Tag Archives: Album Review

Album Review: Angie and the Deserters – You

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Angie and the Deserters

photo courtesy of Miles High Productions

Angie and the Deserters – You

EP Review of Angie and the Deserters: You

Angie and the Deserters - You

image courtesy of Miles High Productions

Led by the inimitable, engaging voice of Angie Bruyere, Angie and the Deserters have released their second EP this year, You. It’s the follow-up to Blood Like Wine, which I reviewed in September. Angie & the Deserters play a version of Americana that blends country and Western music, adding in a rocking edge from time to time. The Deserters are guitarists Kyle Stevens (Bang Tango) and Danny Hulsizer (Gutter Boy) along with pedal steel player Chris Lawrence. But it’s Angie’s voice that makes this band particularly special. It’s a gravelly type of breathy, and on some of the more rocking songs – notably “Forgetting to Forget” and “17 Days” – she almost seems to be channeling the energy of Chrissie Hynde. Indeed, once you hear the comparison, it’s impossible to unhear.

Angie Bruyere

photo courtesy of Miles High Productions

In fact, Angie’s voice sounds a lot like Chrissie Hynde with a hint of E.G. Daily (whose singing voice you may remember from her role as Phoebe’s former singing partner Leslie on Friends… or her turn on The Voice). And it’s that combination, when Angie’s voice occasionally unleashes a sexy, gravelly rock ‘n roll squeal for emphasis, that you’ll remember long after the disc is over.

The two catchiest tracks on this EP are the aforementioned “Forgetting to Forget” and “17 Days.” “Forgetting to Forget,” which builds to power with a soft edge and features emotional rock guitar bridges, is probably my favorite song on here, though “17 Days” is a close second. “17 Days” kicks off a bit more raucously, with insistent drumming, and carries that mid-tempo energy through to the end.

Angie and the Deserters

photo courtesy of Miles High Productions

Sandwiched between those numbers is the title track, “You.” It’s an engaging waltz; yes, it’s a pure enough waltz that any fourth grader paying attention in music class would be able to identify it. It swoops and sways, punctuated with marching band-style drum accents and, of course, Angie’s voice rising, falling, providing emotion, and adeptly moving around the melody.

Angie Bruyere

photo courtesy of Miles High Productions

That’s not to say the rest of the disc isn’t fine, as well. The strumming and fiddling that open “Stay” set the mood for the EP; combined with a little twang and skillful plucking, it’s likely to be some listeners’ favorite gravelly crooner. Meanwhile, the more ominous “When the Nighttime Comes” and gentler “Goodbyes,” a revamped, more crossover-friendly version of the song that appeared on The Deserters’ West of the Night album, complete the EP, a terrific follow-up to Blood Like Wine.

In the short-term, I absolutely can’t wait for a chance to see Angie and the Deserters live if that opportunity presents itself. Longer-term, I can’t wait to hear what comes next, where these EPs lead Angie and her cohorts on the next step of their musical journey.

Album Review: Jon Mullane – Shine

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Jon Mullane

photo courtesy of ACR Management

Jon Mullane – Shine

Album Review of Jon Mullane: Shine

There’s a total ’80s rock vibe to Jon Mullane‘s Shine. That melodic, tuneful pop-rock that made the careers of singers like Rick Springfield, Starship’s Mickey Thomas, Billy Squier, and others of that era. Jon’s voice is medium-high; the songs are melodic and tuneful, mixing keyboards and guitars; the melodies soar, often almost cheesily. But here’s what’s often forgotten about the best of that genre, the reason it’s timeless. While catchy melodies are a prerequisite, the best vocalists, like Jon, have an emotional edge to their vocals, a connection between singer and song, that cause the tunes to really hit home.

Jon Mullane - Shine

image courtesy of ACR Management

Jon kicks Shine off with the catchy “My New American Girl.” Though I’m hesitant to abuse the Rick Springfield comparison, because Jon’s voice has only a passing resemblance to Rick’s, this song is energetically rather similar to Springfield’s “The American Girl” from his Success Hasn’t Spoiled Me Yet album.

“Shine On Tonight” follows, its very eighties hand-claps punctuating the fun, energetic mid-tempo rocker.

And “Way Up” establishes the hopeful, sedatedly energetic tone of the album – mid-tempo and happy – as its bridges soar and its rock guitar and electronic-edged keyboardwork establish an upbeat energy that well suits Jon’s crisp-with-a-roughness, emotional voice.

Jon Mullane

photo courtesy of ACR Management

Jon has found some recent critical success with another of my favorite songs on Shine. The video for single “Born Beautiful” was honored by the International Music and Entertainment Awards as 2016 Music Video of the Year. The song itself is a heartstring-tugging, emotional mid-tempo number that pops with soaring vocal and musical releases.

“Take Me Away” brings back the hand claps and energetic enthusiasm. Again with the soaring vocals; by now it’s apparent they’re a Jon Mullane staple, a well-honed calling card that distinguish the songs on this album as being uniquely and engagingly his.

Jon Mullane

photo courtesy of ACR Management

Distorted guitar takes center stage on a couple late-album numbers worth mentioning. The energy and enthusiasm of “So Into U” and “Body Rock” are great eighties-flavored rock numbers that keep the energy going… and the body moving (or “rocking”), setting the listener up for the well-placed soft landing.

Indeed, the album closes with a second rendition of the powerful emotional ballad “Any Other Way.” If there’s a song on Shine that’ll make you cry, this is the one… both times. Even if you don’t listen to the lyrics, you’ll feel it from the gravel in Jon’s vocals and the way his voice cracks in the “emotional spots.” Great performance of a heartugger; classic way to end the disc.

Album Review: Jay Taylor – Hold On

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Jay Taylor

photo by Geoff Wilbur

Jay Taylor – Hold On

EP Review of Jay Taylor: Hold On

That voice. There’s something special about Jay Taylor‘s voice. Something completely country about it, too. Not modern country, though. Not necessarily old-school country, either. I’d call it timeless country. He can do the old-school songs, which are clearly close to his heart, and make them seem modern and appealing to audiences across the country sub-genres. Of course, I raved about Jay’s voice when I wrote this live review a couple months ago. And I’m sure I’ll do it again next time I write about him.

The songs on this five-track EP are earworms. Give them a listen and they’ll come back to you at the oddest times. Hold On is a collection of well-written songs delivered by one of the finest country voices you’ll ever hear.

Jay Taylor - Hold OnThis disc kicks off with the song that hooked me when I first heard it months ago, the title track “Hold On.” Right off the bat, the twanging guitar will grab you, and Jay’s earnestly powerful vocal joins right in, evolving “Hold On” into the hookiest, catchiest, most fun songs about drinking moonshine you’ve ever heard.

“How I Wanted To” is a heartfelt love-lost song with a twang and drum roll that would be at home in the 1970s but delivered with just enough modern pop and country edge that it stakes its claim as a contemporary number, even featuring a timeless harmonica bridge.

“The Green Dress Song” is another pure country ditty. I always think of slower tempos when I think of George Strait, but I can absolutely hear George’s rich, emotional country voice – with just enough country twang – in Jay’s vocals on this charming uptempo song with enough slide guitar to sound as if it came straight from the Opry stage.

The “ohs” in “The Light” suggest balladic Elvis, but Jay delivers it with a rich, full vocal that’s entirely his own. This lyrically interesting crooner about a nomadic soul would be as at-home in an arena with an audience full of lighters (or smartphone screens) held aloft as it would be in a 1950s high school gymnasium during a homecoming dance.

The nomadic soul theme continues with “Hello Railroad,” but this one has more of a Johnny Cash flavor to it. To no one’s surprise, of course, Jay’s voice is up to the challenge.

In summary, Hold On is catchy, engaging country music that will stand the test of time performed by a modern country boy with one of the finest, most versatile voices you’ll ever hear.

Looking Ahead

Jay’s a fun, laid-back showman with a great voice, so I’ll certainly get out to see him perform again whenever I can if I see he’s performing in my area. If you’re in Charlotte, NC, you’ll get a chance when he’s at Tin Roof of December 2nd. And on December 3rd, he’ll be at the Tin Roof in Columbia, SC. Jay’s schedule includes several other Tin Roof stops, in Lexington, KY on Friday, December 16th, and in Louisville, KY on Saturday, December 17th and Friday December 30th. Several 2017 shows are on Jay’s calendar, again hitting the Tin Roofs in Charlotte, Columbia, Louisville, and Lexington. Click on the tour page of his website for more details on those shows and to see when he adds additional dates. Until you get a chance to hear him perform live, though, check out the Hold On EP.

Album Review: Bethan Lees – Ships

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Bethan Lees

photo courtesy of Bethan Lees

by James Morris, Contributing Blogger

EP Review of Bethan Lees: Ships

Back in September, you may have seen a review I did for the debut single release from UK singer-songwriter Bethan Lees. Time has flown by, and those warm post festival summer days seem like a distant memory as I sit here writing with the rain hammering down on a particularly cold November evening. But November is the month I have waited for if only to get my hands on the new Bethan Lees EP release, Ships, which is out 25th November on Folkstock Records.

If you remember, I was most impressed by what I heard when I listened to her first single “Post Festival Blues” and couldn’t wait to hear the rest of the EP. Well, now I can report that along with “Post Festival Blues,” the EP has 3 other gems on it. The title track “Ships,” the bluesy jazz sound of “Water and Wine,” and the haunting “Sleep.”

Bethan Lees - Ships

image courtesy of Folkstock Records

First and foremost you notice the voice. What a voice! Sometimes sweet and cheeky, and at others, ghostly and ethereal. A slightly husky, whispering tone comprised of such unique melodic tones that it makes the hairs stand up on the back of your neck. This is a young voice with a depth of maturity that at times seems to channel veteran blues or jazz singers from the past. It is unaffected and not forced, and this naturalness makes her such a pleasure to listen to.

There is a small arrangement for each song based around her guitar and voice. A little bit of drums and double bass, some eerie cello on her title track “Ships,” just enough to colour the songs. To be honest, I think they would have stood up on their own with just her voice and guitar, such is the strength of the material and performance. Maybe this would have brought out even more of the intimacy of her delivery; sometimes when she sings it is like a ghost whispering in your ear. That said, the EP is a great opportunity to hear the embryonic magic of what I believe Bethan will continue to produce.

She has a rare talent, and I believe from what I’ve heard so far she stands uniquely poised for some exciting times ahead.

On December 15th, she is launching her EP with a live performance at The Lamb Inn, Lewes, East Sussex. She is going to be joined by a few of her musical friends, and I would think it will be a fine evening to show off her talents playing tracks from the EP plus even more of her new material.

Catch up with her activity on Twitter.

Album Review: Sonic Syndicate – Confessions

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Sonic Syndicate

photo courtesy of Head First Entertainment

Album Review of Sonic Syndicate: Confessions

My first thought when I heard “Confessions,” the title track, was that George Michael was singing synth-pop with a heavy backbeat and rock guitars. An intriguing opening track, it announces a brand new sound for Sonic Syndicate, and even as Confessions settles into its heavy melodic synth-infused rock core, it is very much unlike anything else in my collection and quite different from Sonic Syndicate’s prior releases. I’m sure it’s causing quite a bit of consternation among the band’s legion of existing fans.

Sonic Syndicate - Confessions

image courtesy of Head First Entertainment

Indeed, yes, when Nathan J. Biggs took over vocal duties on We Rule the Night, there was a noticeably more melodic shift, but Confessions is a seismic departure. I’m intrigued, but I also wasn’t a devoted fan before the change, so I enter the equation without preconceived notions. The synth-driven beats, pop vocal sensibility, and persistent beat (almost like you’d expect in a dance club) are truly a hybrid sound. On this disc, Nathan and founding guitarist Robin Sjunnerson are joined by Michel Bärzén on bass, as well as other musicians in the studio. And they’ve produced a one-of-a-kind sound worth taking a chance on.

Third track “Start a War” is a standout track, as it builds to power, stops and starts a bit, and plunges forward with an infectious heavy melodic rhythm.

Throughout the album, there are small details – like the guitar run in “Falling,” for example – that serve as hooks while showing the care that went into the song construction and production here. And the bursts of power in “Burn to Live,” strung together with softer vocal bridges and walls of synth and guitar provide the song with an engaging energy.

Beyond that, I suppose “Still Believe” would be a ballad in the scheme of Sonic Syndicate’s sound, with its slower pace, and there’s a seriously pop angle to the vocals, but the heavy drums are still there. Second-to-last song “Closure,” though, is Confessions‘ true ballad, with what sound like soaring strings toward its conclusion.

The album itself concludes with “Halfway Down the Road,” a mid-tempo rocker featuring an old-school classic rock guitar solo; this final song itself is largely unlike the other tracks on the disc.

In all, Confessions is a daring departure for Sonic Syndicate. For the band’s longtime fans, if their musical tastes don’t span the musical spectrum, they may not be excited by the change (to put it lightly). Indeed, I expect the backlash to be brutal from some corners of the metal community, but for those whose fandom is not wedded to a specific genre or sub-genre, it’s an intriguing disc. I tip my hat to Sonic Syndicate for such bold experimentation, and I do have a couple favorite tracks on this album.

Live Shows

Sonic Syndicate’s upcoming live shows, as listed on their website, are tonight, November 19th at Majestic Music Club in Bratislava, Slovakia; tomorrow, November 20th at Simm City in Vienna, Austria; February 8th at Klubi in Tampere, Finland; February 9th at Lutakko in Jyvaskyla, Finland; and February 10th at Virgin Oil Co in Helsinki, Finland. Check the Sonic Syndicate website’s “Shows” page for further details and additional live dates as they’re added.

Album Review: The Lucky Losers – In Any Town

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The Lucky Losers

photo courtesy of Frank Roszak Promotions

The Lucky Losers – In Any Town

Album Review of The Lucky Losers: In Any Town

Cathy Lemons and Phil Berkowitz are the lead vocal pair of San Francisco’s The Lucky Losers, a place where the blues meet ’60s psychedelic organ rock while fronted by a cloud-pleasing vocal duo with chemistry and sometimes almost loungy banter. The band is rounded out by Marvin Greene on guitar, Chris Burns on keyboards, Tim Wagar on bass, and Robi Bean on drums.

The Lucky Losers - In Any Town

image courtesy of Frank Roszak Promotions

The Lucky Losers kick off In Any Town with “So High,” whose soaring blues vocals and organ are supplemented by Berkowitz’s harmonica-work and psychedelic lead guitar from one of the many guest musicians on the album, Kid Andersen.

Lemons opens the next song, “It Ain’t Enough,” with a sultry vocal that’ll bring to mind a hot summer day in New Orleans in a shady PI’s office, with the constant hum of the fan obscuring a troubled dame’s pleas for help solving a crime when the cops won’t help, even though she can only pay the investigator with her grandmother’s diamond necklace, and the gumshoe isn’t entirely sure she wasn’t behind the crime all along. Or something like that. And the song maintains that feeling through keyboards, harmonica, and guitar riffs that complement the vocals.

The duo introduces its interpersonal playfulness on “Jackson,” though the true showcase for their banter is “I Can’t Change Ya,” a tune which, itself, has frenetic energy.

The Lucky Losers

photo courtesy of Frank Roszak Promotions

Perhaps my favorite song on the album is “Blind Man in the Dark,” a peppy number that mixes Motown and blues along with almost Randy Newman-esque vocals.

“In Any Town” has the sparse, tumbleweed Western ghost town blues flavor, slow and soulful with Berkowitz’s harmonica riffs punctuating Lemons’ rich, lamenting vocals, complemented by meandering guitar.

And closing track “Small Town Talk” is a vocal duet that just seems like an album-ender, coolly and confidently winding down the record as if it’s playing the performers off of the stage at the end of a show.

Really, beginning to end, this is a solid disc; a collection like this will satisfy loyal fans while expanding these talented singers’ audience.

Looking Ahead

You can catch The Lucky Losers live tomorrow night, Friday, November 18th at The Carlos Club in San Carlos, CA. In December, they’ll also be at the Smoking Pig (with Kid Andersen) in Fremont, CA on Friday, December 2nd and at The Saloon in San Francisco, CA on Thursday, December 15th. To see more information on those dates, new dates as they’re added, and 2017 dates already scheduled in Berkeley, CA, Houston, TX, New Orleans, LA, Englewood, FL, and Vero Beach, FL, check the live show calendar on The Lucky Losers’ website.

Album Review: Adam Lee – Sincerely, Me

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Adam Lee

photo by Paul Andrews; photo courtesy of Adam Lee

Album Review of Adam Lee: Sincerely, Me

My first impression of Adam Lee is that of a rockabilly Chris Isaak with a little Billy Joe Armstrong-meets-Elvis Presley thrown in for good measure.

And that’s not a bad starting point. Adam’s voice is smooth yet has a rough edge that seems to suggest he’s always dangerously close to flying completely off the rails. He inhabits a raucous corner of the Americana genre. The former frontman of Kansas City’s Adam Lee & the Dead Horse Sound Company, Adam landed a 2015 Ameripolitan Award nomination in the Honky Tonk Group category. Sincerely, Me is his solo album debut.

Adam Lee - Sincerely, Me

image courtesy of Adam Lee

The song that most often pops into my head from this album is “What I Need,” a rattling, energetic, number replete with clever hooks that features ragtime-reminiscent piano… and whose closing lyrics were purloined for the album title.

Also particularly memorable is “Patrick” is an Irish-style folk song with the requisite odd storyline. “When She Danced,” on the other hand, is more like an Irish hymn, with the absolute flip side of what seems like perhaps the same vocal edge.

Adam’s Western-inspired “Misery” mixes a haunting twang with a slow build that never quite explodes, creating an enjoyably artistic tension.

Adam Lee

photo by Paul Andrews; photo courtesy of Adam Lee

Another favorite on this varied disc include the album-opener, not-as-hopeful-as-it-seems “Good Days,” which features the full emotional breadth of Adam’s rough voice and singing style, itself quite conspicuously unique; while the vocals are enunciated as if spoken, they’re simultaneously tunefully sung. And, as I mentioned earlier, smoothly rough and ragged. And the more piano-motored “Son of a Gun,” which uses horns and tempo changes to provide it with an oddly hypnotic energy.

Finally, worth noting, I do love some of the lyrics in “Stray Cat,” including gems like “I’ve found the less you say/The more interested they are/Yeah, a man who talks too much is a man who starves.”

In summary, this disc is a harshly pleasant, boisterous, rockabilly-infused alt-country disc with great depth and style. And Adam Lee provides the sort of memorable vocal that almost sounds as if he sings with an Elvis-inspired quivering lip. The dude’s got style.

Looking Ahead

Per the tour page on Adam’s website, he’ll be at the Bremen Cafe in Milwaukee, WI on Wednesday, November 16; at GLM Live in Lafayette, IN on Friday, November 18; and at the Six Strings Club in Bloomington, IL on Sunday, November 20th.

Album Review: Lee Delray – Brand New Man

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Lee Delray - Brand New Man

image courtesy of Frank Roszak Promotions

by Eric Harabadian, Contributing Blogger

Album Review of Lee Delray: Brand New Man

NYC native Lee Delray wields a soulful voice and an even more soulful guitar approach. He unleashes his full blues rock onslaught on his latest effort, Brand New Man. He is also a very talented songwriter who is able to connect with audiences on a number of levels.

The album kicks off with a strong and spirited track, “Meet My Maker.” Delray lays down a steady I-IV-V pattern while stating his slide guitar prowess from the outset. This track establishes right away that this is, indeed, a young master at work. That is followed by a standard popularized by everyone from Albert King to Kenny Latimore called “I’ll Play the Blues for You.” This is smooth urban blues, with a jazzy feel and some nice conversational rap from the leader in the mid-section. Along these lines, Delray continues that rap/blues hybrid on “First-String Man.” His guitar establishes a Stevie Ray Vaughan-meets-Jimi Hendrix kind of vibe and pairs that with embellishments from the hip-hop team of Young Chizzy and Deejay NoGood. It’s an unlikely musical marriage, perhaps, but one that works and really pays off well.

Lee Delray

photo courtesy of Frank Roszak Promotions

Delray writes catchy hooks and really has a flair for melody and succinct thoughts and lyrics. This is most evident on the seemingly autobiographical “Blues Came Callin’.” He picks up the pace for the follow up “Love Line.” This is a funky number that features tasteful note choices delivered in a Carlos Santana/Coco Montoya manner. “Cookin’ in My Kitchen” is one of those typical love and suspicion kind of songs. It’s a shuffle, with a lot of attitude and spark. “Hollar” is just like the title sounds; blues with a raw exclamation point! It continues that rough and tumble shuffle style that really smokes. Delray unloads some wicked slide guitar work here, as well.

“Gotcha” follows and is pure Chicago-styled swing. Kudos go to the leader’s trusty rhythm section of bassist Scott Ward and drummer Ken Conklin, who really lay it down here. “Mine All Mine” is a very syncopated R&B-influenced track somewhat reminiscent of Robert Cray or Delbert McClinton; a strong funky underpinning that’s perfect for dancing or jamming. And that brings us to, not the least, but the last track, “Yesterday’s Tears.” This is a tune that could easily be a hit on country, pop or r&b charts. Mike “Sweetharp” Smith’s harmonica and Lenny Hayden’s acoustic guitar give this a very appealing back porch/Dobie Gray type feel.

Lee Delray is, simply, the complete package. He is extremely versatile, able to assess his audience and their needs. And he truly delivers, whether the song calls for rock, country, jazz, funk and, in the case of the aforementioned “First-String Man,” even hip-hop. He is an artist with a sense of adventure, yet he still has his finger on the pulse of appealing to his fan base. I’m sure he will generate a number of new fans too with his latest, Brand New Man.

Upcoming Live Gigs

Lee is scheduled to perform on December 9th at The Lakeside in Saylorsburg, PA; on January 28th at The Brown Pelican in New Bern, NC; on January 30th live on-air at the Raeford Morning Show in New Bern, NC; and at the All Day International Blues Challenge in Memphis, TN (January 31st through February 4th). Check his website for additional live dates as they are added.

Album Review: Mick Kolassa – Taylor Made Blues

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Mick Kolassa

photo courtesy of Frank Roszak Promotions

by Eric Harabadian, Contributing Blogger

Album Review of Mick Kolassa: Taylor Made Blues (Swing Suit Records)

Mick Kolassa is a bluesman for all seasons. First of all, he’s got a voice chock full of character, able to hit the high notes when required or talk in a low conversational manner. He’s also an insightful songwriter, with a wry wit and sense of adventure. Examples of this can be found throughout, from the laid back acoustic feel of “Baby Face Louise” and “Taylor Made Blues” to the lighthearted “I’m Getting Late” and the funky socio-political “In the Day.”

Mick Kolassa - Taylor Made Blues

image courtesy of Frank Roszak Promotions

Joining Kolassa on guitars, song arrangements and co-production is Jeff Jensen. He adds a certain spark to the proceedings and gives everything a rich sheen and ambiance. While this is primarily an original record, Kolassa has selected three choice covers that fit in very nicely with the overall program. Graham Nash’s “Prison Song,” Townes VanZandt’s “Lungs” and Norman Whitfield and Barrett Strong’s “Can’t Get Next to You” are brilliant adaptations and each given a unique spin.

Perhaps one of the key things about Kolassa is his ability to straddle that line between adhering to his traditional Southern blues roots while dipping his toes in the pools of rock, New Orleans-style funk, gospel and folk, as well. And he does it all with authenticity and conviction that really draws the listener in.

Mick Kolassa

photo courtesy of Frank Roszak Promotions

In addition to Kolassa and Jensen, the album features contributions from a laundry list of first-call session players and vocalists spotlighted in the gracious and thoughtful track “Friends Like Mine.” Kolassa is a very special artist, indeed, and all proceeds from album sales go to The Blues Foundation’s HART Fund and Generation Blues programs.

Upcoming Live Gigs

Mick currently has four upcoming shows listed on his website. On Monday, November 14th, he’ll be at the Bluesberry Cafe in Clarksdale, Mississippi. On Sunday, November 20th and Sunday, December 4th, he’ll be at the Rum Boogie Cafe on Beale Street in Memphis. And on Friday, February 3rd, 2017, he’ll be at fuBAR, upstairs from Rum Boogie, in Memphis. Be sure to watch for additions to Mick’s schedule on the “events” page of his website.

 

Album Review: Reverend Freakchild – Illogical Optimism

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Reverend Freakchild

photo courtesy of Frank Roszak Promotions

by Eric Harabadian, Contributing Blogger

Album Review of Reverend Freakchild: Illogical Optimism (Treated and Released Records)

This is the sixth album for this cosmic musical preacher and, perhaps, his most ambitious. It’s a three-disc set that is a quirky cross-section of some of the best psychedelic blues rock and acoustic country/folk this side of Detroit’s Howling Diablos or classic Country Joe and The Fish.

Reverend Freakchild - Illogical Optimism

image courtesy of Frank Roszak Promotions

You might say this is kind of a concept package in that each disc seems to have a central focus to it. Disc One is entitled “Odds, Ends and Other Amazingness” and is probably a pretty comprehensive representation of what Reverend Freakchild is all about. He does everything from John Lennon’s “Imagine” and Bob Dylan’s “All Along The Watchtower” to full-on gospel, with “I Still Have Joy” and “Cryin’ Holy Unto the Lord.” There are also more traditional slide guitar anthems too like “Shark Boogie” and “Yer Blues.” But one would be advised to use that term “traditional” rather cautiously when referencing the good reverend, as nothing he does is by rote. He’s got a keen ear for nuance and humor and can change up a familiar song arrangement and give it a whole new character and spin.

Reverend Freakchild

photo courtesy of Frank Roszak Promotions

Disc Two gets a little weirder and basically features a dozen variations on his song “All I Got is Now.” Each track renames the song a little bit and, with that, each is a different version, from funk to punk to reggae to acoustic. There are even versions sung in German and French. Remember when various ‘60s bands like The Beatles would do alternate takes of their hits in different languages in addition to English? But I digress! This is an intriguing concept, but a tad self indulgent at the same time. But then, maybe that’s the point!

Disc Three presents something that kind of references Disc One. It is called “Kairos” and is the works of an artist — apparently one that Reverend Freakchild admires —named Ramblin’ Jennings. There are eight songs here that can best be described by what appears on the CD itself: “It’s gospel blues, with declamatory vocals, wailing blues harmonica and slide boogie guitar.” It appears that Freakchild is a bit of a talent scout here and presents to the world an artist very much in his own likeness.

To be fair, it’s really hard to put a finger on what Reverend Freakchild does. He can play a mean Dobro, electric and acoustic guitar for sure and has a soulful voice to back it up. And his original writing and selection of material is interesting and progressive in a curious sort of way. He certainly does not fit the mold of a “traditional” bluesman (there’s that word again!), but it’s obvious he wouldn’t have it any other way.