Tag Archives: Album Review

Album Review: Gráinne Duffy – Dirt Woman Blues

Posted on by
Grainne Duffy

photo by Rob Blackham; photo courtesy of Cobra Promotions

Album Review of Gráinne Duffy: Dirt Woman Blues

Holy moly, do we at the Blog ever love Gráinne Duffy, as evidenced by all the unabashed gushing in my review of her Voodoo Blues album a couple years ago. Well, she is back and every bit as talented and engaging as ever on her new album, Dirt Woman Blues, so get ready for several paragraphs of effusive praise.

Grainne Duffy – Dirt Woman Blues

image courtesy of Cobra Promotions

Indeed, if you’re not yet familiar with Gráinne, you’ll have your “oh, my god!” moment – the one I had when I first heard Voodoo Blues – on disc-opener “Well Well Well,” a snarling blues number that somehow manages to be grizzled and gritty yet crisply modern and energetic. And that voice! I stand by my Joanna Dean comparison, but I’m hearing a bit of similarity to Danielle Miraglia – Boston’s resident flagbearer in the “how is she not already world famous?” music club, blues division. There are hints of Janis Joplin in there, too. So, basically, one song into the album, and you’ll realize you’re listening to one of the best blueswomen on the planet… and you still have eight more new songs to enjoy for the very first time!

Grainne Duffy

photo by Rob Blackham; photo courtesy of Cobra Promotions

By comparsion to the disc-opener, “Dirt Woman Blues” is a tonally darker and more brooding blues number. There’s not the hint of rock ‘n roll you found on “Well Well Well.” “Dirt Woman Blues” also features this neat little audio trick, a flip to grainy AM radio-quality vocals at the beginning of the chorus, as if the whole world reverts from technicolor to black and white, truly fitting for this raucously pleading, distortion-infused, internally-wailing blues plaint.

“What’s It Going to Be?” follows, introducing a lighter, strumming personality – almost what you might expect from Sheryl Crow, if she sang the blues. It’s a welcome respite from the preceding intensity; very cool.

Grainne Duffy

photo by Rob Blackham; photo courtesy of Cobra Promotions

The next track, “Running Back to You” is a groovy blues Gospel-style number that glides along smoothly until the chorus, when Gráinne’s vocals intensify. I’m also fond of the bridge after the second chorus, first the nifty vocal turns of phrase and then the heartfelt cries of the guitar solo.

Next up, the beat that drives the rhythmic “Rise Above” meld with Gráinne’s muddy pop-soul vocals to create what could best be described as cool, bluesy alt-rock. It’s followed by “Sweet Liberation,” a jangly, distorted-guitar blues-rock love-in that harkens back to the ’60s and ’70s, the era of peace, love, and… well, liberation. Oh, and the song ends in a badass, semi-frantic, axe-filled jam leading to an era-appropriate quick stop.

Grainne Duffy

photo by Rob Blackham; photo courtesy of Cobra Promotions

The blues Gospel returns on “Hold On to You,” the musical equivalent of a slowly-moving, howling, oh-so-blue raw nerve. “Yes I Am” follows, a raucous blues-rock protest anthem.

“Killycrum” closes the disc with a smooth, folky blues groove, and it’s on slower songs like this one, when the music is less dense, that the well-placed, effective cracks in Gráinne’s vox are at their most effective and apparent.

And with that, after just nine songs, it’s over. Beginning to end, Dirt Woman Blues is a great disc. On it, singer-axeslinger Gráinne Duffy again solidifies the expectation that a well-deserved coronation as blues royalty draws ever closer. And if you don’t yet know her music, this is your chance. You’re in for a rare treat! And it makes me jealous because you only ever get one first listen to Gráinne Duffy.

Grainne Duffy

photo by Rob Blackham; photo courtesy of Cobra Promotions

Looking Ahead

To find out where Gráinne is performing, follow her Facebook page. Via that, you’ll discover info about two upcoming shows in Northern Ireland: a Saturday, October 14th show at the Braid Arts Centre in Ballymena and a Friday, November 24th show at The Court House in Bangor.

 

Album Review: D.C. Anderson – House Concert

Posted on by
D.C. Anderson – House Concert

image courtesy of D.C. Anderson

Album Review of D.C. Anderson: House Concert

This is a cool concept for an album. D.C. Anderson is an accomplished stage and screen actor, and these 11 songs – including 3 on which he’s credited as the lyricist – are enjoyably combined in a house concert-like set; hence, the album title. The performance is stripped-down, with only pianist David Robison for accompaniment, allowing D.C.’s voice to carry the remaining weight, his nuanced delivery providing all the necessary “color” and support. There’s a theatrical delivery to every song on the record; stylistically, it’s the sort of album you might expect from a star of musical theater, an anthology of songs performed as if from Broadway soundtracks, whether or not the songs were drawn from actual musicals.

What better way to kick things off than with Rodgers & Hammerstein’s “Some Enchanted Evening,” which D.C. opens with haunting vocals, evoking images of a pitch-black theater, a performance beginning, with the singer walking into a single spotlight before a silent audience, anxious with anticipation. The voice and piano build over the course of the song, increasingly emphatic. What a great way to kick off an evening, an album, or, of course, a house concert. As you may know, I love a record with well-ordered songs, and this is a strong way to start.

Next, D.C.’s performance of “I Wanna Know You” from Anne of Green Gables is a powerful follow-up, with the vocals-and-piano arrangement giving this recording a much more fragile intimacy than is likely to be easily achieved on a big stage.

“There Ain’t No Devil” brings – believe it or not – a lighter, softer, more relaxed tone to the album, though still very theatrically delivered, which can safely be said about any of this collection’s eleven songs.

The slightly playful airiness continues, as evidenced initially by ivories that sound mischievously tickled at the opening of “While There is Still Time,” offering an enjoyable glide through lyrically heavy waters. Unabashed fun follows, as D.C. enthusiastically delivers the satirical “Loving That Lamb of Mine,” delivering Alan Chapman’s playful lyrics with zest.

D.C.’s voice cracks with emotion next, as he delivers a stirringly serious, slow-paced performance of Todd Almond’s “God is Good.” D.C. is the lyricist for the next number, “Janice and Martin,” which adds a bit more pace and feels perhaps closer to folk – theatrical folk, mind you – than the other songs in the collection.

This House Concert turns playful again, dipping into Song of the South for the ebullient “Sooner of Later,” which is, in fact, a quite proper lyrical follow-up to “Janice and Martin.”

D.C. wrote the lyrics for the next two tracks. First, “Crazy Still to Do,” sounds like it should be my favorite song from an irreverent musical, with cool lyrics like “I’m sorry for what’s missing. I’m missing something, too. But so’s you hear, I’ll make this clear, I’m crazier than you.” With a nod to song ordering, it’s the third of a really well-arranged sequence, both topically and musically.

Next up, “Song for Artists” is a bit more serious and sincere, as it soars musically and vocally, delivering a message of, as you might guess from the song title, thanks to artists. Following, D.C. closes the record with a slow-building, powerful delivery of Susan Osborn’s “Bright Angel,” setting the song down for a soft landing to draw his House Concert to a close.

I’d recommend a beginning-to-end listen of this record. The songs, in order, ebb and flow enjoyably, with tempos (and levels of seriousness) varying throughout. And, after a few listens, certainly you’ll have favorite songs that you’ll want to play individually from time to time, as well. Personally, I’m particularly fond of D.C.’s arrangements and delivery of “Crazy Still to Do” and “Some Enchanted Evening.”

More Recently

House Concert was released in early 2022. More recently, in 2023, D.C. released the album Sharing the Night with Darkness.

Looking Ahead

D.C. will be performing live in Chicago on Sunday, October 22nd and in New York on Sunday, November 12th. You can find time and location details for those performances on the “calendar” page of D.C.’s website; check back periodically as more performances are added. You’ll also find the occasional update about D.C.’s goingson on his Facebook page.

Album Review: Burnt Out Wreck – Stand and Fight

Posted on by
Burnt Out Wreck

photo courtesy of BJF Media

Album Review of Burnt Out Wreck: Stand and Fight

Burnt Out Wreck delivers guitar-driven, powerful melodic hard rock reminiscent of Judas Priest and AC/DC, particularly those bands’ more melodic offerings. Any ’80s-style hard rock fan is gonna love this disc. And the band gets bonus points for its ’80s “pedigree” – frontman Gary Moat was the drummer in ’80s rock band Heavy Pettin. Though not an arena-filling headliner back in the ’80s, at least not in the U.S., Heavy Pettin was a band we were all aware of and respected. Beyond ’80s rockers, others who may enjoy this album (and this band) are those who dig catchy songs and crunchy guitars.

Stand and Fight kicks off with a chunky classic rock guitar riff on repeat, joined soon thereafter by Moat’s gravelly hard rock vocals and a steady, forceful rhythm section, launching into fun album opener “Big Up Yourself,” setting the stage for the rest of this top-shelf “new classic” hard rock disc. The songs have a familiar, comfortable style, performed with the enthusiasm and attention to detail that will make this recording a worthwhile addition to your collection (and your album rotation).

Burnt Out Wreck – Stand and Fight

image courtesy of BJF Media

There are a couple songs that’ll have you singing along rather embarrassingly, and hooky title track “Stand and Fight” is the first of them. Steady verses are laced with persistently insistent guitarwork that ratchets up tension, leading into the song’s chorus with its fun, oft-repeated lyric – one you’ll unconsciously sing before realizing it; then you’ll look around hoping no one heard you sing “Stand and fight, just kick ’em in the balls…” There’s some cool axework in here, too, with solos serving as apt bridges, that’ll make this one of your favorite songs. Just be cautious about when and where you listen to it in public.

From first song to last, the album is all relatively straightforward – and unflinchingly straight-line – melodic hard rock, but various rhythms and guitar hooks keep things fresh. A three-song sequence early in the disc is a good example of the song-to-song variance: “Lion” sports a more sidewinding rhythm and limits backing instrumentation during some of the verses; “Ain’t Done Nothing Wrong” begins with a bit of an echo that suggests open spaces before launching into its distinct rhythm guitar riffs that vary consistently throughout the song; and “More Than Anything” utilizes a slightly faster pace to set itself apart.

You’ll have your own favorites on this disc. Mine are the first two tracks, “Big Up Yourself” and “Stand and Fight,” and disc-ender “I’m a Loser Too,” and not just because it’s embarrassing to be heard singing along to the title lyric, which I guarantee you won’t be able to stop yourself from doing. There’s an almost country twanginess mixed in with more obviously bluesy rock guitarwork than found elsewhere on the album. It stands out in part because of its stylistic difference, but it’ll also draw you in with its fun lyrics (such as, “I’m in a bar drinkin’ whiskey, she’s kind of cute for her age…”) and its end-of-the-night, the-bar-is-closing vibe. Yeah, the album’s over, and you don’t have to go home, but you can’t stay here. Or you can just stay where you are and replay the album from the beginning again. It’s a great new classic rock record and a heckuva fun listen from beginning to end.

Looking Back

This is the third Burnt Out Wreck album I’ve reviewed at the Blog. Be sure to check out my 2017 review of Swallow or my 2020 review of This Is Hell for more Burnt Out Wreck content. In fact, one reason this review is comparatively short is because I’ve already written two previous reviews and am beginning to run out of adjectives to describe the band’s sound; I’ve said it all before. If you’re a classic hard rock fan, particularly of ’80s-style melodic hard rock, and especially of the bands in that category with crunch and bite to their music, then you owe it to yourself to have Burnt Out Wreck’s albums in your collection.

Looking Ahead

The “Events” tab of Burnt Out Wreck’s Facebook page lists a couple of upcoming shows in the UK: Saturday, November 18th at The Yorkshireman Rock Bar in Sheffield and a June 14, 2024 show at Axminster Guild Hall in Axminster. Burnt Out Wreck is also scheduled to appear at the Highway to Hellfest in Glasgow, Scotland in February 2024. And watch Burnt Out Wreck’s social media feeds for more dates as they’re added. For example, the band’s Twitter feed also mentions an early November appearance at Hard Rock Hell.

Album Review: Noise Floor Delirium – Life Street Closed

Posted on by
Noise Floor Delirium – Life Street Closed

image courtesy of Noise Floor Delirium

Album Review of Noise Floor Delirium: Life Street Closed

Noise Floor Delirium is a Chris Gleason side project. Of course, I’ve reviewed Chris’ band Los Goutos at the Blog. I’ve not (yet) reviewed Chris’ other band, the Sado-Domestics. And this, of course, is a Noise Floor Delirium review. On Noise Floor Delirium, Chris is joined by Jimmy Ryan (mandolin) for “Coming Apart” and by Lucy Martinez (vocals) for “Luck Comes Last” but is otherwise responsible for all of the music, lyrics, instruments, vocals, engineering, mixing, and production on Life Street Closed.

Of course, Chris’ bands’ music is never simply straightforward, so why would you expect any differently from this project? I’ll begin the review with a 50,000-foot overview of the album: It’s an engaging, intriguing collection of offbeat, grainy-lensed, slightly funhouse-mirrored Americana. And, though I can’t flesh out all of the details of a storyline – this isn’t helped by the fact that the vocals are so embedded into the soundscape that I forget to pay attention to them while enjoying the music – Life Street Closed seems to be a concept album along the lines of Pink Floyd’s The Wall, but without the accompanying film, which might be more related vignettes than a storyline but would still be worth watching. The album is clearly a well-crafted labor of love for Gleason, a project that earned Noise Floor Delirium a New England Music Awards nomination for Americana Act of the Year.

The album kicks off with an ominously Deliverance-esque “Matilda Stomp (New Chemirocha Blues),” with its banjo-ey twang and heavy stomping beat. It’s also exceedingly memorable, one of the songs on this disc that’ll stay with you.

The creepy-music factor gets amped up even more on the next track, “This House Isn’t Haunted Anymore,” which is another you’ll find stuck in your head for days. Thanks to the foreboding music, I don’t believe the song title. This song is a slower, quieter creep with vocals that are spoken-sung so quietly you’ll find yourself leaning in to hear them.

“Mendacious Alibi,” next, slips into a cool lo-fi blues vibe, with a steady rhythm that, perhaps subconsciously spurred by the “end of the road” lyric, suggests a slow-moving highway traveling song. I picture the road dark and wet, though that visual may simply harken back to the picture on the album cover. As a nifty bonus, I think I hear a little slow-jamming Tom Petty in the song’s guitar and pace, too.

“Marsh Marigolds” seems to rise from the ashes, with the music mimicking the sun coming out following a rainstorm – this despite, or perhaps because of, lyrics like “all of our demons are near” and “hell is empty this year.” My first inclination was that this song had some raw Beatles-ish elements, and it does, but it will mostly give you big-time Pink Floyd vibes.

“Coming Apart” follows, a more light-touch, country-styled Americana number, driven by finger-picking, a slightly hillbilly tempo, and some light blues-rocking distorted guitar in key spots for emphasis.

“Back-Talking” continues the bluesy vibe but returns to the album’s haunting motif. It’s a great transition song for the album, and though its role in this collection is as a progressive album track that deftly moves the record forward and includes some neat musicianship, you’ll absolutely find yourself drawn into the lyric “Not talking smack, just talking back.”

After “Back-Talking” cleanses the musical palate, the subsequent “Bottom of the Sea” reveals an eerie, Americana tumbleweed vibe, again recalling The Wall or some of Bowie’s spacier work. “Nine-Tailed Fox” paints a similar musical color but with a slightly different rhythmic brush atop a more motivated beat.

The disc ends with “Luck Comes Last,” which feels like the conclusion of a story. Or of an album. It’s a slow-paced song, similar to “Marsh Marigolds” or “Bottom of the Sea,” with a musical slow-build that suggests the clouds are opening once again after the storm has passed.

With so much stylistic variance, you’d think this album might lack cohesion, but there’s a familiar sonic landscape underpinning every track, resulting in a sound that provides quick identification of each song as part of this particular Noise Floor Delirium collection.

More Recently

As noted, Noise Floor Delirium was nominated (and is a finalist) for the New England Music Awards in the “Americana Act of the Year” category. Voting for the New England Music Awards runs through tomorrow, October 1st.

Looking Ahead

One of Chris’ bands, Sado-Domestics, has announced plans to release a new album this fall.

Album Review: Kristian Montgomery & The Winterkill Band – Lower County Outlaw

Posted on by
Kristian Montgomery & the Winterkill Band – Lower County Outlaw

image courtesy of Kristian Montgomery & the Winterkill Band

by Eric Harabadian, Contributing Blogger

Album Review of Kristian Montgomery & The Winterkill Band: Lower County Outlaw

It’s the 4th album in 3 years for this “lower county outlaw.” No one could ever accuse singer-songwriter Kristian Montgomery of slacking off on the job. The Vermont-based musician is certainly one of the hardest working cats in show business. He’s grown up all around the country — Florida, New Orleans and Boston, to be exact. In fact, he originally made a splash on the Boston scene and garnered considerable attention with previous recorded efforts. But since his re-location to the mountains and adoption of farm life, he has more keenly refined and sharpened his musical approach.

Montgomery’s latest and greatest features some of his best and most compelling songs to date. And he’s joined by celebrated producer-engineer/drummer Andrew Koss (Alicia Keys, John Legend), guitarist John Clark, and bassists Dave Leitch and Mark Harding. These are “genre bending songs that are lived in,” according to Montgomery on his website. And there is no doubt that the detail and honesty of his songs and stories come through.

This Americana-flavored and Cajun-spiced and rootsy thrill ride begins with “Submit to My Transmission.” There are some hellacious guitars featured here that are balanced by cool, subtle ambience and a reflective, testimonial tone.

“Around and Around” spotlights great rocking hooks and dovetails the groove with an earthy vocal. There is an interesting modulation technique in the melody that is subliminal and infectious.

“The Long Gone Blues” states “When you got nothin’ you got nothin’ to lose” and “Now that she’s got everything I guess she wants me too.” There is a tinge of cynicism wrapped in a jaunty country feel.

A screaming  guitar defines the tuneful and dynamic “The 4th of July.” And that leads into the truth seeking “I Don’t Know What’s Real Anymore.” Montgomery simply asks, “Are you real?” over an ample wall of guitars and rhythm. This is a pleasing blend of stinging leads, an interesting bridge and rich harmonies.

“Somebody’s Baby Mama” recalls Joker-era Steve Miller, with the line “I bet you’re sweet, but you’re somebody’s baby mama now.” It’s got an infectious upbeat groove and an early Allman Brothers sensibility as well.

“Gypsy Girl” is a catchy souped-up femme fatale cautionary tale which is followed by the somewhat melancholy “Easy to Forget You When I’m Gone.” It’s a first person account of a relationship that is consistent with Montgomery’s no nonsense lyrical style.

The oddly titled “The Girl With Gages in Her Eyes” has a rocking, vibrant kick, with a retro alternative vibe that, to this reviewer, recalls Robert Palmer or Dire Straits.

“Annie Pay Your Band” is a pleasant country blues number and paves the way for the cool and somewhat funky “A Little Lower.” The indelible chorus and lilting bluesy guitars will get you going.

And the finale sounds like a real audience favorite, with “Lost in Memphis.” This is a rootsy rocker built on a sturdy and memorable groove. Smooth wah-wah guitar and wailing vocals wrap this release on a high note.

Kristian Montgomery’s Cajun-laced, blue collar sound is unique and familiar at the same time. He has a singular vision that is pop-oriented and relatable, yet cerebral, auto-biographical and edgy.

Looking Ahead

You can catch some Kristian Montgomery & the Winterkill Band performances, as the band is out gigging, including this upcoming Saturday, October 28th show at Nashville of Saratoga in Saratoga Springs, NY. Follow the band’s Facebook and Instagram accounts for future show announcements.

Album Review: Dreadnaught – Northern Burner

Posted on by
Dreadnaught – Northern Burner

image courtesy of Dreadnaught

Album Review of Dreadnaught: Northern Burner

Maine experimental progressive rockers Dreadnaught return with this all-instrumental production, Northern Burner. The disc dropped in December 2021, celebrating the band’s 25th anniversary. For those who like their progressive rock playful and weird (hence the term “experimental”), Dreadnaught is the poster child for that musical subgenre. And, once again, with the release of Northern Burner, the band has unleashed an album that seems interesting at first and then rewards those who will afford it multiple listens with song-to-song familiarity turned on its ear via unexpected twists and turns.

On disc-opener “Pink Light,” there’s a thumping bass setting the baseline (bassline?) for the layered guitarwork with distortion slathered on top. “Pig and Pony” opens things up a little bit early on, though that airiness is filled with an electronic recurring ditty and, again, that thumping bass.

“Rum Cake,” though quite short, is a haunting journey as if down a long hallway, stumbling along… perhaps looking for rum cake? Or maybe after having a bit too much rum cake? Or just too much rum?

It leads into the 8-minute-plus “Monsignor Bananas,” which seems to assemble musical phrases from all of the previous songs, and, while it diverges into a variety of different directions, the song periodically returns to previously introduced musical themes. It’s also worth noting that, as can so often be the case in longer-form Dreadnaught songs, this, the longest track on the disc, sports dramatic tempo and mood swings.

“Fantasy in a Pink Light” is the spaciest song so far, very airy and open, with the sounds of wisps and softly played instruments echoing as if in a big, nearly-empty concert hall, slowing things down so much that the song is either a palate cleanser or a test to see if the listener will drift off to sleep and miss the rest of the album.

It leads into “Sundown at the Barnyard,” which, with the way it starts slowly and picks up energy, seems to almost mimic sunrise at the barnyard (oh, so close!), with the energy picking up and building toward a climax as the song carries on – again, repeating instrumental themes found in previous songs. Less than halfway through the song there’s an almost psychedelic rock guitar solo that stands out, if only because it resembles earthly music on an album that’s almost entirely ethereal and otherworldly. Of course, if you’ve learned to expect anything from Dreadnaught’s music while reading this review, it’s that the psychedelic guitar will return. It does return later in the song. And near the end, “Sundown…” makes another transformation, providing a sequence that channels a square dance. Not just the square dance music, the entire dance.

“Pony and Pig” opens mostly rhythmically before finally recalling the main themes of “Pig and Pony” about halfway through. The song becomes more expansive as it moves along, as if turning a small listening room-type musical theme into an expansive one suitable for an amphitheater. Interestingly, Dreadnaught chooses to close the song with a big Hollywood-style musical close.

Album-ender “Throwing in the Towel” has the sort of expansive, “well that was fun” flavor of a closing credits number from a movie, fading out to signify that the show is over. Get up from your seats and go home. Of course, if you’re already home, maybe go to the fridge and get a snack.

In the end, if you’re open to the more experimental, cutting edge of music, Dreadnaught’s music will grow on you. Or it may just never strike a chord with you. And even if you enjoy it, as I do, you’ve gotta admit it’s odd. But it would also make for a very interesting, certainly very fun live performance. With that in mind, Dreadnaught actually did follow this release with a couple of live performances “of the album in its entirety and other choice cuts” in early 2022.

Dreadnaught’s promotional material promotes the disc with the statement: “25 years, millions and millions of notes, and cases and cases and cases of High Life beer later we bring you Northern Burner, a musical transfiguration spanning the barnyard, outer space, and make believe.” Of course, I get the space reference, and the whole thing’s make-believe. Even upon multiple listens, I’m not sure I hear the barnyard, aside from the sunrise over it, but that’s the beauty of Dreadnaught’s music – it is whatever you think it is, whatever your mind’s eye hears. (And yes, I know eyes don’t usually hear, but when listening to Northern Burner, they do.)

More Recently

Dreadnaught’s bass player and producer Bob Lord has released another solo album, The Six Observables, which was just recently released, in July 2023.

Album Review: Vinnie Moore – Double Exposure

Posted on by
Vinnie Moore

photo by Gretchen Johnson; photo courtesy of Glass Onyon PR

Album Review of Vinnie Moore: Double Exposure

Renowned progressive rock shredder Vinnie Moore recently released Double Exposure, which I learned (thanks to the press material) is his first solo album to include vocals. The 12-track album begins with six songs with vocals followed by six instrumental cuts. The vocalists on the first half of the disc include Ed Terry (Rage And Beyond, American Mafia), Keith Slack (MSG, Mother Road), Mike DiMeo (Riot) and Brian Stephenson (Old James). Of course, Vinnie surrounds himself with top-shelf musicians as well, including Richie Monica (Billy Cox, Popa Chubby, Tantric) on drums, Michael Bean and Pete Griffin (Steve Vai, Dweezil Zappa) on bass, John Cassidy on keyboards, and John Pessoni on drums.

One of the cool things about Vinnie is that he’s not just a progressive fret-jockey. You can catch elements of classic rock, blues, and a little funky rhythm in his axework, which is one reason his music is likely to be a fun listen for guitar rock fans whose tastes extend throughout guitar-driven rock ‘n roll, well beyond the boundaries of prog.

Double Exposure opens with some exceedingly tuneful shredding from Moore, opening the funky-bluesy “Vertical Horizon.” Vinnie works a lot of deftly-maneuvered guitar runs and nifty riffs into this song… and, of course, throughout the rest of the disc.

Vinnie Moore – Double Exposure

image courtesy of Glass Onyon PR

Songs two (“Rise”) and four (“Paid My Dues”) are axe-powered, hard-driving rock ‘n roll numbers that you’ll love for their power and, of course, their ample opportunity to showcase Vinnie’s shredding.

Sandwiched between those two, “Still Waters Run Deep” has very Boston-like harmonies and chorus climaxes, while Vinnie’s guitar parts are a little more understated, and in the bridge I might even refer to the guitarwork as “noodling.” It’s a cool, slight change of pace, though of course the song has its shredding gutiar solo moments, too.

“River Flow” is a hard rock ballad that flows through the verses and the chorus and, of course, has that long guitar solo in a mid/late-song bridge, something that’s a staple of any decent power ballad. It compares closely to a Mr. Big ballad, particularly the vocals, in which Ed Terry seems to be channeling Eric Martin.

Finally, “Hummingbird” is a mainstream, crossover-capable rock song supported by a more modestly-implemented guitar line. Though Keith Slack’s vocals are of the big-time progressive rock soaring variety, in some of the softer spots and with some very specific phrasing, his voice also reminds me of country artist Jay Taylor, who I reviewed in the Blog a few years ago. I can’t decide if the song is structured more like Southern rock or laid-back California rock. And with all of those disparate comparisons in mind, it’s almost certainly the non-pigeonholeableness of “Hummingbird” that attracts me to this, my favorite song on the album. The broad range of surface-level influences could expand this song’s fan base beyond that of the rest of the disc; plus it’s just a way-catchy, fun, kinda laid-back, rockin’ tune.

Following “Hummingbird,” the back side of the disc is all-instrumental.

Kicking off the instrumentals, “Astro Man” and “Breaking Through” are funky, a little bluesy, and lean progressive. “In Too Deep” has a more straight-ahead, classic rock rhythm, though it’s still chock-full of Vinnie’s nimble guitar runs. “Rocket,” which follows, brings back a little of the funk, steering it toward more of a sidewinding hard rock vibe.

Penultimate track “One Day” is my favorite of the instrumental numbers. It seems to play more in the open spaces, sporting a guitar tone and tempo akin to “River Flow.”

“Southern Highway” closes the disc, and while I may be influenced by the song’s title, that’s exactly what it sounds like, a laid-back traveling song along a pleasant highway journey. A journey filled with Vinnie Moore’s dazzlingly tuneful guitarwork, obvs.

If you enjoy guitar-driven rock featuring intricate axework that spans – or, more aptly, dances along – the classic-progressive rock divide, then you probably already know Vinnie Moore. But if you don’t – or if you didn’t know about this release – then you should give this album a listen.

Looking Ahead

Vinnie is currently on a European tour that runs through October 7th. Check out the “tour” page of Vinnie’s website for dates and locations of his upcoming shows.

EP Review: Axminster – Tightrope

Posted on by
Axminster

photo courtesy of Axminster

The Backstory

Back in the early ’90s, when I was getting my start as a music journalist in Boston, Steve Sera was the frontman for the band Wildside, one of the best melodic hard rock bands in Boston at the time. I covered a few Wildside shows and reviewed the band’s EP Sheet Music. Before Wildside, Steve was in the band Axminster. Well, in the decades since I write about Wildside, Axminster reformed. Axminster’s lineup consists of Benny Fiorentino (guitar, vocals), Steve Sera (vocals, guitar), Danny Callan (bass, vocals), and Xanon Xicay (drums); the band devotes a page of its website to a tribute to its late drummer Mike “Maddog” Lamm.

EP Review of Axminster: Tightrope

What you’ll hear on Axminster‘s Tightrope EP is classic hard rock, delivered with enthusiasm, fully embracing the playful bluesy rock influence that has underpinned the sounds and styles of many of the best melodic hard rock bands for decades.

Axminster – Tightrope

image courtesy of Axminster

Like so many classic hard rock albums, Tightrope kicks off with a show of power on “Broken Nails.” Going all-in on intensity, Axminster establishes its hard rock street cred with this opening track. The song surges mostly straight-ahead but features a little sidewinding axework, offering a glimpse into the band’s more expansive capabilities, in a way foreshadowing the breadth of influences yet to come on Tightrope.

The second track, “Down to the Bone,” is my personal favorite. It leans into its funky rhythm early on, drives continually toward its catchy, memorable, raucously singalongable chorus, and closes with a repetitive push toward close that’ll have you singing the echo of the “cuts right” lyric. You know, in my early days on the Boston hard rock beat, this city was known for its funky metal – well, one local band, in particular. Axminster may be channeling some of that vibe here on this song but wisely resists going full-on Extreme. The result is a catchy original that’s undeniably stylistically Axminster.

“Kids These Days” follows, driving home Axminster’s musical philosophy that straight-ahead rock doesn’t need to steer itself in a straight line. Better yet, there’s some variance to draw the listener in, a chance to show off vocal skills, and room for some well-placed guitar runs. It’s as if this song is a rock ‘n roll master class from some knowledgeable veterans sharing their tricks with the kids these days.

“Tightrope” is a guitar-driven rock number whose axework could be better described as playful than shredding, with Fiorentino’s guitarwork meshing with Sera’s vocal phrasing to provide a lighter vibe to an otherwise heavy rocking song.

“Put Ya Money” has a vocal line that surges and ebbs with the beat that, like so much of this EP, leaves room for some impressive guitarwork, particularly late in the song.

Finally, “Trippin'” comes out aggressively. And, though I’ve tried to avoid making the comparison, this song forces me to succumb. Indeed, particularly on the back half of this EP and most of all on this song, the songwriting, thumping rhythms, and vocal delivery remind me quite a bit of classic Y&T. Sera seems to channel Dave Meniketti during “Trippin'” more than he does anywhere else on this EP, and it results in a frenetically entertaining EP-ending number – quite clearly my second-favorite song in this collection.

More Recently

Axminster was nominated (and is a finalist) for the New England Music Awards in the “Hard Rock/Heavy Metal Act of the Year” category. Voting for the New England Music Awards runs through October 1st.

Looking Ahead

Per this Facebook post, Axminster is teasing a new EP, Bada Boom!, “coming soon.” I can’t wait!

 

 

Album Review: Zach Phillips – Goddaughters

Posted on by
Zach Phillips

photo courtesy of Zach Phillips

Album Review of Zach Phillips: Goddaughters

A couple years ago, I reviewed Zach Phillips’ The Wine of Youth. Well, the soft rock singer-songwriter is back with his latest release, Goddaughters.

I really like Zach Phillips‘ sound. It’s a breath of fresh air. Well-crafted songs with a familiar but entirely original sound, typically with a lot more rock ‘n roll infused into the music than seems apparent ay first glance. It’s always (by “always,” I mean “twice so far”) a pleasure to review one of his albums; it’s fun to peel the onions that are his songs.

On Goddaughters, Zach kicks things off with a wall-of-sound instrumental opener, “Cassiopeia,” quickly establishing his rock ‘n roll street cred, something a song-driven rock artist needs to do from time to time, lest his listeners confuse him with a singer-songwriter of the folkier variety.

The introductory instrumental flows into an energetic, richly instrumented mid-tempo ditty, “Worshipers,” that settles neatly within Zach high-ish vocal range.

Zach Phillips – Goddaughters

image courtesy of Zach Phillips

With Zach’s rockin’ roots clearly established, the third track, “New Star,” is ethereal, though it’s really more soft psychedelic rock than anything else.

“Harmony Grove” follows, opening with distorted axework, leading to a catchy whitebread-funky rhythm and an almost country-rootsy vibe. The result of this really cool amalgam is a catchy seventies rock-styled number.

“Psychics” carries a similar vibe but with more organ and – eventually, after a long lead-in – its very own faster tempo. How do I describe this sound, found in spades on “Psychics,” but also here and there throughout Goddaughters? Acid rock on valium, but not quite that mellow, I suppose.

The song “Goddaughters” rides in on an organ, but the opening vocals are supported just as much by the acoustic guitar-picking. As with the rest of the disc, Zach’s rich vocals, which require the sort of full production treatment they receive, carry the day. Well, that and the songwriting. Lyrically, Zach’s ode to goddaughters is tentpoled by the line “Goddaughters don’t ask for anything but get everything.” Well-selected to serve as the album’s title track, it’s one that’ll stick with you.

Next up, “Curses” is a song with a rhythmic engine that gets things moving again. After swaying your way through it, with its hooky rhythm guitar and the predictably recurring appearance of a heavier background riff carrying you along, you’ll find yourself stopping and saying to yourself, “Wait, that song was called ‘Curses.’ Why did its tempo make me smile?”

The quality of the songs remains high throughout the rest of the disc, though I’m at risk of reusing too many adjectives and descriptive phrases if I review each in depth, so I’ll zip through them: “The Hour When I First Believed” is driven by a steady rhythm and Zach’s soaring vocals; “Courtesy of a True God” is a crunchier number with a steady, plodding tempo, a Tom Petty guitar sound and song structure, and a mid-’80s Talking Heads vibe; “The Big Mountain” blends a soaring, expansive sound with a playful, minimalist guitar riff that’s one of the most memorable on the album; and “Ocean of Song” opens briefly, if you listen closely (and only if you really want to hear it), with an acoustically strummed Judas Priest “Living After Midnight” riff that recurs with the chorus. You may not hear that riff the way I do, but you’ll definitely appreciate the energy of the instruments and the hint of an edge in Zach’s voice in a couple spots during “Ocean of Song.” It’s a powerful penultimate track, building toward the end almost right up to the closing fade.

Zach closes the disc by completing the circle, with the instrumental “Cassiopeia in the Stars” harkening back to the opening track.

As a whole, the album is pleasant, energetic, and joyful. It’s a great mood-lifting disc. It’s not too loud, but it’s a rock ‘n roll record – or roots rock, if you prefer, since that’s where Zach is typically categorized. A great voice. Well-written songs. Terrific arrangements and recordings. And several songs capable of being memorable takeaways, specifically depending on each listener’s personal preference. My two personal favorites are “Harmony Grove” and “Curses,” though others, like “Goddaughters,” “Worshipers,” and “The Big Mountain” leave me with just as big an impact in the moment, particularly in the context of a full album listen. I’d be curious to hear which songs are other listeners’ personal standouts because I’m sure they’ll differ from mine.

Additionally

There’s a little bit (but not a lot) of extra info about Zach at his website. You can also follow Zach on Instagram or Threads.

Album Review: Ghosts of Sunset – No Saints in the City

Posted on by
Ghosts of Sunset

photo courtesy of Head First Entertainment

Album Review of Ghosts of Sunset: No Saints in the City

Melodic hard rock with fast-paced guitars, high-pitched sidewinding vocals, and a hard-pounding rhythm section. Ghosts of Sunset are a feel-good rock ‘n roll band whose comfortably familiar but uniquely original sound would be equally well-suited to a dive bar or an arena stage.

Song-by-song, here’s what you’ll find on this cohesive-yet-diverse album, No Saints in the City.

The record kicks immediately into overdrive, opening with “Tonight,” the kind of gettin’-pumped-up-for-a-night-out anthem that’s a great table-setter for any hard rock album.

Ghosts of Sunset – No Saints in the City

image courtesy of Head First Entertainment

Next up is my personal favorite song in the collection, the title track “No Saints in the City.” The guitar hook reminds me of Sleeze Beez’s “Stranger Than Paradise” (an underrated rocker from melodic hard rock’s heyday), but that’s where that comparison ends. The steady beat, the slow builds toward the chorus… this is a total crank-it-up rock song!

“Look Me Up” keeps the energy high as the band’s lyrical content remains focused on the untrustworthy, dirty city streets, driving the song with some recurring hooks and energetic late-song axework.

Next, Ghosts of Sunset slows things down with “If You’re Not Coming Back” because what good is rock album without a ballad? Of course, you can count on this band not to serve up any old standard heartbreak ballad. This one’s dark and gritty.

A faster tempo returns briefly with “Queen of Used to Be” before the band slows things back down with the Skid Row-reminiscent ballad “Love Ain’t Enough.”

Ghosts of Sunset

photo courtesy of Head First Entertainment

“Bastard of the Bowery” brings a new vibe – a stripped-down, funky rawness – to the mix.

“Puzzled Heart” follows, with a modern spin on the classic psychedelic sixties/seventies rock sound.

Softer, more lightly instrumented, melodic “Tonight You’re Okay” stands out for its airier touch. It’s a tuneful track that’ll become a quick favorite, easily justifying its inclusion among its heavier album-mates.

“Us Against Them” is a chunky rocker that returns to a seedier storyline before the album closes with the heavy, gravelly-vocalled ballad “Something to Believe.”

You’ll feel the power of the songwriting on No Saints in the City perhaps even more than you’ll feel the power of its rhythm section. Ghosts of Sunset is definitely a band you need to check out – a unique voice even in a crowded classic-based melodic hard rock market – and No Saints in the City is an album you owe it to yourself to test-drive.

Liner Notes

Ghosts of Sunset are John Merchant (ex-Dutch Henry frontman) and multi-instrumentalist Todd Long (ex-The Verve Pipe). However, for the lead guitar parts on most of the songs on No Saints in the City, the duo tabbed a parade of top rock ‘n roll axemen. Guest guitarists include Scotty Griffin (Riley’s LA Guns) on “Tonight,” Alex Kane (Life Sex & Death and Enuff Z’Nuff) on “No Saints in the City,” Eric Jayk (Wildstreet) on “Look Me Up,” Mark Tremalgia (Little Caesar) on “If You’re Not Coming Back” and “Something to Believe,” Denny Smith (The Great Affairs) on “Queen of Used to Be,” Lou Musa (The Verve Pipe) on “Love Ain’t Enough,” Mark Knight (ex-Bang Tango) on “Bastards of the Bowery,” James Stevenson (Gene Loves Jezebel) on “Puzzled Heart,” and Loren Molinare (Little Caesar) on “Us Against Them.” Merchant provided all of the axework on “Tonight You’re Okay” himself; so hey, that means one of my favorites on the disc was sans guest shredder.

More Recently

Since the release of No Saints in the City, Ghosts of Sunset released another album, Breathe, in March of this year. The band also has a YouTube video for  “Afterthought,” one of the songs from Breathe.