more distortion in the main guitar lick, and it carries more modern alt-rock influences than I’ve led you to expect from my overarching overview of this record’s sound. “Number One Record” could’ve blended into pop-rock radio rather seamlessly in the ’90s or ’00s. Again, as is the case throughout the album, this song has a timeless sound, but those are the decades I feel it would have been less conspicuous on radio playlists.

“Little Doll (Picola Pupa)” infuses the Peppermint Kicks’ sound with the most punk rock energy in this collection of songs, with a rougher, edgier vocals and more ragged guitars than on any of the previous tracks.

“Shangri La” slows things down and gives me the strongest semi-balladic Cheap Trick vibes on the record. “Lollipop Girl,” next, reminds me of what you’d get in this musical style if you had someone from ELO as a cowriter. (Jeff Lynne wasn’t involved in this project, was he?) “Out of the Trashcan and Into Your Heart,” next, returns to a more pure throwback style, replete with “oo-oo”-ing, though with some inspired lyrics.

Next, the Peppermint Kicks take on retro animation with a pair of ’60s cartoon-themed numbers – the boomingly campy “Gigantor” and the equally throwback (but no, not quite as campy) “Speed Racer.”

“We Did It All For Rock and Roll” is the penultimate track – or the final song, depending on how you look at it. This tune is the one that recalls the Beatles more than any other on the record, swaying along pleasantly, sung tunefully, and with a feeling of big, wide-open rock ‘n roll spaces.

And what did I mean about “depending on how you look at it”? Well, the album’s final track is “Tout Fait,” which is really just a 44 second-long tinny fadeout of “We Did It All For Rock and Roll.” So, you know, another track but not really another song.

Beginning to end, Pop Rocks in My Chewing Gum is a fun listen with a nostalgic-feeling, pop-friendly rock ‘n roll style. If that’s your vibe, this is your kind of album. And if that isn’t your vibe, I have just one question for you: Are you allergic to fun? If not, perhaps reconsider.

EP Review: Axminster – Mad As Hatters

Posted on by

photo courtesy of Axminster

EP Review of Axminster: Mad As Hatters

Veteran melodic hard rockers Axminster continue to churn out kickass rock ‘n roll with the band’s latest 4-song EP Mad As Hatters. You’ve previously read my reviews of Tightrope and Bada Boom! Well, the band continues in the same ’80s-style melodic hard rock you’ll hear on SiriusXM’s Hair Nation channel… but, you know, new song in that vein.

Axminster is Benny Fiorentino (lead guitar), Steve Sera (lead vocals, guitar), Danny Callan (bass), and Xanon Xicay (drums). I was a huge supporter of Steve Sera’s Wildside back when I got my start as a music journalist in Boston, and his vocals are those of a timeless classic rock leadman. Meanwhile, Fiorentino’s lead guitar chops are among the best in the business, providing an inspired, original sound to each song on this EP (and the band’s past collections, too). Combined with the band’s solid, versatile rhythm section, Axminster has delivered in Mad As Hatters a foursome of new, top-notch classic melodic rock tunes.

image courtesy of Axminster

“World Gone Crazy” utilizes some sidewinder axwork and a steady, thumping rhythm as its baseline soundbed, while the supporting music adjusts to Sera’s vocal stylings during the bridges, and Fiorentino delivers some nifty shredding, including some almost chainsaw-like revs during the song’s guitar solo.

“Rat Race” relies on both a guitar shred and a secondary guitar line to provide dual threat variety for the listener during the guitar-driven sections, while the song itself is a breakneck race to the end. Guitar rock fans, again, will dig a late song solo where you can almost feel the guitar soaring overhead (an image that’ll almost certainly pop into the heads of anyone who watched MTV back in the ’80s).

“Down to the Wire” kicks off with a funky blues-based hard rock rhythm and features stop-starts – guitar rock with great vocals and a herky-jerky rhythm not unlike what you might expect from an early Extreme song – resulting in a churning, high-energy number you might expect from a band who could share a bill with Living Colour.

Axminster ends Mad As Hatters with the wild “Ya Monkey.” another solid classic hard rock number with throwback guitar licks, a heavy rhythm, and some tempo variance that provides texture to the verses, which, lead to the payoff in the chorus of “I’m livin’ in your twilight (sometimes combat) zone. Got ya monkey on my back, and my back’s gonna break.”

If you dig ’80s-style classic hard rock, replete with guitar shredding and insistent, high-energy vocals, this EP will bring you back in time with a four-pack of original, new, soon-to-be-favorites. So keep discovering new music in the style you love, and check out Axminster’s Mad As Hatters.

EP Review: Kier Byrnes & the Kettle Burners – Moonshine & Other Spirits

Posted on by

photo by Matt Morin; photo courtesy of Knyvet

Album Review of Kier Byrnes & the Kettle Burners: Moonshine & Other Spirits

Boston-area Americana standouts Kier Byrnes & the Kettle Burners are back at it! Or, rather, at it again. Or continuing to be at it, I suppose, because they’re tireless and simply don’t stop performing, coming up with new songs, and frequently recording them. In any case, Moonshine & Other Spirits, the band’s current EP – the latest proof they continue to be “at it” – dropped this spring. No surprises here. As expected, it’s a damn fine record. Blog readers might remember my review of Before the Fall last year. Well, I skipped over reviewing last summer’s exceptional EP release, Dances by Firelight, with that disc’s first song, the energetic “A Little Bit More,” being my personal favorite from that EP. And I didn’t exactly skip it; rather, before I got around to that review, Moonshine & Other Spirits was released, so I dropped it into Dances by Firelight‘s spot in my review queue. Yeah, yeah, I know. Enough yapping. Get to the review, right? OK, I will.

cover designed by Megan Kelly; image courtesy of Knyvet

Moonshine & Other Spirits starts off with “My Baby’s Happy,” an accordion-driven half-speed-polka-tempoed (is that a thing?) song that advances steadily and relentless, with guest vocalist Elisa Smith duetting with Kettle Burner Dan DiBacco, including some cool late-song vocal riffing that adds one of the few elements atypical of a Kier Byrnes & the Kettle Burners tune, since this band throws the kitchen sink into so many of its songs. Also listen for a nifty guitar solo and a very-on-brand raucous ending.

The vibe of second song “Impossible” is set by its anguished vocal wails, while the tempo that’s a little frantic, often much moreso than its tempo might suggest, is exactly what you’d expect – and enjoy so much – about a Kettle Burners tune, while guest fiddlers David Delaney (Whiskey Boys) and Valerie Rachel (Wayward Vine) add texture to the song. “Impossible,” like almost every song of the band’s I’ve ever heard, is perfectly suited to be performed while dancing around an enormous bonfire in the middle of the woods.

“Goin’ Down in Style,” next, is a raucous road-style number, a little rough around the edges, with the music and the tempo seeming to roll downhill increasingly out of control toward the end of the song. Then, “Whitehouse Road” is a steady, bouncing, straight-forward Americana rocker. And the fifth and final song on the EP, “Make Me Wanna Dance (Moonshine Shuffle),” mixes ’50s rockin’ vibe, the sort where you might see sockhoppers trying to make the “Make Me Wanna Dance” moonshine shuffle the newest dance craze. But nah, the tempo’s probably a little too frantic for the ’50s, unless you’re in the alternate universe where Kier Byrnes & the Kettle Burners live, in which case it’s probably just the next Dick Clark-driven dance fad – “make me wanna dance, wo-oah”.

Anyway, if you’re a longtime Kier Byrnes & the Kettle Burners fan, you’re probably already enjoying this EP; if not, it’s a good place to start. And you know where else is a good place to start? Yes, the “Calendar” page of the band’s website. But also the New England Americana Festival at the Bellforge Arts Center in Medfield, MA on Saturday, June 6th, for a full-day (1-8 pm) outdoor concert featuring the region’s best Americana and Americana-adjacent bands, headlined by Kier Byrnes & the Kettle Burners.

Album Review: Alan Arena – Deceived

Posted on by

image courtesy of Frank Roszak Promotions

Album Review of Alan Arena: Deceived

Deceived is the latest release from highly-regarded (and very deservedly so) Cape Cod-based singer-songwriter bluesman Alan Arena. Arena’s voice is rich, moderately deep, clear yet bluesy with just a hint of gruffness from time to time. It’s his calling card, one that brings a light pleasantness to his songs and an earnestness to their messages.

Arena is joined on the record by several top musicians on one or more individual songs, but for the better part of the record, his band includes Paul Nelson (guitar), Brad Hallen (bass), Marty Richards (drums), Brooks Milgate (piano/organ), and Stephen Clements (percussion). The album itself is partly an honor to the legacy of the tragically late Nelson, who was an important encourager and collaborator of Arena’s.

Deceived kicks off with the peppy “Raised on Radio,” a bluesy, swinging rocker of a number, one that feels like it would fill a dancefloor in venues ranging from tiny blues joints to large dancehalls. He follows it with “Believe in Yourself,” a slower-paced, soulful crooner that’s sure to uplift those in need of a little encouragement. Then the title track, “Deceived” comes in with some strings support from guest musician Milton Smith.

“Big Black Cat” is another lively number, with organwork punctuating Arena’s seemingly restrained yet enthusiastic vocals, and flashy guitarwork – including but not limited to a solo – providing a vibe that suggests the song might be prone to turning into an extended jam from time to time when performed live. If that’s not the case already, well, I’d recommend it.

The playful “Devil in the Bottle,” the harp-drenched, steady, slow swayer “Mother Earth,” and the jazzy “Speed of Life,” a song that’d seems like it wants to be frantic but is simply too laid-back to be bothered, bring the record to near its conclusion, though there’s a thoroughly engaging, riffy guitar line in “Speed of Life” that belies the song’s chill attitude.

And the disc closer – sort of – is “Hypnotized,” a lively song filled with horns (thanks to the talents of Sax Gordon Beadle) and exuding an almost big band feel.

So did I mean by “sort of”? Well, the record actually concludes with a couple of reduxes. First, track nine is the radio edit of “Believe in Yourself.” Honestly, whether this is your favorite song or not on the record (and if not your absolute favorite, it’s probably one of your faves, ’cause it’s an amazing tune), it’s one of the more likely songs on Deceived to receive airplay. (I’d nominate “Raised on Radio” as the other most-likely.

And then there’s the actual, final album-closer, an instrumental version of the title track, “Deceived.” It’s often cool to end a blues disc on an instrumental. In this case, too, it ends the record on the right note. But it’s not just the instrumentation from track three. Oh, no, not at all! On “Deceived (Instrumental),” Sax Gordon Beadle turns a guitar line into a sax line, and Brooks Milgate’s key-tickling gets prominent treatment, as well, in the absence of lyrics. So yeah, it’s the same song; but no, it’s not. Very cool, indeed!

Looking Ahead

After hearing Deceived, I can’t imagine a venue – large or small – in which I wouldn’t want to hear Alan Arena perform. At the moment, Arena’s website lists three upcoming concerts. Alan Arena & Volume Control are scheduled to perform on Monday, July 20th at the Gardner Ale House in Gardner, MA and on Wednesday, August 12th at The Bull Run in Shirley, MA. The Boston Soul Revue with Alan Arena, meanwhile, is scheduled for 12:00 noon n Sunday, August 23rd at the Marshfield Fair in Marshfield, MA.

EP Review: Already Dead – I Think It’s Time to Leave…

Posted on by

photo courtesy of Already Dead via Knyvet

EP Review of Already Dead: I Think It’s Time to Leave…

Already Dead is comprised (composed? maybe, given the band’s name, decomposed?) of Daniel Cummings (guitar, vocals), Brandon Bartlett (guitar), Forgie (drums), and Ian Kilpatrick (bass). The band serves up old-school punk rock with a punch that’s raw and rugged yet just polished enough for more mainstream rock and hard rock fans to enjoy, too. And that’s pretty cool because it allows the songs on this disc to reach – and be appreciate by and rocked to by – a broader audience, not just classic punks.

artwork by Mark Saffie @ Saffie Design; image courtesy of Already Dead via Knyvet

The ragged, aggressive opening of record-opener “I’ll Go Mine” establishes the band’s street cred, something it never relinquishes throughout the EP. However, Already Dead is tight and precise when called for. That, Cummings’ tuneful note-hitting, and the song’s catchy hooks will appeal to a broader audience. If you’re punk, you’ll dig this record; if you’re not, it may become one of your favorite punk discs. On the other hand, I’ve noticed my musical taste has been expanding to include more punk rock over the years, so it could just be me.

The surprisingly short “I’ll Go Mine” clocks in at just 1:08. It’s a complete song, but the tempo’s fast, and it just reaches the end oh-so-quickly. It’s followed by “Time,” a song that aggressively complains about needing more time or less time… well, it depends. But you’ll be singing along with “I need more hours in the day” or “I need less hours in the day” – probably getting them confused – by the end of the first listen.

logo courtesy of Already Dead via Knyvet

The tempo is aggressive but steadier and more methodical on track three, “Gettin’ By,” but the hooks keep coming. Here’s you’ll be singing along with the chorus “Sometimes just gettin’ by (is) better than gettin’ ahead. Sometimes gettin’ by, you’re better off dead!” Um, OK. That seems like a mixed message. Indeed, by the end of the song, you may still be left uncertain about your preference between gettin’ by versus gettin’ ahead, but you’ll definitely know you’ve been rocked. This song also includes probably the coolest guitar solo on the EP, marking this as almost certainly tuneful guitar shredding fans’ favorite Already Dead song.

Drummers, on the other hand, are going to prefer track four, “Sick Talk.” The fast but very crisp tempo is a skins-filled feast, with axework matching the drums, and the vocals clocking in as the rawest in the collection.

“Nothing Wrong” closes the record with introspection, with the aggression mostly provided by the vocals, while the guitars provide some texture in the verses and the drums stepping back a little in the mix to act more just as the tempo-keeper, allowing skinsman Forgie to show off a bit of finesse. In fact, Kilpatrick’s bass has a bit of a bluesy slap to it, especially in the chorus, suggesting that these musicians could all play a variety of musical styles if they chose. And in the end, the musicians’ individual talents are a main reason Already Dead – and I Think It’s Time to Leave… – stand out among others of their genre.

More Recently: Bonus Single Review of Dan Cummings – “Which Side Are You On?”

image courtesy of Knyvet

Just yesterday, on Friday, May 29, Already Dead lead singer Dan Cummings dropped his stripped-down folk-punk cover of the traditional protest song “Which Side Are You On?”, a song whose roots date back to 1931. Cummings’ is a cool, catchy version with updated lyrics for today’s modern circumstances, though “modern” isn’t really the right word, is it, as I’d think “modern” wouldn’t be regressive? Regardless, it’s a powerful song, recorded as a rough-edged acoustic rock punk-folk number with appropriately hoarse, edgy vocals that very clearly don’t conceal barely-controlled anger in the lyrical delivery. Kudos to Cummings – who traces his familiarity with the number to the Dropkick Murphys’ version – for his powerful rendition.

Album Review: Robert Deitch – Legacy

Posted on by

image courtesy of Broken Jukebox Media

Album Review of Robert Deitch: Legacy

That voice! That’s why I have to review this album – Robert Deitch‘s voice. It’s one of those rich, moderately deep, textured country music voices, the kind that seems almost like the voice of God but covered in velvet, where every lyric is delivered in a way that it sounds like wisdom. And yet full of energy in a way that – unless the song’s topic deserves reverence – keeps things lively, light, and fun.

From the very start of album-opener “Goodbye Nashville,” Deitch serves up a rich, quivering vocal. And that pure country rattle that drives the emotion. It’s enough to take a song that mostly just reminisces about Nashville and make it feel sentimental to people who’ve never (or almost never) been there. And with that, by the end of a single song, you’re awash in what makes Robert Deitch’s album Legacy so special. Yes, it’s the songwriting and the guitar, the twang and the tempo, but mostly it’s that voice! Of the artists I’ve reviewed, I’d have to say the closest recent comparison is Copper Flats, and on a couple occasions – this first song, for example – Deitch has that catchy little warble that I like so much in Chris Ruediger’s voice.

photo by Zach Van Dorn; photo courtesy of Broken Jukebox Media

The next song is one of the several life-in-a-small-town, heartland-with-heart numbers on this record – kind of like John Mellencamp but country. “3 Church, 2 Tavern Town” regales life in a small town in such a way that you’ll feel warmly about your small-town home, even if you left (or never lived in a small town). It’s catchy, hooky, with a soaring soundbed, engaging guitarwork, and memorable lyrics, memorable for their content, their style, and Deitch’s delivery.

Two songs in, and already two songs that would be hits if released with a major label behind them. That means it’s time for a ballad, and indeed “Better Things” will leave you awash with Deitch’s flowing vocals and the accompanying pedal steel guitar lilt intermingling playfully with the pianowork.

Beginning to end, Legacy is one of the best, most complete country albums you’ll hear, whether independently released or backed by a major label, so sure, you’re not being force-fed Robert Deitch’s music; however, the album, the recording quality, the arrangements, the musicianship, and Deitch’s voice will fit seamlessly beside all your big-stage, major airplay favorites.

Other personal favorites of mine on this record are “Truck Stop Souvenirs,” likely to become a favorite of anyone who had a family member constantly on the road – whether a trucker or just a traveling salesman – because every road warrior with a family brought home truck stop souvenirs; the twangy, romantic, peppy dancehall swinger “The Right One”; the soaringly, nostalgically sentimental, sadly sweet “Either Way,” featuring essential supporting vocals from Susan VanderPool; and, of course, “Trailer Park Romance.”

So let’s talk about “Trailer Park Romance” for a moment. Its lively energy. Its dancefloor-filling tempo. The back-and-forth duet between Deitch and Emilee Johnson, singing the part of the romantic partner in the song’s scenario. And the clever lyrics, like when Johnson sings “I want a long-term trailer park romance. Don’t want me no sissy-boy fancy-pants.” Yes, this is probably the best song you’ll ever hear that includes the lyrics “sissy-boy fancy-pants.” The song also rhymes “front porch” with “tiki torch.” Swoon! I’m a frickin’ writer – this kind of silly-meets-clever lyrical turn of phrase will win me over every time. You’ll be singing along by the end of the first listen, even more after you learn lyrics beyond the chorus! I mean, the whole record is one potential favorite after another, but this is the one that’ll have you laughing the loudest.

Deitch closes the album with a pair of particularly touching slow songs. First, the swooning, swooping “Dyin’ Day” (as in “I’ll love you ’til my dyin’ day”). Then “My Old Man,” a song you’ll tear up listening to, as Deitch sings an ode to “my old man” and how he made his way through life’s trials and tribulations, coping with proud and difficult memories, featuring the prominent lyric “Some drink to remember, some to forget. My old man does both, I guess.” Again, if you’re not sniffling a little by the end of the song, you’re not paying attention.

And that’s Robert Deitch’s Legacy. Energy, passion, nostalgia, romance. All on a well-written 12-song disc. Small-town, heartland country songs, recorded impeccably, from one of the best country singers you’ve probably never heard, accompanied by top-shelf musicians. If you’re a country music fan, or from a small town, or just like great songwriting and fully engaging songs, you owe it to yourself to give this record a spin.

More Recently

Check out Robert Deitch’s Spotify page for a pair 2026 single releases, “Best Mistake” and “My Age,” to hear what he’s been up to since Legacy.

EP Review: Lovina Falls – Would That It Were

Posted on by

photo by Ken Rothman; photo courtesy of Knyvet

EP Review of Lovina Falls: Would That It Were

Lovina Falls‘ Would That It Were is a five-song EP that features the two singles I reviewed last year – “Tragedy” and “Ellery Way” – and adds three additional catchy, memorable, jangly alt-rock bangers, a bit rooted in an ’80s New Wave style but with depth and, often, ominousness that’s modern and timeless.

The band is Valerie Forgione’s project, and she’s joined by a variety of collaborators – Brenden Cobb (guitar on “Tragedy” and “Ellery Way”), Todd Demma (drums on “Light and Low,” “Tragedy,” and “Ellery Way”), Chuck Ferreira (drums on “In The Corner”), Matt Klain (bass on “Ellery Way”), David Minehan (guitar on “Light And Low,” “About The Sun,” and “Tragedy”), Alice Lee Scott (guitar on “About The Sun” and “Tragedy”), with Carrie Ingber credited with “special thanks… for the mix assist.”

cover design by Valerie Forgione; image courtesy of Knyvet

None of the songs on Would That It Were are straightforward rockers. Rather, they’re creative, offbeat, alternative and art-rock creative productions steeped in the more exploratory, experimental tenets of rock tradition, the branch of rock ‘n roll that encompasses David Bowie, Lady Gaga, the Eurythmics, and the B-52s. I’m reminded of each of them during different songs on this EP.

The exploratory yet rockin’ nature of “Tragedy” recalls Bowie for me; it’s probably the track most likely to appeal to straight-up rock ‘n roll fans. The Gaga connection isn’t as obvious, in that I’m not sure I hear a song she’d sing on this album, though groovy EP-opener “Light and Low” comes closest, though even with its hypnotically swirling, flowing nature, it perhaps strays too far from any big-vocals moments to properly take advantage of Lady G’s vocal range. It’s for damn sure she’d appreciate it, though! In fact, “Light and Low” is the song from the EP’s three new entrants that most often just pops into my head unannounced; it’s hypnotic, I tell ya!

“In the Corner, a Fire,” the most electro-rock song on the record, hints at an Annie Lennox vehicle in a couple of its more brooding spots, though the rhythm and groove are really more B-52s-ish. That’s not to say any of these songs sound like any of the referenced artists. Rather, Valerie Forgione makes them all her own, with her subtle musical stylings and identifiable vocal traits evident on each and every track.

The only other song on this EP I didn’t write about last year, “About the Sun,” has a hauntingly old-west twangy guitar part, with some of the rhythmic, almost cheer-captainish vocals (Gwen Stefani, anyone?) seem abrupt and out-of-place when introduced but then blend back into the song as if they’ve always belonged there. In the end, the livelier vocals provide an interesting counterpunch to the otherwise floating, dream-rock style of the rest of the song. With each listen, it comes across as increasingly clever.

I also like that the EP ends with “Ellery Way,” which, if I had to assign a sound to Lovina Falls, seems the closest to a signature song on the record. It’s so uniquely, persistently, simultaneously alt-rocking and dreamy, its steady rhythm seeming to measure the song’s relentless advancement. The haunting vibe of the song is as engaging yet unsettling as it was when I previously reviewed it. “Ellery Way” is so wonderfully unique and creative that this song alone would be worth the price of admission (to the EP, I suppose, though that’s a weird way to phrase it, so I’m going to pretend I mean admission to a Lovina Falls concert, which I’m also firmly convinced would also be wicked-cool).

In any case, if you’ve not yet heard Lovina Falls, this record is an ideal audio travelogue of the band’s musical style. For Bostonians, Lovina Falls (aka Valerie Forgione and friends) is a band you must know to call yourself an engaged member of the local music scene. (Not a big ask; you’re really gonna like Would That It Were.) For those elsewhere, it’s a chance to check out some of the most forward-looking, enjoyably creative music comin’ outta Boston’s local scene.