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Album Review: Vanessa Peters – Modern Age

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Vanessa Peters

photo by Rip Rowan; photo courtesy of Skye Media

Album Review of Vanessa Peters: Modern Age

Vanessa Peters’ Modern Age clocks in at the electrically-charged, guitar-driven, rocky edge of singer-songwriter fare. Modern Age will perhaps remind you of some of Liz Phair’s hits from the early aughts, but, as was the case with Liz, the songs are a bit more nuanced and adventurous than they initially let on. The songs are fully-produced but with a lighter touch, with plenty of crunch and grit, but a bit of open space among the instruments, too – it’s not necessarily noticeable unless you listen closely, but it does nudge the emphasis more toward the vocals, the lyrics, and the core songwriting, very appropriately for such a thoughtfully-assembled collection of songs.

Modern Age kicks off with its title track, my very favorite of the disc’s many outstanding cuts. “Modern Age” catchily laments modernization’s elimination of simpler pleasures: “That’s the way it goes in today’s modern age. As soon as it’s made, it gets through away. I’m running on a drained battery, and I really miss the way that it used to be.” For a song of regret and nostalgia, it’s quite peppy and fun.

Vanessa Peters – Modern Age

image courtesy of Skye Media

Next up, with an emotionally heavier tone, though still driven by some nicely distorted guitar strumming, there’s something nihilistic about lines like “I can’t rearrange these deck chairs one more time,” as “Make Up My Mind” tackles modern dysfunctions, seemingly both large and small, in the context of pondering self-examination.

“Crazymaker” is a lot more uptempo, with a heavy strum-driven rhythm putting the song through its paces but still sporting the same sort of not-quite-sarcastic but oh-so-clever lyrics.

“Valley of Ashes” slows things down to a more plodding tempo but features the sort of neat little, playful, old-school guitarslinger riffs and rambling noodling you might expect from guitar rockers when they slow the music down to a bare-bones near-crawl. Guitar noir, maybe?

“Hood Ornament” picks up the tempo again, detailing life as a woman slingin’ axe in the rock ‘n roll boys’ club, featuring lyrics like “Took my place up on the stage at the big event, all alone in a crowd of men. One of them looked me up and down and said, ‘I thought you were the hood ornament.'” Seriously, dude?! Yeah, this is more than just another catchy mid-tempo tune.

Vanessa Peters

photo by Rip Rowan; photo courtesy of Skye Media

“The Band Played On” is another hooky, lightly instrumented rocker, though I mostly just find myself singing along to the lyric “we can’t give up just ’cause the bastards won.”

“Never Really Gone” suggests you may not really be able to leave your hometown behind, even if you’re sure you’ve escaped. (Does that scare you as much as it scares me?) “The Weight of This,” a song of lament, follows.

“Yes” thumps along knowingly, a song about being passed over for deserved opportunities, while “The Try” is a deceptively cheerful song driven by a recurring, reverberating guitar riff that almost – but not quite – rivals the vocals for in-song dominance.

The recurring sense of optimism that seems to be an undercurrent beneath many of the other songs’ cynicism bursts forth (a bit) in the final track, “Still Got Time.” I mean, you won’t find the opening lyrics “Well, get a hold of yourself, ’cause the world isn’t ending yet” on a Hallmark card anytime soon, but after that beginning, the song takes a decidedly hopeful turn. As a result, after some of the emotionally heavy song subjects, this disc – an exceptionally fun listen throughout – will end up putting a smile on your face, leaving you excited to face the world. You know, excited within reason, anyway.

Beginning to end, Modern Age is a cool journey, a thoughtful, well-written album. I knew from nearly the beginning of “Modern Age” that I needed to share this album with anyone who would listen, and I’ll listen to that song alone on repeat a few times in a row, but the disc contains several other gems. Give it a few spins and you’ll find your own favorites.

Vanessa Peters

photo by Brent Baxter; photo courtesy of Skye Media

What’s Next?

There are no upcoming shows listed on the “Shows” page of Vanessa’s website, but check back to see if/when some are added. You may also want to follow her Facebook and her Instagram accounts for upcoming news and events.

 

Album Review: Nobody’s Girl – Nobody’s Girl

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Nobody's Girl album cover

image courtesy of Hello Wendy PR

Album Review of Nobody’s Girl: Nobody’s Girl

Nobody’s Girl is a bit of an Americana supergroup, a collaboration among BettySoo, Rebecca Loebe, and Grace Pettis. With that pedigree, you’d expect songwriting and vocals to be among this trio’s strengths, and judging by this eponymous full-length album, indeed, they are.

Nobody’s Girl knows how to structure a song to build to power, to complement the vocals, and to connect emotionally.

The trio kicks things off emphatically with “Kansas,” a song whose music bed is as rich and lush as the group’s harmonies, a song sure to become an anthem of strength and support for those who left behind Kansas – whether the state itself or the state as a metaphor.

Throughout the rest of the disc, other favorites step forward, though the songwriting and delivery is so solid those breakthrough songs are destined to be different for each listener.

Nobody’s Girl tackles social issues in many of its songs. Songs like “Kansas” are subtle. Others, like “Promised Land,” are a lot more direct – though dependably tuneful, engaging, and catchy – lamenting the state of the U.S., but opining hopefully toward the end that “from where I stand, this could still be the promised land.”

“Rescued” stands out as an energetic song about personal independence with a cool rhythm line and, you just might notice, a small but effective guitar riff at just the right spot in the second half of the song to propel it home.

Difficulties of a career in music are fodder for the melancholically uptempo “Beauty Way.” Similarly uptempo “What’ll I Do” is a fun take on perhaps not the wisest romance.

Other notable songs include “Birthright,” singing forthrightly about a range of traumas, large and small, recent and generational; the floatingly, soft “The Morning After,” with its almost haunting musical backdrop and phrasing, particularly in the verses; and a relatively true to the original (but still oh-so-worth-the-listen) cover of  the Carole King classic “So Far Away.”

The disc closes with the sweet, folksy “Lark,” which repeatedly poses the question, “Where you runnin’ to?”

Individually, the members of Nobody’s Girl are obviously talented. Collectively, wow! And Nobody’s Fool is an exceptionally strong collection of songs that should be of interest to a group of fans with musical tastes ranging from singer-songwriter to pop-to-mid-tempo rock to some country-leaning Americana.

Looking Ahead

There are currently no tour dates listed on the “Tour” page of Nobody’s Girl’s website. However, there are current opportunities to see the trio perform separately. Rebecca Loebe’s “Tour” page shows that she has a September European tour planned. BettySoo’s “Shows” page shows that she’s in the middle of a continent-spanning summer tour. Grace Pettis’s website, meanwhile, lists a single September 21st date at McGonigel’s Mucky Duck in Houston, TX.

Album Review: Jeff Kollman – East of Heaven

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Jeff Kollman

photo courtesy of A.R.M.

Album Review of Jeff Kollman: East of Heaven (Marmaduke Records)

A few days ago, I reviewed an instrumental album from Lanterna. That was one of the two instrumental releases that have been gracing the top of my review-queue playlist during much of the last couple of years. This, Jeff Kollman‘s East of Heaven, is the other.

Jeff Kollman – East of Heaven

image courtesy of A.R.M.

East of Heaven is a classic rock-styled album, driven by Kollman’s axework. I don’t have many all-instrumental albums in my collection, but this one will sit proudly alongside my Steve Vai and Marc Bonilla discs. It’s one of those guitar-driven instrumental collections that can reach a broader market, with structured, catchy songs that’ll quickly become like old friends even for those of us who might typically like to sing along.

You may know Kollman from his hard-rockin’ stint with Edwin Dare in the ’90s or perhaps more recently from his prog-metal fusion group Cosmosquad. This disc falls clearly within the purview of someone with Kollman’s resume, showing off what he can do on a “solo” rock album. Of course, though Kollman’s guitarwork drives the record, his top-shelf bandmates make this truly a bandwide effort. Jeff is joined by Shane Gaalaas and Jono Brown on drums, Paul Shihadeh on bass, and Guy Allison on keyboards.

Jeff Kollman

photo courtesy of A.R.M.

East of Heaven opens with “Loss,” a 2-minute table-setting piece, sporting guitarwork with just a hint of distortion on what seems like a slowly-building music bed. It’s the sort of 2-minute album intro you might expect to kick off a classic rock album, particularly in the days when AOR ruled the world, and not necessarily just on concept-driven discs.

In the heart of the album, “Superstring Theory” is probably my favorite of the harder-rocking numbers, thanks to its driving rhythm. Other favorites include the more often – though not always – softer “Ghostly” and “East of Heaven” and the mellow guitar-picker “So Long Ago.” The songs on East of Heaven range from energetic to introspective to moody, though perhaps most often introspective, covering a broad spectrum of sounds and emotions.

Kollman closes the disc aptly with “See You On the Other Side,” a meandering piece with a recurring theme, traveling a musical journey that draws sonically upon many of the prior songs in the collection, combined in such a way that it seems to be saying “So long for now. We’ll meet again on the next album.”

If you’re a classic guitar rock fan, a guitar instrumental fan, or both, East of Heaven will be a welcome addition to your collection.

Jeff Kollman

photo courtesy of A.R.M.

More About Jeff Kollman

Since this album’s, there’s a newer single, “Green For Miles” (featuring Guy Allison), available from Jeff at his Marmaduke Records bandcamp page.

You can follow Jeff on Instagram for new announcements, including upcoming shows. Also, though there are no dates listed, you can watch the “Events” tab of Jeff’s Facebook page and the “Events” tab of Cosmosquad’s Facebook page for upcoming listings.

Album Review: Liz Bills and the Change – Liz Bills and the Change

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Liz Bills and the Change

photo by Andy Twyman Photography; photo courtesy of Liz Bills

Album Review of Liz Bills and the Change: Liz Bills and the Change

This is the eponymous debut album of Liz Bills and the Change. Blog readers may be familiar with Liz, who has been featured in these pages as Analog Heart’s vocalist and as a solo performer. Her latest act, Liz Bills and the Change, is toned down from her hard-rockin’ Analog Heart gig, but it’s still very much Liz Bills-styled music. And with this release, Liz is back in a band format, bouncing off of other talented artists who share the studio and the stage with her, so it has a cool energy. Always one to move forward and expand upon what she’s built before, this band and new release are a great next musical step for Liz; in fact, Liz Bills and the Change snagged the Pop Act of the Year award at the 2021 New England Music Awards.

This album is engaging from the very first listen, but it has so many layers and so much depth it gets better each time through, though with Liz Bills’ songwriting skills, that’s no surprise.

While Liz Bills’ music is frequently deep and introspective, it’s also, without a doubt, a lot of fun. Liz exudes a warm, enthusiastic, authentic energy during her live performances; it features prominently in her songwriting and in her recordings, too.

On brand, this album kicks things off with high energy. An energetic rhythm drives “The Train Song” in such a way you’ll not only bounce along to it, but you’ll find yourself screaming along with Liz’s vocal train whistle, “Whoo Ooh!” And yet, it’s not just a fun song. The train serves as a metaphor for life’s journey or, more specifically, life’s best – or at least more interesting – journey, and Liz sings tuneful encouragement.

Life’s journey continues with “Somebody Else,” as the verses chug along (because now you’ve caught the train, if I were to continue to train metaphor) interrupted by serious tempo and mood changes in the chorus and bridges (because your life may not always be on the track you expected).

Liz’s songwriting drifts home during the disc, notably in the next song, “Home,” and a couple songs later, on “Mama’s Song.” There’s a little melancholy in the slow-tempoed but flowing “Home,” but shrouded more in remembrance than sadness. “Mama’s Song,” meanwhile, is an ode – a very personal lyrical love letter – to a mother from a child who knows the mother did her best and appreciates all she’s done, even as the child is just slowly coming to this realization gradually with each passing year. This introspection seemingly culminates with the revelation that is this song, which acknowledges just what the mother has accomplished and, perhaps, sacrificed.

Nestled in-between those two tracks sits “When I’m With You,” a tuneful, folksy, strumming love song. Even a slow song like this moves along with a bit of a motor when performed by Liz Bills and the Change. Liz’s music never gets too mellow, even when her songs are chill.

“Wi-Hi” is a fun, funky, dynamic song about the psychological ill effects of being constantly connected. “Gasoline” is a playful song about playing with fire, mixing imagery with metaphor – mostly metaphor, but it makes for a clever, fun ditty. And “Come Back to Me” closes the album with a funky rock ‘n roll flair, a style we’ve come to know well from Liz through the years.

Once again, Liz Bills has assembled an album that’s a fun listen – I’d dare you to try not to smile while listening, but you might hurt yourself – while being thoughtful and introspective, causing listeners to examine their own preconceived notions. It’s a stellar debut for Liz’s newest band, Liz Bills and the Change.

Looking Ahead

There are a few upcoming shows listed on the “Tour Dates” page of Liz’s website. She’ll be at the Summer Soiree 2023 in West Sidney, ME on July 27th, at TroutStock 2023 in Rutland, MA on August 4th, at the Boston Harbor Distillery in Boston, MA on August 25th, and at Wormtown 2023 in Greenfield, MA on September 14th. Of course, keep checking back to see new dates at they’re added. Also, be sure to follow Liz’s Facebook and Instagram accounts for show and career announcements.

Album Review: Lanterna – Hidden Drives

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Lanterna

photo by Theo Merritt; image courtesy of Howlin’ Wuelf Media

Album Review of Lanterna: Hidden Drives (Badman Recording Co.)

You know how sometimes the way an album hits you is more about a sound than it is about the individual songs? Well, Lanterna‘s Hidden Drives is one such record. Over the last year or two, this collection of instrumental tracks has resided near the top of my to-be-reviewed queue, providing a warm, rich music bed conducive to the thoughtful analysis required by my work. Though Hidden Drives is soft and unstartling – important to those who listen to music while they work – it also features musical hooks and flourishes that embed themselves into the listener’s brain, capable of reappearing unprompted in the mind days or even weeks after the most recent listen.

Lanterna – Hidden Drives

image courtesy of Howlin’ Wuelf Media

Musically, Lanterna’s songs float and flutter – the fluttering a result of adeptly-picked guitar strings – while similar rhythmic themes seem to reappear from song to song. The reappearance is, of course, more complete in the handful of songs that are reprised at the back-end of the disc. Hidden Drives contains 15 tracks. It kicks of with ten songs, then ends with reimagined versions of five of those ten. For example, the smooth strummed, warm motor of the second song on the album, title track “Hidden Drives,” reoccurs on track 11, “Hidden Drives (Thomaston).” You know, to be honest, the differences in the remixes are generally too subtle for me to realize when the songs cycle back around. However, it’s the repetition – both the similarities of different songs and the repeating of several songs at the end – that causes this album to quickly feel like an old friend.

Much of the album is quiet and mellow, but you’ll find bursts of energy. “Chagrin Boulevard,” “Aqueduct,” and “Nice” are a few songs that provide that modest tempo variance. But the mellower songs are the backbone of Hidden Drives. Favorites include “Cupola” and “Cupola (University Avenue),” “Redwood” and “Redwood (Sans),” and “Flag.”

In all, I have really enjoyed listening to the disc regularly for months and months and months. If you dig light but interesting instrumental soft rock, whether as a soundtrack to your workday or in any other locale, you owe it to yourself to give Lanterna’s Hidden Drives a test drive.

Looking Ahead

Though there are no upcoming shows listed, you can find performance dates, as they’re added, at the bottom of the main page of Lanterna’s website and on the “Events” tab of the band’s Facebook page.

Album Review: Shawna Caspi – Hurricane Coming

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Shawna Caspi

photo by Roni Hoffman; photo courtesy of Shawna Caspi

Album Review of Shawna Caspi: Hurricane Coming

This isn’t the first time I’ve reviewed Shawna Caspi. She’s one of my favorite folk-based artists, with a pure and precise – yet emotional – folk voice that makes every song seem like it’s telling a story. It takes a special artist to stand apart in this crowded genre, and Shawna does, indeed. (If you read my live review of Shawna’s WICN performance a few years ago, you already knew this.) Today, I’m writing a long-overdue review of Shawna’s most recent album, Hurricane Coming.

One of my favorite things about Hurricane Coming is that Shawna flexes her musical muscles a bit on this disc, with compelling and varied songwriting and, perhaps more importantly, a stretch of Shawna’s vocal range and style, with occasional growling grit and some emotional reaching-for-notes thrown in to complement Shawna’s sweet, smooth vocal power.

Shawna Caspi – Hurricane Coming

image courtesy of Shawna Caspi

That variance doesn’t start with song one, though. Shawna kicks things off with a strong steady strum and her comfortably smooth voice, engagingly dancing through a fast favorite in her inimitable, classic style – folky, uptempo songwriter rock with a rich music bed, “Wait Love.” That’s followed by the plaintive, pleading “Leaving Ain’t Easy,” a memorable track that features a sad guitar wail and is sure to be a favorite of some, particularly those wallowing in heartbreak.

Next song, “Ghost Town,” is the one in which Shawna seems the most like a stripped-down rocker. Yes, one of my favorites. It’s uptempo, driven by an energetic rhythm line, intermixed with some distorted country-style strumming and, well, those lyrics. The lyric that hits closest to home for me comes when Shawna croons, “I feel like the worst kind of person most of the time, a big city bully when I’m stuck in line with the postal clerk who types too slow, and I make a sign like I’ve gotta go.” And yet it’s a song about being welcomed and accepted, especially when we travel with open hearts, even when we’re outside our comfort zones.

Shawna Caspi

photo by Roni Hoffman; photo courtesy of Shawna Caspi

“Echo” exudes the full emotions of a melancholy remembrance. “One More Chance,” too, showcases Shawna’s ability to turn a phrase well, with a steady rhythm keeping the song moving even as its guitar parts and vocal line seem to want to meander. And “Hope Lives” is softly powerful, painting vivid pictures of an abstract emotion.

Shawna picks up the tempo a little on “Lay Low Shadow,” with a hint of country twang, though it’s really more the instrumentation than her vocal that waxes country, even if it sometimes feels otherwise. But it’s a brief uptempo interlude, as the mellow, sweet, emotional “Running Start” provides a slower but commanding follow-up.

Penultimate track “Celebrate” is playful and uplifting, with guitar picking dancing playfully, emphasizing the light-hearted hopefulness of celebrating small victories.

Final track “Hold the Light” is more densely instrumented, delivering a satisfying ending to Hurricane Coming. Throughout, though it pulls no punches about life’s difficulties, this album is hopeful. And, of course, pleasant to listen to, well-suited to Shawna’s vocal talents.

Since the Release

Hurricane Coming was nominated for a 2023 Canadian Folk Music Award in the Contemporary Album of the Year category.

Shawna Caspi

photo by Eric Thom; photo courtesy of Shawna Caspi

On the Road

Shawna has several upcoming gigs already scheduled in the U.S. and Canada this year. On July 21, you can catch her at the Two Way Street Coffee House in Downers Grove, IL, and on July 23, she’ll be performing a Knight Road House Concerts show in Ann Arbor, MI. August features several shows in Ontario plus a mid-month gig in Manitoba. Beyond that, there are New Jersey and Ontario shows booked later in the year, and a Fort Myers, FL performance already scheduled for April 2024. Be sure to check the “Gigs” page of Shawna’s website for dates, times, and venues.

Album Review: Carl Weingarten – Stop Me Try

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Carl Weingarten

photo courtesy of Rock Rose Music

by Eric Harabadian, Contributing Blogger

Album Review of Carl Weingarten: Stop Me Try (Multiphase Records)

Carl Weingarten is a guitarist/composer who works in a lot of different artistic mediums. He is a master on slide guitar and Dobro but also is very facile in terms of programming and sound design. His background as a photographer and filmmaker seems to permeate most of his work in the jazz, blues, and ambient music fields. In particular, this album features five slices of electronica and chill-oriented pieces that are rife with dreamy imagery and surreal landscapes.

Carl Weingarten – Stop Me Try album cover

image courtesy of Rock Rose Music

This extended five track album features Weingarten playing the lion’s share of guitars, keyboards, and devices. Frequent partner – and an artist in his own right – Michael Manring blends subtle coloration with bold aural brush strokes on fretless bass. The result, to this reviewer’s ears, harkens back to some of the groundbreaking efforts by Ralph Towner, Terje Rypdal, and Eberhard Weber on the European ECM record label.

“A Fistful of Dust” is an example of this otherworldly sound utilizing various clever production ideas and melodic guitar figures. Strings and orchestral filigree mix with dense percussion for a Mediterranean/Near and Middle East cultural mash-up. “Ideas of May” is kind of moody, with a hint of jazzy samba beats. The droning and spacey guitars suggest some of David Gilmour and Robert Fripp’s finest work. “Night Life Again” focuses on the groove and interwoven themes and percolating rhythms. Various converging guitar sounds rally around a modal harmonic approach. “For Rosa” is kind of a modal blues, with an oscillating and bubbly beat. It’s also somewhat celestial and swings, ever so slightly. The title track, “Stop Me Try,” typifies the entire nature of this disc – dreamy, atmospheric and spiritually techno. The music gradually builds as it breathes and gets a funky undertone from Manring. The result sounds like something, not unlike the mid-’70s period for bassist Rosko Gee as a member of Krautrock experimentalists Can.

Album Review: Jimmy Ryan – Astral Café

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by Eric Harabadian, Contributing Blogger

Album Review of Jimmy Ryan: Astral Café (Ryanetics Music Ltd.)

Cut from the same cloth as those progressive rockers like Jeff Beck, Joe Satriani, Eric Johnson, Al Dimeola, Vinnie Moore, Steve Morse, et al., Jimmy Ryan has been crafting that hearty fusion guitar sound since the ’90s. He first gained notoriety with his guitarist brother Johnny as The Flyin’ Ryan Brothers. After a series of group and solo records he culminated all his axe-bending efforts into this 2021 release Astral Café. And if you are a fan of the aforementioned guitar gods, be prepared for a real treat in what Jimmy Ryan brings to the café table. He’s kind of bluesy, jazzy, certainly rocky, and all points in between. The leader handles all guitars, bass and vocals on the album, along with co-producer Dan Van Schindel on drums/percussion and Johnny Ryan on one track.

Jimmy Ryan – Astral Cafe

image courtesy of Rock Rose Music

Thematically, the mostly instrumental album features a number of spacey titles and sounds, but Jimmy will also knock you out with his incredibly facile and booming voice. Astral Café kicks off with the driving Satriani-influenced “Starlord.” There are some smooth harmonized leads supported by Van Schindel’s nimble and relentless drumming. “Shatterbrain” follows and spotlights Jimmy’s penchant for great melodies and rhythm work.

The first musical detour comes in the form of his totally unique and revamped cover of Robert Johnson’s “Crossroads.” It’s a very muscular and visceral take on, arguably, one of the most famous tunes in the blues lexicon. His wah-wah guitar licks and clear guttural vocals transcend the genre in many ways.

Back to outer space, “Earthrise” has a slow and percolating feel that is ethereal and atmospheric. “Skydance” puts emphasis on melody and switches from a moderate to up tempo vibe in the mid-section. “Black Ice” is somewhat similar in tempo but more orchestrated, with changes in various portions of the song.

Jimmy Ryan

photo courtesy of Rock Rose Music

Jimmy delves back into his blues roots for a song popularized by Muddy Waters called “I’m Ready.” His throaty vocals and hard rock feel revitalize the song for modern ears. Back to back tracks “Dulcinea” and “Berserker” spotlight layered guitars and Black Sabbath-like riffage, respectively. And Jimmy further seals his classic rock roots with nods to Led Zeppelin on the bluesy “Plectrumelectrum.”

Another outstanding riff-fest can be found in the meticulously constructed instrumental “Dreadhulk.” It’s a relatively short piece that mixes angular melodies, with beefy bass lines for a succinct and memorable track.

“Celestial Voice” is dedicated to the late drummer Neil Peart and, indeed, makes musical references to that progressive Rush style. Here, Jimmy modulates his voice from a gritty façade to more of an airy and eloquent approach. The leader is joined by Johnny Ryan for the album closer “Quiet Flight.” This features their twin guitar attack, not unlike Wishbone Ash or Blue Oyster Cult. Johnny steps up to give his brother a run for his money and it really swings in spots too.

Jimmy Ryan is a consummate guitarist and composer that flawlessly unearths many musical styles. He covers a lot of fertile fusion-like territory, with ample grace, passion and tasteful finesse.

Album Review: Karen Shook – Moodswings Part 17

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Karen Shook

photo courtesy of Karen Shook

by Eric Harabadian, Contributing Blogger

Album Review of Karen Shook: Moodswings Part 17

Karen Shook hails from the south side of Chicago. Raised on the music of Sarah Vaughan, Indigo Girls, Jimi Hendrix, Aretha Franklin, Brandi Carlile, Cyndi Lauper and the like, she has shared her gift of rock, soul, blues and country vocalizing and guitar chops with eager music students and fans throughout the Midwest. Shook was also a finalist in the Sonoma County Singer-Songwriter Competition (2018) and Suburban Chicago’s Got Talent (2019).

Karen Shook – Moodswings Part 17

image courtesy of Karen Shook

On Moodswings Part 17, the singer-songwriter tells you what she’s all about from the get go. In “I’m Here I’m Awkward” Shook sings, “I’m here, I’m awkward I might say something weird… I won’t disappear, I’m out now, I’m owning the truth, I’m living the best life I choose.” It’s a call to arms for anyone that’s got something valid to say. And she does it with a big booming voice amid the rumbling of Jim Seidel’s upright bass and the slam of Paul Griffin’s drums. It’s Shook’s wake up call for all you wallflowers out there.

“Mama Needs Some Strange” is bluesy and acoustic, with a strident tone and smooth harmonica backing from Phil Bava.

Shook speaks her truth on all 12 self-penned tracks. “Broke and Hungry” is one of her best, with a timeless message that states, “When you’re broke and hungry, you see the things that you didn’t need.” She kicks those big ticket items like cars, expensive clothes, etc. to the curb and seems to put it all in perspective.

Karen Shook

photo courtesy of Karen Shook

“Growing Pain” veers off the blues and country path slightly for a poppy radio-ready type of track. The hook “It’s okay if it’s uncomfortable… it’s just a growing pain” is another grain of truth aimed at perseverance and staying on your path.

“Next Time” is a reflective and moody piece that has a chamber music quality to it. Bassist Siedel and guest violinist Zachary Stordahl converge with Shook’s plaintive vocals for an album highlight.

“Unstoppable” follows and is another testament to her resolve in this heartfelt ballad. A little further down list “Breathe” offers some more good advice. “I know the whole world feels crazy… all you gotta do is breathe,” sings Shook. She goes on to say, “You say you’ve got a broken heart… Be here in the moment, be the love you seek.” She seems to sing from personal experience. And that wisdom is certainly appreciated in these troubled times.

“What You Are” is a nice slice of bluesy songwriting, with rhythmic subtleties blended between Shook’s acoustic guitar, the bass and Griffin’s groovy conga work. It is kind of a jazzy piece which leads into the album’s final two songs, “You Were the One” and the title track. Both tunes spotlight Shook’s ukulele playing, with the former somewhat reminiscent of Melanie or Joni Mitchell and the latter a solitary and personally-revelatory ballad.

Karen Shook

photo courtesy of Karen Shook

Karen Shook is a singer-songwriter with a perspective and personal vision that is authentic and artistically sound. She’s got a full live schedule on her website so do yourself a favor and check her out.

Looking Ahead

Per the “Shows” page of Karen’s website, you’ll find her tonight, Saturday, May 20th at 8:00 PM at Choppers in Antioch and tomorrow, Sunday, May 21st at 11:00 AM at the Black Barrell Tavern–Old Town in Chicago. It looks like she has one or two shows booked each week through late August, and then a few more scattered through the rest of the year with, I’m sure, more being added all the time. If you’re in – or visiting – Chicagoland and the surrounding areas, be sure to peruse the concert calendar.

Also check out Karen’s website for copies of Moodswings Part 17 on vinyl or compact disc.

Album Review: Matt Hillyer – Glorieta

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Matt Hillyer

photo by Shane Kislack; photo courtesy of RPR Media

by Eric Harabadian, Contributing Blogger

Album Review of Matt Hillyer: Glorieta (State Fair Records)

Back in the mid-’60s The Lovin’ Spoonful had a hit called “Nashville Cats.” And in it, lead singer John Sebastian sang “Well there’s thirteen hundred and fifty two guitar pickers in Nashville. And they can pick more notes than the number of ants on a Tennessee ant hill.” No doubt one of those aspiring guitar pickers spawned by that monumental music town is none other than singer-songwriter Matt Hillyer. But, like they say, the cream always rises to the top and, with Hillyer, that is, indeed, the case.

Matt Hillyer – Glorieta album cover

image courtesy of RPR Media

For over 23 years, Hillyer honed his craft as a member of legendary honky-tonkers Eleven Hundred Springs. When the band called it quits at the end of 2021, the prodigious tunesmith parlayed his considerable acumen into a solo career. The result of that venture is evidenced here in his 2023 release Glorieta.

This is a diverse affair that packs a considerable traditional country wallop, but it also throws in a few interesting musical detours along the way. The title track kicks off the album and is an ode to a family retreat nestled deep in the hills of New Mexico. It contains a huge chorus with a nice mix of lyrical guitar and fiddle from Hillyer and Heather Stalling, respectively.

“Stolen Kisses” has a bit of a driving swing that’s equal parts Dwight Yoakam and Roy Orbison. The chord changes are tasty and reflect an upbeat mood. “Just Passing Through” continues that workman-like country feel, with a radio-ready ballad. And “You Gotta Keep Moving” is a catchy and endearing track, with an uplifting message of perseverance and overcoming heartbreak and defeat.

Matt Hillyer

photo by Shane Kislack; photo courtesy of RPR Media

“Ordinary Man” follows and is anything but ordinary. It is sort of an ode to Hillyer’s father, who “lived for his family, the most important thing in his life.” As his bio states, the song is “more Beatles than Bakersfield.” And this tale of an unrequited life does have a surreal, “Sgt. Pepper” vibe to it. It’s very reflective and atmospheric and somewhat atypical to what one might expect from a traditional or, even, modern country artist. But, again, Hillyer likes to color outside the lines and this song certainly nails that.

“Dirty Little Secrets” returns to a country format, with a catchy mid-tempo groove. “What Kind of Fool” ushers in a shuffle. It harkens back to a ’50s/’60s-flavored ballad. Hillyer finds a sweet niche here for some succinct and passionate guitar fills. “It’s All About the Ride” and “Holding Fast” are great slices of that pure honky tonk this songwriter made famous.

The record winds down with the eerie and noir-ish “Diablo Motel.” It’s got a decidedly Tex-Mex feel and some nice touches of accordion from Abel Casillas. Appropriately, Hillyer concludes with the clever and worldy-wise “That’s How You Know.” In it, the singer-songwriter depicts the goings-on at a house party that seems to be getting out of hand. But if you listen with a third ear, he makes excellent commentary on male-female relationships and human nature as a whole.

Matt Hillyer is a musician with a stellar reputation, particularly within the country music community. But, now as a solo artist, it’s obvious he’s got a ton of fuel left in the tank and is just getting started as far as what he creatively brings to the table. He’s a fully-formed singer-songwriter who respects the traditions of the past yet has a clear vision for how to blend that with a modern world perspective.

Matt Hillyer

photo by Weslie Delgado; photo courtesy of RPR Media

Looking Ahead

The “Tour” page of Matt’s website lists a few upcoming gigs around Texas. Matt opens, as a solo acoustic act, for Joshua Ray Walker on Friday, May 19 at the 11th Street Cowboy Bar in Bandera and on Saturday, May 20 at Gruene Hall in New Braunfels. You can also catch him on Friday June 2 at KHYI’s 27th Annual Texas Music Revolution in McKinney, on Friday, October 6 (solo acoustic) at The Great State Fair of Texas in Dallas, and on Saturday, October 7 opening for Dale Watson at The Truck Yard in Dallas.

Matt’s Instagram account is a good follow. You can also find him on Twitter and Facebook.