Tag Archives: Album Review

Album Review: The Vintage Explosion – Havin’ Such a Good Time

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The Vintage Explosion

photo by Andy Laing; photo courtesy of Lander PR

Album Review of The Vintage Explosion: Havin’ Such a Good Time

So, do your musical tastes include swing and soul-infused, ’50s-style rock ‘n roll? The Vintage Explosion delivers a lot of music you might expect at a Happy Days sock hop or at Back to the Future‘s Enchantment Under the Sea dance, but the band’s repertoire extends far beyond that, as well. Riding the inimitable, versatile voice of singer/bandleader William Hitchell, the group’s talents span great swaths of early rock ‘n roll, swing, and even blues. How good is Hitchell’s voice? As the band notes in its promo material and on its website, Rod Stewart has stated, “The Vintage Explosion’s Willie is the best white soul singer I’ve ever heard.” Stewart’s high praise is certainly not misplaced.

Among famous contemporary artists, who’s most comparable to The Vintage Explosion right now, you ask? Well, if you’re a Michael Bublé fan, you’ll love these guys. Will you like them better than Bublé? Their delivery, while similar, is a little different, so it’s a toss-up.

The Vintage Explosion – Havin' Such a Good Time

image courtesy of Lander PR

The Vintage Explosion boasts a following that fills clubs, concert halls, and theaters, yet Havin’ Such a Good Time, is the band’s first album of originals. It’s an album with a big, theater-filling sound centered in ’50s soul-inspired rock ‘n roll. As you listen to the disc, you’ll be sure you’ve heard many of these songs before, they sound so familiar. They’re also so well-written that, in many cases, you’ll be sure they’re old favorites. They’re not. I’ve checked. They’re new favorites.

The title track, “Havin’ Such a Good Time” is, itself, a good-time rocker with a bluesy lyric and a humorous turn of events over the course of the song, so pay attention. Featuring flashy ivory-tickling, including as the opening lead-in, a prominent, rhythmic horn line, and an old-school, ’50s rock guitar solo, the song showcases a broad range of The Vintage Explosion’s capabilities, including the fact that, regardless of what’s happening musically, Hitchell’s expressive, “vintage” voice is always the star.

“Tired of Runnin’,” next, is a slow-paced crooner, ideal for the first slow dance of the night.

“Stupid Heart” is a jump, jive, and wail kind of uptempo oldies rocker, with some cool use of the drums to bring about mid-song resets each time the musical energy comes to a head, providing some attention-maintaining variance to the tempo.

“Take My Troubles Away” is a soulful, blues-leaning song, with vocals and harmonica providing a different vibe to the group’s by-now-familiar big, swinging rock ‘n roll sound.

The Vintage Explosion

photo by Andy Laing; photo courtesy of Lander PR

“Ain’t Got Enough (Money Honey)” is another swingin’ rock ‘n roll number. If you’re up for it, try doing the twist to this short, barely two-minute-long, fun song. Some Jerry Lee Lewis-esque piano-playing and jazzy hornwork help drive this song at breakneck pace.

“Lay in Your Arms” is a mournful ballad that reminds me a bit of “Try a Little Tenderness,” particularly in the opening. (I can almost hear Bull Durham‘s Nuke LaLoosh misquote the lyric “she may get woolly.”) But I digress. “Lay in Your Arms” is powerful, in no small part thanks to the way singer Hitchell gets at least five syllables out of the word “arms” during certain runs through of the chorus.

Soulful mid-tempo ’50s rock ‘n roll returns next, on “Just a Little Bit.” It’s a very AM-radio, oldies-station number with some clever back-and-forth between the lead and background singers to distinguish the song’s vibe a little from the other tunes in this collection.

“That Girl is Mine” is a fun, uptempo number driven by a plucking, thumping bass line. The song accelerates ever so slowly throughout until it’s at nearly a breakneck pace by the time the extended late-song horn solo comes along, closing at an almost-quick stop, like a good swing number or as in many ’50s TV theme songs.

The Vintage Explosion

photo by Andy Laing; photo courtesy of Lander PR

The penultimate song, “Don’t Knock Upon My Door” is yet another crooner, the third true danceable ballad on this album, even though there’s a little stronger soulful wail than in some ballads and some places where the tempo speeds up that’ll need to be ignored to maintain that good ol’ sock-hop slow-dance sway.

Havin’ Such a Good Time closes with perhaps my favorite song on the album, “Rockin’ Chair.” It’s a song that sounds so familiar I had to check a few times just to believe it’s a new original. It’s another song I might try twisting to, but mostly I just sing along. You, too, will find yourself joining in on the lyrics “Get out! Get out! Get out of my rockin’ chair.”

And that, sadly and far too soon, is the end of the album. In Havin’ Such a Good Time, The Vintage Explosion has composed a clever, invigorating, nostalgic album – pre-nostalgic for most of us, in fact. It’s a style not widely available in the music marketplace right now, which may be one reason this album is so much fun. The other reason, of course, is that the performance is nearly flawlessly executed. And, while The Vintage Explosion maintains a cohesive, identifiable sound throughout the album, it’s the small song-to-song differences that make Havin’ Such a Good Time such a wonderful listen. Take my word for it – give this LP a spin!

The Vintage Explosion

photo by Andy Laing; photo courtesy of Lander PR

Looking Ahead

The Vintage Explosion has shows scheduled in the UK and Ireland, from a November 29, 2023 gig at The Cavern Club in Liverpool to a November 9, 2024 concert at Usher Hall in Edinburgh, with several other dates scattered in-between. Be sure to check out the “Tickets” page on the band’s website to see when and where, and then check back periodically to discover new dates as they’re added.

Looking Back

Before Havin’ Such a Good Time, The Vintage Explosion released a couple albums of covers. Earlier in 2023, the band released Live at The Liquid Room, and in 2022, the group released The Vintage Explosion (Live at The Blue Arrow Club). On those cover song albums, you can find the band’s renditions of classics like “Why Do Fools Fall in Love” and “Smoke Gets in Your Eyes.” You can stream those releases, along with the new album, on the band’s Spotify page and elsewhere.

EP Review: Davey O. – Some Days

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Davey O.

photo by Dave Snyder Photography; photo courtesy of Davey O.

EP Review of Davey O.: Some Days

Davey O. is a hoarse-voiced, folk-leaning, singer-songwriter everyman who draws upon common human thoughts, feelings, and experiences to produce music that’s warm, welcoming, and capable of touching the emotions of his listeners. His music is sometimes introspective, other times observational, frequently insightful. His coarse, emotionally straining voice is thoughtful and earnest. There are a lot of acoustic guitarslingers out there – so much so that they often seem to blend together. Well, Davey O. doesn’t blend; seemingly subtly, he stands out. So, it’s with great pleasure that I find myself reviewing Davey’s latest recording, his Some Days EP.

The 6-song EP is rather wistfully nostalgic. It’s not sad, per se, though you’d be forgiven thinking it might be given some of the song topics, but it’s observant enough that it delivers a more matter-of-fact outlook on life. There are some positive moments, some pleasant lyrics, but on the whole, the EP is as much about paths not taken, wishes not granted, the unspoken determination to find to pockets of joy in a world that’s gray more often than it’s colorful, and the camaraderie of sharing the journey with others who experience the world similarly. I’ve taken some liberties with that description, extrapolating a bit on the lyrics and the tone, so your experience with this record may differ slightly.

Davey O. – Some Days

image courtesy of Davey O.

The record opens with a steady strum, joined soon by Davey’s gruff, plaintive vocals, singing introspectively about “The Hand of Doubt,” opening up in the most relatable of ways. It’s such a compelling song that I’m willing to forgive – and often forget so much that I’m surprised anew by – the rhyming of “doubt” with “doubt.” It’s a strong opening number that’ll draw you in.

“Travelogue,” next, is simultaneously thoughtful and observant, and it opens with one of my favorite lyrics: “At the rest stop there are people going places that I’m not.” It always makes me smile, even as the song – in tone and lyrics – waxes nostalgic, but sorrowfully so. The closing lyric, “Hold your head up, smile, and wander this world,” ends on what passes for an upbeat note within the song’s context, though it’s not particularly convincingly positive. “Travelogue” is touching and powerful, a well-written and forthrightly-delivered song.

“For a Little While” is a little lighter musically, though Davey’s coarse delivery and the song’s subject matter paint a lonely picture of life on the road, interspersed with the pleasure of spending a little time with the occasional friendly face. It’s an engaging song with a semi-peppy tempo, providing the spoonful of sugar that helps the solitary musical medicine go down.

Davey O.

photo by Dave Snyder Photography; photo courtesy of Davey O.

“A New Season” is a winter’s lament, but it’s a warm song because it sings about the payoff of struggling through a wintry drive. In other words, the return home. Some of the lyrics are quite touching, but my favorite clever lyric is delivered early in the song, “It’s been weeks since I’ve seen the lawn.” Those of us in the snow belt can all relate, but most of us probably not as much as Davey’s neighbors in Buffalo.

“Texaco Sign” is a John Mellencamp-ish slice of nostalgia, but Davey O. style. Davey utilizes a heavy strum in support of his harmonica to provide a sturdy opening, then fills the void with his strained, hushed-yet-somehow-powerful vocal. It’s kind of the opposite of a travelogue; Davey takes a trip back in time but remains in Buffalo. Though I’m not personally familiar with Griffith Street Park or the location of the titular sign, this well-voiced time capsule takes me back in time to my own personal equivalents for a pleasantly nostalgic visit.

“Some Days” closes the EP with relatable lyrics about the ups and downs of life, mixing in imagery of winter approaching that are as symbolic as they are concrete images. The song is guided by a steady strum and Davey’s persistent, consistent, emotional voice, two things that are constant throughout this EP but vary noticeably from song to song. Familiar yet unique, the cornerstone of Davey O.’s broad, dependable appeal.

In the end, this is a terrific record. And I guarantee that, when you listen to it, it won’t come across nearly as heavy as the description I’ve offered above. Instead, you’ll find yourself lost in Davey O.’s textured voice, lulled comfortably by his strong, rhythmic strumming, having thoroughly enjoyed a six-song collection that doesn’t paint the easiest life. Because Davey O. is a storyteller, you can’t help but be comforted his by tales so well told.

Davey O.

photo courtesy of Davey O.

Looking Ahead

Davey O. tours extensively. His shows are immersively engaging, so catch him if you can. You’ll see his performance are more concentrated near his Western New York home, but you can catch gigs throughout the northeastern United States and parts of Ontario if you keep your eyes open. The “Tour” page of Davey’s website is a great place to find upcoming performances near you. At the moment, he’s scheduled to play extensively around New York state from now through the winter. His first out-of-state performance, among those currently scheduled, is nearly six months away – an April 27, 2024 performance in Washington, DC. So those of you in New York State, check out that concert calendar! And the rest of us should check back periodically, since Davey’s adding dates all the time.

 

Album Review: Willie J Laws Jr. – Too Much Blues

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Willie J Laws Jr. – Too Much Blues

image courtesy of Frank Roszak Promotions

Album Review of Willie J Laws Jr.: Too Much Blues (Pilot Light Records)

I’m fortunate to live in a region where one of the country’s top bluesmen, Willie J Laws Jr., performs regularly; he is almost certainly New England’s favorite transplanted Texan. And yet I haven’t taken much advantage of my proximity. In fact, I haven’t seen Willie perform since he played some guitar at a Cheryl Arena concert I attended several years ago. And I still haven’t seen him perform with his own band. However, thanks to this release, Too Much Blues, I’ve been listening to a lot of Willie’s music lately.

I’ve seen Willie referred to as “the last prophet of the funky Texas blues,” and I wouldn’t argue with that assessment. This disc showcases the breadth and depth of Willie’s talent. His vocals can range from mourning to defiant to joyful, from smooth to gritty. His guitar can weep, can soar, and can jam with the best of them. Willie J Laws Jr. is the consummate blues performer, and Too Much Blues does justice to his diverse talents. Plus, it’s simply a great listen, so grab (or stream) a copy and immerse yourself.

Willie J Laws Jr.

photo courtesy of Frank Roszak Promotions

Too Much Blues opens with “Regl’Ol’ Blues.” Stylistically, the song is a slow-moving, rhythmic blues dirge, with both Willie’s voice and his guitar emitting woeful, blue pain. This song also sneaks in one of my favorite lyrics on the disc – “I think you need to Google you some Bobby ‘Blue’ Bland” – possibly because it’s the first time I’ve heard “Google” mentioned in a blues lyric.

Willie showcases some cool vibes and varied approaches on different songs. “Better Off Blue” features adds a groovy ’70s vibe. Later in the collection, “Love Before You Die” and Willie’s cover of the Willie Dixon-penned “I Want to Be Loved” position Willie as a blues beat poet, with sparse instrumentation and interesting spoken-sung cadences.

“Stuck in Traffic” is a relatable favorite, at least for those of us who drive cars, and it includes a few lyrical gems like “I’m goin’ slow, nowhere fast. Yo nephew, get up off my ass.” Despite the 5-plus minute long string of traffic jam complaints, this song has a smooth enough vibe, bouncing along pleasantly, with some jazz key noodling providing an almost Schroeder-esque feel (yes, that’s a Peanuts/Vince Guaraldi reference), that it might actually calm me down if I listened to this song while stuck in traffic. Not that I want to find out.

Willie gets timely and political convincingly on a trio of tracks. First “Getcha’ Knee Off My Neck,” deploying some attention-grabbing horns to amplify the attention-worthy main point, and then later in the disc during “Ain’t Going Back to Texas,” a song with an almost country-blues dancehall flavor (or maybe an old midday in a blues joint feeling) that opens with an introduction noting that “Willie J Laws [is a] sixth-generation Texan with a message.” Yes, Willie is a proud son of Texas and purveyor of the funky Texas blues, noting “I’d love to come back home, but sometimes I don’t think I belong down in Texas,” but man, what a good song documenting damn solid reasons for discontent. And Willie, we’ve got your back in New England, and we’re glad you’re here. Finally, not letting America in general off the hook, Willie tackles America’s “original sin” (my words, not his) groovily on “The Right.” Protest songs are a fine American tradition, and Willie’s are quite strong.

Backing things up a bit, “Sorry Charlie” is a twangy country-blues number with a knee-bouncing/toe-tapping energy and a tempo powered by a jamming harmonica line.

The title track, “Too Much Blues,” is a convincing, close-your-eyes-and-bounce-along, blues groove, with organ for emphasis, mixed with meandering guitar and plucking-filled solos, and starring vocals that build to the occasional anguished blues wail. It’s followed by “You Don’t Love Me,” a funky blues number that makes the point “You don’t love me, baby; You just love what I do,” and then it elaborates upon that point. The result is a cool number that includes a few opportunities for guitar solos during which the guitar itself seems to be speaking, corroborating the points made in the vocals.

Willie closes the album with his cover of The Isley Brothers’ “Who’s That Lady.” The guitar groove and backup vocals here both harken back to the sixties or seventies, exploring the intersection between smoky blues joints and shag carpeting, bringing to mind being a young child, sitting in bean bag chairs in a room with the ’70s color palette of orange, yellow and brown, watching Soul Train. Or maybe that’s just me. But it’s cool – I mean, it’s groovy – to end the disc with a well-performed nod to nostalgia.

If I haven’t, by now, successfully painted a picture of one of the best blues albums of 2023, well, then that’s a failure on my part. Willie J Laws, Jr.’s Too Much Blues is an essential addition to any blues collection. Give it a listen.

More Recently

Willie was nominated for a New England Music Award in the Blues Act of the Year category. Voting has concluded, and NEMA winners will announced during a ceremony at the Six String Bar & Grille in Foxborough, MA on November 12th.

Looking Ahead

According to the “Tour” page of Willie’s website, you’ll have several chance to catch a live performance around New England before the end of the year. Willie’s next scheduled performances are November 9th in Wakefield, RI; November 16th in Sharon, MA; November 18th in Springfield, MA; November 20th in Rockland, ME; November 24th in Lowell, MA; December 1st in Putnam, CT; and December 29th in Cambridge, MA. Check Willie’s website for additional details about those performances and for news of additional shows, as they’re added. Willie’s Facebook page also mentions a Sunday, November 12th brunch performance in Boston; obviously, see the appropriate website for details about that, too.

Album Review: George Lynch & Jeff Pilson – Heavy Hitters II

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George Lynch & Jeff Pilson – Heavy Hitters II

image courtesy of Glass Onyon PR

Album Review of George Lynch & Jeff Pilson: Heavy Hitters II (Deadline Music)

The long-awaited follow up to Heavy Hitters has finally arrived. On Heavy Hitters II, George Lynch and Jeff Pilson add their inimitable melodic metal personalities and zeal to a whole new set of already well-known songs. The original versions of these songs spanned several genres, but in the hands of Lynch and Pilson, they have been transformed into power rockers.

For this latest endeavor, the reprise, George and Jeff are again joined by Brian Tichy on drums, while Bernard Fowler provides lead vocals for the entire album, with guest vocals from Corey Glover on one track (“Smokestack Lightning”).

As I noted in my review of the first Heavy Hitters album, I really dig it when popular songs are transformed to new genres; well, when they’re done well, of course. And George and Jeff pick up where they left off, delivering a new batch of reimagined classics. The arrangements, the performances, the production – and, of course, the talent – are all top-shelf.

Peter Gabriel is the first to get the Lynch/Pilson treatment this time, as this band cranks up the volume and the crunch with its rendition of “Sledgehammer.” George’s axework is so at-home here, I can barely remember the pop version of the song. A funky, hard rockin’ update of Crosby, Stills, Nash & Young’s “Carry On” follows, featuring plenty of Lynch’s guitar noodling and some ’70s-ish rock harmonies atop a noisy rhythm sound bed.

George Lynch & Jeff Pilson – Heavy Hitters II

image courtesy of Glass Onyon PR

I can always get behind a redux of “The Stroke.” The ever-underestimated Billy Squier’s always-unique rhythm is maintained from the original, but the heavy rock quotient is amped up a couple levels. “The Stroke” was already a banger even before getting the Heavy Hitters treatment, but this rendition really kicks ass.

Next up is “Radioactive,” which was the album’s first single. Again, the Imagine Dragons original was pretty rockin’, but Lynch and Pilson have accelerated the tempo and added a lot more guitars, and Fowler’s vocals add a rough-hewn hard rock edge to the song, almost turning it into an all-new, unique creation.

The band puts a heavy rock rhythmic steamroller behind Howlin’ Wolf’s “Smokestack Lightning,” and if you like a wall-of-noise backdrop framing your heavy rock, it’ll be one of your favorite songs.

However, it’s the next song that really stands out for me as quite probably my favorite song on Heavy Hitters II. It’s a funky melodic metal rendition of Sam & Dave’s R&B classic “Hold On (I’m Coming).” The song doesn’t flow in a straight line, despite the overwhelming recurring rhythmic hook. The chorus (essentially, the song title) is unfailingly sing/screamalong-worthy. There are some nifty little guitar flourishes to add color. And Fowler’s vocals simultaneously fan the flames and rein in the energy of the frenetic tempo. I know I always preach listening to an album beginning to end, especially when a lot of thought seems to have been given to song order, but sometimes I repeat this song a couple times before continuing.

The next song is no slouch, either. It’s a hard rock version of Sam Smith’s “Stay With Me,” one of those songs you just knew, when hearing the original, would sound good with crunchy guitar and hard rock vocal delivery. It’s followed by “Shout”; the ’80s Tears for Fears hit is sped up a bit, causing the drums to be more obviously prominent. Of course, Lynch’s guitar is omnipresent, but even at the faster tempo, the song is left surprisingly, refreshingly airy, with plenty of open space. And Fowler’s anguished vocals on lyrics such as “jump for joy” and “tell the tale” are an edgily effective treat.

For the next offering, Lynch & Pilson stay in the ’80s, rearranging another of that decade’s big pop-rock hits, amping up INXS’s “New Sensation.” They don’t touch the song’s classic, identifiable hook, but a faster tempo and a slightly revamped, prominent, funky-thumping bass line give the song a whole new feel.

An energetic cover of the Rolling Stones’ “Jumpin’ Jack Flash” is next, followed by a powerful reimagination of Sly and the Family Stone’s “Thank You (Falettinme Be Mice Elf Agin).”

The album closes with “It’s a Wonderful Life,” a crunchy yet light-and-soaring hard rockin’ Christmas song that I’m pretty sure every Lynch/Pilson fan is gonna really like.

If I had to choose my favorite songs from the dozen, I’d select “Hold On (I’m Coming)” and “Stay With Me,” though “The Stroke” and “Radioactive” would be close behind. And maybe the disc-ending Xmas track. But there’s something in every hard rock fan’s lane here, so you’ll have your own favorites. And the whole collection makes a great beginning-to-end album listen.

You know, I was psyched when I heard Lynch and Pilson would be releasing a second Heavy Hitters disc, and Heavy Hitters II didn’t disappoint… so much so, that I’m hoping they’ll make a habit of these collections. Two or three years from know, it’ll be cool if there’s a Heavy Hitters III.

Looking Ahead

George Lynch has some upcoming tour dates – solo, with his band Lynch Mob, and a November 17th guest appearance with Dokken – per the “tour” section of his website. You can currently catch Jeff Pilson on the road as Foreigner’s bass player. Brian Tichy is also currently on the road, drumming for The Dead Daisies. And you can keep up with Bernard Fowler via his Facebook and Instagram accounts.

Album Review: Ricki Erik – GenReality

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Ricki Erik

photo courtesy of Realm Music Group

Album Review of Ricki Erik: GenReality

Ricki Erik paints with a diverse musical palate, spanning dance, pop, R&B, Latin, blues, hip-hop, and more. Ricki’s new album GenReality is a very cool collection of songs that showcase his broad and varied vocal talents while providing an engaging album-listening experience.

Ricki Erik – GenReality

image courtesy of Realm Music Group

Ricki kicks the album off with a couple of energetic dance tracks. First up, “Party Tonight,” on which he teams with Deja Vu Boston, is a good-time funky pop dance number, stylistically somewhat recalling Kool & the Gang but, of course, with Ricki’s identifiable voice cutting sharply and emphatically through the fun musical romp. “Love Hurts (Freestyle Remix)” follows, exploring a very different groove, with a full wall of sound backing a rhythmic beat in support of Ricki’s entreaty “baby, love hur-hur-hurts.”

Ricki pivots to Latin-style music on “Como Te Llamas,” a catchy song that’s all beat and rhythm and will be one of your quick favorites after just a listen or two. This song is well-structured, bouncing just enough to keep things peppy while allowing Ricki to showcase the sincere, earnest side of his smooth vocal delivery.

Ricki Erik

photo courtesy of Realm Music Group

Ricki slips comfortably into the blues on “Here I Come Baby.” His voice doesn’t get particularly deep on this track, but he shows off a growl with a hint of gravel that hadn’t even been hinted at on previous tracks. I mean, it’s clearly still Ricki Erik on this song, but man, this dude’s got range, and we’re only four songs in! As the disc continues, he wields even more of the weapons in his vocal arsenal, and they make for an enjoyable album stacked with variety.

Next up is “Bad Girl,” featuring Zambo Buchanan. This song is Ricki’s hip-hop reimagining of Hall & Oates’ “Maneater.” It’s an exceptionally fun listen.

“Can’t Get Enough” is promoted as a wedding song, and it’s a really heartfelt love song, with Ricki’s voice cracking and quavering to maximize emotional impact.

“Wait a Minute” is a tempo-changing, head-bobbing dance-pop number. The beat is disjointed enough it might not be particularly easy to dance to, but it’s a very cool listen.

“Friend” recalls Rockwell’s “Somebody’s Watching Me” with its semi-haunting electronic musical sound, yet Ricki’s smooth voice somehow still showcases itself and portrays emotional pain despite the electronification of the vocals.

Ricki Erik

photo courtesy of Realm Music Group

“Flower”… well, lyrically and topically, you have to wonder if Friends character Monica Geller, as her younger self in the show’s flashback scenes, had a hand in the songwriting. Musically, there’s some neat keyboard melody that helps navigate the otherwise electronic, rhythmic beat serving as a music bed. Ricki’s vocals dash in and out, adding the finishing flourishes to this funky pop number.

“Beautiful Liar” is an engaging song, residing in an expressive, rhythmically somewhat disjointed lane of R&B. The song doesn’t flow smoothly at all; rather, the phrase “you’re such a beautiful liar” is sung disruptively, continually drawing attention from the rhythm, then suggesting a return to smoothness with “you are, you are, you are.” Don’t believe the suggestion. Instead, Ricki’s vocals don’t release the listener or the song; it’s a very cool approach.

Now, “Whisper,” on the other hand, is smooth. Well, mostly. It’s the album’s strongest ballad, deftly utilizing Sherl Burke‘s supporting background vocals throughout, with strings helping Ricki’s voice soar in spots before returning to the song’s rhythmically disruptive chorus, creating a bit of tension each time before releasing into Ricki’s smooth delivery of “that’s how they whisper.” It’s the little nuances in “Whisper” that make this a memorable song, so much so that I’ve caught myself singing days after my last listen.

Ricki Erik

photo courtesy of Realm Music Group

“Feelings,” on which Ricki is again joined by Zambo Buchanan, closes the collection with warmth and humanity; it has an engaging rhythm and an ending fade-out that wrap this album up neatly.

Beginning to end, GenReality is a cool journey, a record I enjoyed listening to beginning-to-end each time I reached it in my to-be-reviewed queue for the last several months. If you give it a listen, you’ll discover that, even when it doesn’t get you completely up out of your seat, Ricki’s songs will have your toe tapping, your head bobbing, or your body swaying side to side. And, though I’d advise a full listen of this disc, if you want to sample individual songs, Ricki’s Soundcloud page includes each of these songs, with most noting a genre in the song title (“R&B,” “Hip Hop,” “Pop,” “Blues,” etc. ), so you can more easily choose where to start your journey of discovery based on your musical taste.

This release was Ricki Erik’s first album in 15 years; let’s hope the next one comes around much sooner.

More Recently

Ricki Erik was nominated for a New England Music Award in the Soul/R&B Act of the Year category. Voting has concluded, and NEMA winners will announced during a ceremony at the Six String Bar & Grille in Foxborough, MA on November 12th.

Album Review: Hurricane – Reconnected

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Hurricane – Reconnected

image courtesy of Glass Onyon PR

Album Review of Hurricane: Reconnected (Deko Entertainment)

“Na na-na na na na, I’m on to you!” Back in the late ’80s, if you heard that lyric, you were rockin’ to Hurricane! Reconnected is the band’s first new album since 2001, just its second since 1990. Hard rock fans, especially fans of ’80s-influenced, guitar-heavy melodic hard rock, are in for a treat! But this is hardly a throwback album. Despite a couple of nods to the past on the disc (the band’s own past and Queen’s, but I’m getting ahead of myself), the music is fresh, modern… and kicks ass!

Original Hurricane guitarist Robert Sarzo and bassist Tony Cavazo are joined on Reconnected by drummer Mike Hansen, who joined Hurricane in 2010, and new vocalist Dan Schumann, who joined the band in 2021. None of these four played on Hurricane’s 2001 release Liqifury; in fact, this is the first time in more than 30 years that either Sarzo or Cavazzo recorded as Hurricane. So this album was a long time coming and, as you might have surmised from the opening paragraph, does not disappoint.

The album kicks off with frenetic energy, fast-paced drums, shredding, distorted guitars, and an insistent high-pitched ’80s-era melodic hard rock vocal. And the initial song, “Rock Star Cheater,” isn’t just a hard-driving level-setter for Reconnected. No, indeed, it’s one of the best songs on the album, with guitar hooks, a nicely-placed guitar solo, and a neat little tempo/tone-changing lead-in to the chorus.

Hurricane

photo courtesy of Glass Onyon PR

Not to be outdone, “You and I” follows with a more open, engagingly repetitive rhythm. It’s a hard rocker with a somewhat less heart-pounding pace than the opening track. There’s a bit more nuance, but the tune is no less catchy, containing perhaps an even hookier guitar hook. (Yes, a hookier hook. I said it.) By now, it’s clear that Hurricane’s new release contains a bit of variety, just as the band’s fans would have expected. And beyond simply foreshadowing the disc’s variety, these are great songs – two of my favorite new Hurricane originals – that get things off to an excellent start.

Track three really showcases the variety on Reconnected, serving up the greatest departure from among the albums eleven tracks… or, at least, the from first ten. Indeed, it’s a rockin’ version of Queen’s “Under Pressure.” The song is significantly less heavy than its album-mates, but a nice interlude. I mean, you can never go wrong with a Queen song, if you’re up to the task. Hurricane is, and it’s a fantastic showcase for Schumann’s vocal range; he adeptly provides the crisp, precise vocals the song requires. (Why did I not already know Schumann’s name? The voice on this guy! Wow!)

Next, Hurricane seems to almost be channeling Y&T in “Behind Your Shadow,” with heavy power guitar fronting a foreboding, almost theatrical blanket of song, supporting a Meniketti-like, elongated, slow-paced power vocal.

“Innocent Girl” is a classic, rockin’ ’80s fourth or fifth single release, pleasant to listen to, with the hook a little less obvious and, therefore, requiring a listenership willing to devote a few listens before really getting to know the song. It has great vocal variance and a hard-rockin’ tempo; it’ll be a fanbase favorite.

“Don’t Change Your Love” is another of my personal favorites on this disc, with a sidewinding guitar hook and memorable vocal phrasing, particularly in the chorus.

Song seven is one everyone will recognize. The new Hurricane lineup takes the opportunity to record a slightly harder-rocking version of the band’s biggest hit, “I’m on to You.” You know, I had forgotten about the kickass 40-second guitar lead-in before the first lyric. And there’s a cool axe bridge mid-song, plus I think they’ve cleaned up a little muddiness in the vocals when compared to the original. In any case, I bet you’ll dig the updated version of “I’m on to You.”

“Hand of Souls” mixes some laid-back ’70s rock elements with some very ’80s vocal and guitar gymnastics to produce an excellent slower-tempo jam track.

“Disconnected” is a twisted, somewhat haunted slow number that suggests a Pink Floyd influence but one that’s run through an ’80s rock music filter, with some twangy guitarwork bubbling just under the surface to provide the song with an interesting and slightly uneasy essence.

Next up, “Blind Love” is straight-ahead hard rock but with breaks and bridges that detour the song and give it character. There’s a passage with the phrase “blind love will always hurt you” that recalls Journey’s “Separate Ways” just briefly, but I’m not sure if it’s really reminiscent of Journey’s hit or if it just reminds me of Journey’s “if he ever hurts you” lyric.

Hurricane closes the disc by reveling in its soft side with the soft, floating, almost dream-like electric-acoustic “Wishing Well.” Like any old-school melodic hard rock band, these guys can shift gears to the soft and mellow when they want to. And ending the album with a song like this is a great way to ease the listener back to the less pumped-up world of not-hard-rock. An exit ramp back to daily life, if you want it. Or you can set the album on repeat and just start all over again.

You know, I dug Hurricane back in the ’80s/’90s, but I wasn’t a big fan. Well, I’m a huge fan of this album, Reconnected. If you’re into guitars, power-rock, and melody, packaged in a varied song mix to keep things interesting, you’ve gotta check out this album.

 

Album Review: Jann Klose – Surrender

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Jann Klose – Surrender

cover photo by Mikiodo digital; image courtesy of Leighton Media

Album Review of Jann Klose: Surrender (Honey Rose Records)

Jann Klose has one of those timeless, classic pop-rock voices – smooth and precise, yet with a distinctive tone that sets him apart from the “pretenders,” just as others in the solo mid-tempo rock lane, from Gavin DeGraw to Billy Joel to George Michael, have voices that are simultaneously comfortably familiar and singularly unique. As with those more-famous artists, Jann’s music is mid-tempo pop-friendly rock ‘n roll, able to comfortably slip into mainstream radio playlists and well-suited to soundtrack roles.

Jann’s albums are dependably great listens, mixing in a variety of sounds, styles, and influences, collections of songs orbiting a glossy, peppy, soft pop-rock center. And he’s been rewarded for his bankably consistent quality standard with a solid career, more successful than many independent artists (his YouTube releases faithfully reach hundreds of thousands of views), but just shy of that big breakthrough hit that launches him into the broader public consciousness (so far).

Several songs on Surrender stand out. First, the album-opening title track, which kicks things off cheerfully with Jann’s expressive vocals and a tempo the repeatedly starts slow then builds to a release of power, like a walk through the woods opening into a clearing or gray clouds sliding aside to reveal bright sunshine.

Also noteworthy is Jann’s first single from Surrender, “Sugar My,” released a year ago in advance of the album release. “Sugar My” is bright but with a rhythmic tension, releasing itself in the chorus, with Jann tagging the words “sugar my” with some of the higher vocal notes in the song.

“Pilot Light,” released as a single three years ago, is also included on Surrender, a treat for those who didn’t snag the song when it dropped as a single. It features some of the long, extended vocal phrasing that Jann does so well.

The next song is the most obvious potentially huge hit from the album. In fact, it already performed well upon its release. “Love You the Most,” a soaring love ballad duet with Alicia Madison that was released as a single in 2019, has exceeded 1.4 million YouTube views, in part due to its inclusion on the Married Young soundtrack. With so many great songs on Surrender, choosing a favorite is nearly impossible, but this song is probably mine.

“Do You Want to Be Lonely” mixes in a little beat-pop syncopation and a coolly prominent rhythm that’s sure to cause some listeners to head-bob and toe-tap. Next up, rich string orchestration, prominent background drumbeats, and an extreme build of tension feature prominently in “Flesh and Blood.”

“All the Way Down” suggests folk-rock influence, which means it’ll likely to translate nearly as-recorded to one of Jann’s acoustic performances (like the house concerts I covered here at the Blog in 2016 and in 2018 – wow, has it really been five years already!). In fact, after writing that sentence, when looking for a link, I discovered there’s an official acoustic music video for the song. It’s almost as if I knew. (I swear, I had no idea!)

“Here in My Heart,” next, reminds me a bit of rockin’ folk luminary Billy Crockett. It’s a swaying, strumming, and cheerful number with cool, uplifting lyrics like “Every hour, every minute, I got love beyond the limit, here in my heart.”

Musically, “Stay the Same” is nearly a lullaby, populated with lyrics that are introspectively intense and thoughtful. It’s followed by “Even If It Takes a Lifetime,” an energetic, uptempo number that will immediately snap the listener out of any lullaby-induced slumber with a driving beat and the sort of build-to-chorus that Jann again utilizes exceedingly well.

The last two of the twelve tracks are bonus renditions of “Love You the Most” – first an acoustic version, then a Spanish-language version, “Te Amare Mas.”

Beginning to end Surrender is – no surprise, here – an outstanding album from one of rock’s best mid-tempo singer-songwriters. It’s definitely a great place for those new to Jann Klose’s music to begin their journey of discovery.

Looking Ahead

Visit the “Shows” page of Jann’s website to learn about upcoming shows. Currently, it lists his scheduled appearance at the Concert for Bangladesh Revisited in Westbury, NY on November 24th and 25th and concerts in Hamburg, Germany and Barmstedt, Germany on January 5th and 6th, respectively, plus a January 7th live performance on Dutch National Radio NPO 2’s Leo Blokhuis Show in Hilversum, Netherlands. Again, check out Jann’s website for more details and new dates, as they’re added.

Album Review: 8084 – Live 4play

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8084

photo courtesy of 8084

The Backstory

My first 8084 concert was in 1990, in my role as a “Lost in the Midwest” columnist for the east coast-based hard rock magazine Tough Tracks magazine. It was an assignment that allowed me to continue churning out reviews while I was away from Boston, during a summer internship in Grand Rapids, Michigan. Vermont-based 8084 was one of the top touring bands on the hard rock club circuit; I covered their performances at the local stop on that circuit, Paolo’s.

Well, after achieving a bit of success during their genre’s heyday, 8084’s legend continued to grow, most recently with occasional concerts around Vermont, drawing huge crowds for special evenings of the band’s original, old-fashioned, guitar-driven melodic hard rock music, headlined by musicians who hadn’t lost a step since their younger days. Well, if they’ve lost a step, it doesn’t show up in their music, at least.

The band actually got its start years before my first 8084 concert, in 1982, with the current line-up of Randy Smith (lead vocals and acoustic guitar), Andre Maquera (guitar and vocals), Frank Barnes (bass and vocals), and Gary Spaulding (drums and percussion), plus the late Charlie Hawthorne.

Album Review of 8084: Live 4play

8084 – live 4play

image courtesy of 8084

Live 4play is a classic live album, channeling all the energy of the band’s live performances. Yet, despite the live aesthetic, 8084 went to great lengths to ensure that the recording quality was exceptional, suitable to be interspersed with studio recordings on a radio or personal playlist. That’s something I’d posit isn’t the case for a lot of live albums, including some very famous ones. 8084 recorded several concerts to ensure they could select album-worthy versions of every song, and it’s apparent. Of course, there’s still that live feel, with the occasional crowd noise, particularly at the beginning and end of some songs, and there’s a little clever between-song banter at the beginning of a few tracks. But perhaps most importantly for a live album, Live 4play captures that live-show energy level that’s hard to duplicate in a studio.

Sonically, 8084 most easily recalls ’80s rock ‘n roll, that era of energetic live performances, soaring vocals, crunching guitars, and melodic tunefulness. Randy Smith’s vocals do, indeed, soar – and man, can he ever hit the high notes! – mixing well with guitar-heavy songs and more spacious melodic rock songs alike. When the songs soar, I could place 8084’s songs back-to-back with Giuffria. On other tracks, the Vermont rockers sound a bit more like the Dokken-to-Warrant melodic hard rock cohort. Throughout, though, there’s a timeless, classic rock flavor that’s gritty and grounded in decades-spanning rock tradition, recalling rock bands that used significantly less AquaNet than the aforementioned outfits. My point is that, despite the temptation to make the obvious, easy, lazy comparison to ’80s rock bands, 8084’s music is really more timeless arena rock than poppy ’80s hard rock.

8084

photo courtesy of 8084

Studio versions of most – but not all – of the songs on Live 4play can be found on one of 8084’s first three studio albums, spanning 1986-1991, all currently just available for digital download at the 8084 website: the band’s self-titled debut album from 1986, the 1989 release Love & War, or the 1991 EP Satisfaction Guaranteed. (A Satisfaction Guaranteed CD is part of my personal collection.) The remaining songs can be found by exploring 8084’s music on Spotify, either from the band’s 2005 digital album The Last Great Train or via its more recent Spotify singles.

Live 4play – a hefty 15-track disc, so I won’t be going strictly song-by-song with this review – begins with a 35-second hype-tape styled countdown “Intro” before launching into the lo-fi, distorted crunchy guitar opening of terrific, thumping disc-opener “Learning 2 Live.”

“Hold On” is an uptempo vox and axe-driven number with an energy and tone that reminds me of an amazing yet somehow criminally underappreciated melodic hard rock band, Danger Danger.

The opening chord of “Badman” reminds me just a bit of the main riff from Rick Springfield’s “I’ve Done Everything For You” before veering off into its own identity. After the opening, 8084 utilizes an attention-grabbing voice-only opening verse, then provides catchy, high-energy musical support with ample whammy and a memorable rhythm that makes this one of my personal favorites on the disc.

8084

photo courtesy of 8084

Sticking to the “whammy” theme, “Lonely at the Top” actually begins with some whammy-focused between-song banter before the music starts. The song itself is a soft, airy ballad with guitarwork akin to what you might find in a similarly-paced Dokken ballad and vocal harmonies in the chorus. The cool thing about a hard rock slow song from a talented band like 8084 is that the guitarwork is so interestingly textured.

Next up is another of my favorites on the album, “She Comes to Me,” one of the most hook-laden tunes on Live 4play, and the one song that prominently features a Bon Jovi-esque talk box, used in all its “wah-wah” glory to artistic perfection. Aside from being unavoidably catchy, “She Comes to Me” is just so damn fun!

“Alright” is a somewhat more straightforward rock song that utilizes a hint of vocal gravel more often than it soars, as the music and vocals express sensitivity that suitably accompanies the lyrics. “When I Think of You” keeps the tone soft, even moreso than “Alright” but paced and styled more like a melodic hard rock ballad.

The energy level immediately jumps back to 11 with “Rosita,” as lively vocals combine memorably with recurring guitar squiggles – not exactly a hook, but it serves the same purpose – resulting in a memorable song that strikes me as a likely crowd favorite.

8084

photo courtesy of 8084

“I Can’t Feel You,” one of the band’s more recently-penned songs, released as a single in 2018, is flavored a little differently from the older songs in the collection. It’s more modern, clearly showing that the band has remained musically up-to-date, writing rock songs with updated sonic sensibilities in a way that will still appeal to longtime fans. While great music is timeless, it’s songs like this one that’ll be more likely to gain traction on forward-looking playlists.

In the same vein, I get the same more modern vibe from the cooler, ’50s/’60s rock-influenced strummer “Yesterday,” on which the vocals are crooning in nature, voicing heavy lyrics worth listening to. This particular song is also more recent, a 2009 release from Randy Smith’s solo Bittersweet album, which also spawned this 2011 YouTube video.

The jangly opening of “Hideaway” brings the energy level – and the guitar intensity – back up to arena filling levels.

Live 4play closes with “Surrender,” a solid, stylistically familiar guitar rock ballad with crunchy guitars, a soaring voice, and rhythmic noodling in the guitar bridges that ranges from standard hard rock act riffs to fast-paced fingerwork to some eerie, hauntingly-tinged stretches, always, of course, finding a comfortable path back to the chorus. The song is a fitting ending to a long-form album like this, setting the listener down gently and pleasantly. Aside from the fact that you’ve just listened to 65 minutes of music and probably need a bio break, “Surrender” returns your musical mindset back to a good place to “rewind” and listen to the album all over again.

More Recently

8084 actually just dropped a new single – “Vegas” – to Spotify and YouTube on October 15th.

8084 was also nominated for a New England Music Award in the Rock Act of the Year category. Voting has concluded, and NEMA winners will announced during a ceremony in Foxborough, MA on November 12th.

Looking Ahead

8084 live performances tend to be events, so they’re well worth making an effort to attend. Right now, the “Live Dates” page of the band’s website lists a single date: Saturday, November 4th at the Higher Ground Ballroom in South Burlington, Vermont. Obviously, check back periodically for new concert dates to be added.

Album Review: Tokyo Tramps – Fearless Heart

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Tokyo Tramps – Fearless Heart album coverAlbum Review of Tokyo Tramps: Fearless Heart

Tokyo Tramps are Boston blues/blues-rock mainstays. Guitarist/vocalist Satoru Nakagawa and bassist/vocalist Yukiko Fujii have spent twenty-plus years as Boston-based blues rockers, and they’re still among the city’s best. I delved more deeply into Tokyo Tramps’ background in my review of the band’s I’m a Tiger EP, so you can read that review for more detail; here, I’ll just focus on the band’s new album, Fearless Heart.

Tokyo Tramps’ music could be equally described as blues rock or rockin’ blues, but since the former can be used to describe a broad swath of rock ‘n roll, the latter – or the fact that the band’s songs straddle the two terms – is probably more informative. The bluesier portions of the album have a raucous barroom nature, while the rock ‘n roll component hints at the band’s classic ’60s and ’70s blues-based rock influences. Mostly, I hear an amalgam of influences buried in the band’s sound, but on one or two of the songs, you can quite specifically hear the Tramps “try sometimes” and “get what (they) need.”

From the very first spin you’ll enjoy the unique blues rock sound that makes Tokyo Tramps music quickly identifiable, but I’d recommend giving this album multiple listens; each listen, especially after the first few, reveals more subtleties. The hooks are rather sneaky, and there are suddenly significantly more “wow” moments upon the tenth or fifteenth journey through the album than there were initially. Before you know it, your two initial favorite songs have miraculously become eight.

The album kicks off with the jangly blues-based rock guitar lead-in to “Sweet Melody,” a rough-edged funky symphony of unity that’s held together by hypnotizingly melodious guitarwork and a sweet groove.

Bluesy classic rock guitar crunch motors “Mississippi and New Orleans,” another song that’ll leave listeners jamming to the axework, eyes closed, especially when enjoyed with headphones on.

“Where Did You Hide Your Love?” is next, with a little more psychedelic vibe, followed by “Blues Leave Me Alone,” whose hauntingly jangly, low-fi distorted axework supports the mild anguish in the vocals.

The band revealed a desire to incorporate ’70s rock sounds into this particular album, mentioning both the Stones and Derek and the Dominos. And, in fact, next track “Open the Door” is the song on which I most hear some “Layla”-esque elements mixing with the Tramps’ trademark rockin’ blues sound.

This marks the halfway mark of Fearless Heart. A lot of albums begin to fade on the “B side,” but as strong as the first 5 songs of Fearless Heart are, this album just keeps finding next ways to top itself on the back half.

“Can’t Find My Way Home” is a bit of a country blues swayer-and-twanger, and I really dig the vocal interplay between the bandleaders on this track.

Next up, “Loneliness is a Social Disease” has the pep and playfulness of a ’50s rocker, almost, and it’s definitely a rockin’ good time. “Heart of Life” follows, with an earnest vocal delivery and a steady rhythm supporting the song; its rhythmic blues rock tempo hints at a jazzy meander throughout, but that’s a head-fake, as the song’s tempo remains consistent.

“I Don’t See My Star Tonight” slows things down, a blues dirge with some soft guitar noodling that adds just enough liveliness to make for an interesting journey.

And the album closes with what’s probably my favorite song on Fearless Heart, “Young Lion.” The interplay of Satoru’s and Yukiko’s vocals on this song are fun, effective, and catchy. (You’ll sing along with one or the other of them, probably not always the same from one listen to the next.) And the guitars navigate a blues-rock journey. It’s a lively, fitting close to the Tokyo Tramps’ newest album.

More Recently

The Tokyo Tramps have been nominated for two major music awards this year. They are finalists in the Blues Act of the Year category by the New England Music Awards. NEMA voting has concluded, and the winners will be announced at the awards ceremony on Sunday, November 12th. They are also on the final ballot in the Boston Music Awards‘ Blues Artist of the Year category. BMA voting continues until November 17th, with the awards ceremony scheduled for December 20th.

Looking Ahead

Check the “Live Schedule” page of the Tokyo Tramps’ website for upcoming performances. You can catch the band live tomorrow, Sunday, October 15th, starting at 11:00 AM at the Sunday Blues Brunch at the Hard Rock Cafe Foxwoods in Ledyard, CT. Be sure to check the band’s website periodically as new dates are added.

Album Review: Carole Sylvan – Love

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Carole Sylvan – Love album coverAlbum Review of Carole Sylvan: Love

Carole Sylvan‘s hall of fame voice is the driving force behind this soulful, blues-influenced R&B album, Love. An established New England/New York treasure with an admirable career-to-date, a solo album like this provides an opportunity to experience Carole’s performance skills in all their glory.

The album showcases Carole’s vocal range right off the bat, from explosive power to soft, rich, resonating warmth, with its first two songs. Memorable, powerful, energetic “What Do You Call It? (I Call It Love)” provides get-to-your-feet energy, while the smooth, flowing “To Love Somebody” follows with laid-back, jazzy warmth.

Not to be outdone, and perhaps it’s the choir-like harmonies, but “I Still Love You Anyway,” a balladic powerhouse with soaring verses, is so powerful that it’s almost a religious experience.

Fourth track “Love to Love” is the bluesiest cut so far on the disc, with playful, tempo-boosting horns making frequent, well-timed incursions into the song, seeming to battle with Carole’s voice for emphatic power. Then the lyrics – and Carole’s delivery – join the playfulness on the funky-soulful “Keep It Clean.”

Carole’s vocals launch into powerhouse/diva orbit on the powerful “Lighthouse,” a song during which her voice will give you goosebumps during some of its most commanding moments.

The funk returns on “I Cry For You,” which I can envision as an on-stage showpiece; also, a song on which you’ll be convinced Carole coolly sings “well, well, well” way more often than she really does – that’s once; actually twice, but consecutively and not again. (Go back and listen again; you’ll see I’m right.)

Next up is the most widely-recognized song on the album, “Tennessee Whiskey.” Carole’s version is of the soaring, soulful variety and, once you’ve heard it, may well become your favorite rendition of this ubiquitous standard. The music and tempo is pretty straightforward, with few liberties taken, though the instrumental bridge is quite nice, particularly the nifty horn-work, but oh, mostly you’ll simply dig that voice! (Fun quiz: How many syllables are there in the word “warm”? Ha! Yeah, you’re not even close!)

“The Only One Around” is a hip, jazzy number that’s perhaps the most of each – the hippest and the jazziest – found in this collection.

Carole closes the disc with a one-minute “Love to Love (Reprise),” tying the disc together nicely with its recollection of the cool groove from “Love to Love,” providing a nice fade-out ending to Love.

More Recently

Love was a 2021 release. In 2022, Carole released another full-length disc, Something Goin’ On.

Carole was inducted into the New England Music Hall of Fame this year, celebrated during the NEMHOF induction ceremony on September 30th.

Carole has also been nominated for a New England Music Award in the Soul/R&B Act of the Year category. Voting has concluded, but NEMA winners have not yet been announced; that will occur during a ceremony in Foxborough, MA on November 12th.