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Album Review: Circuline – C.O.R.E.

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Circuline band photo

photo courtesy of Glass Onyon PR

Album Review of Circuline: C.O.R.E.

Circuline is an acclaimed progressive rock band, and C.O.R.E. is the sort of soaring album that you’d expect from one of the genre’s best. On C.O.R.E., Circuline harkens back to classic progressive rock musical styles, throws in some elements from music with broader commercial appeal, and pushes the envelope on new, original styles and sounds. It all makes for a fun repeated listen, even for those of us who aren’t hardcore prog rockers. If you’ve been reading this blog for a long time, you may recall Eric Harabadian’s review of Circuline’s Counterpoint in 2017. Well, this time it’s my turn.

You’ll hear a lot of different styles on C.O.R.E., but if there’s one classic progressive rock band Circuline reminds me of on this disc, it’s Yes. Yes, Yes drew a lot of classic rock fans’ attention, as well. And that’s the point. Among today’s prog-rockers, Circuline is one of the more likely bands to perform a broad-appeal rock progressive rock song. There are several on C.O.R.E.

Circuline

cover art: painting by Henrietta-Mantooth-Bagley; image courtesy of Glass Onyon PR

Album-opener “Tempus Horribilis” isn’t one of those songs, but it is incredibly interesting and one of the more experimental songs on the record, with disconnected, almost jazz-rock-like guitar bursts, artsy spoken-word sections, and one of those mid-song restarts that tricks you into thinking maybe a new song is beginning. Nope. Of course, “Tempus Horribilis” clocks in at more than 6 minutes, so for a non-prog band it probably would be two songs. So yeah, it’s a very cool song if you’re a music fan, but it’s not bordering on mainstream in the least. From a song structure perspective, I could almost hear Pink Floyd perform a song like this, though Circuline’s central sound differs significantly from Floyd’s.

“Third Rail,” the next song, is probably the most likely crossover song. A couple others have a similarly classic rock-based feeling, but “Third Rail” clocks in at just 4:11, more than a minute shorter than the next-shortest song on C.O.R.E. That’s not the only reason, though. Keys, drums, and guitars provide swirling tension-builds supporting Natalie Brown’s powerfully emotive, soaring vocals.

“Say Their Name,” next, is a nifty near-ballad, as the music bed is mostly soft. Sure, when all the instruments enter simultaneously, it can get a little noisy, but that’s just the change of pace on this number. And some of the musical breakdowns in the middle of the song would make it difficult to slow-dance to, not that that should stop you from trying. But it’s a cool, groovy listen, that’s for sure. Sort of jazz, I suppose, if performed by a progressive rock band.

Circuline band photo

photo courtesy of Glass Onyon PR

Just as “Say Their Name” isn’t jazz, despite the structural similarity, “All” isn’t a Broadway showtune, despite having some segments where the group-sing could be straight out, let’s say, Les Misérables. There’s a mid-song instrumental exchange, too, where I can picture a stage character uneasily looking about, perhaps holding his hand above his eyes and leaning forward, as if searching for something. Sure, there’s too much instrumental jamming to find a home as something other than a shapeshifting progressive album track, so don’t listen for it on Broadway, but the sonic journey is enjoyably long and winding.

“Temporal Thing” is one of Circuline’s broad-appeal, mid-tempo Yes-reminiscent numbers. It’s followed by “You,” on which the band goes a bit dark and quite foreboding, something you’ll find nowhere else on this record, but the haunting sound befits lyrics like “You bore a hole in my soul. Now I’m screaming.” It’s a very powerful and emotional number. Then, for a change of pace, the sweetly mellow “Blindside” follows. It’s the third song in such an interesting song trio, showcasing Circuline’s depth and breadth back-to-back-to-back. As noted in the text next to the “Blindside” music video shared on Facebook, the song is “inspired by power ballads from David Foster and Dianne Warren, moving into anthemic rock choruses, with stacked vocals inspired by Journey.” So why didn’t I suggest “Blindside” as Circuline’s most likely crossover song? Well, you’re not likely to hear a 6-minute song on the radio unless you take your time machine back to the ’70s or early ’80s and find yourself a long-form AOR station. But it’s really cool on your stereo and would be equally so in concert. (Or back to that slow dance I mentioned earlier? Well, this is your song.)

Circuline closes this record with “Transmission Error.” And I seem to be mentioning song lengths a lot in this review, don’t I? Well, this is the album’s longest track, at more than nine minutes. But that’s not really the point. The point is that none of these songs seems too long. They’re so interesting, with unexpected sonic twists and turns that deliver the sorts of payoffs that lead you to want to follow the next one down what appears to be another dark alley but, as it turns out, most certainly isn’t.

There’s a reason Circuline is considered a premier progressive rock band. They’ve got the chops, they’re never boring or redundant, and they turn what can sometimes be a standoffish (to outsiders) musical genre into something both progheads and the general rock public can enjoy. If you haven’t heard C.O.R.E. yet, give it a listen. If you’re a mainstream rocker, start with “Third Rail” and “Blindside.” If you’re a little dark, try “You.” If you’re into the more experimental stuff, check out “Tempus Horribilis” and “Transmission Error.” If you’re into Pink Floyd, maybe also “Tempus Horribilis” and “Transmission Error,” though you might dig different sections of those tracks. C.O.R.E. is simply an exceptional progressive rock album that deftly covers a broad swath of the progressive landscape.

 

Album Review: Craig Bickhardt – Soliloquy: Sixteen Solo Songs

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Craig Bickhardt

photo courtesy of Trespass Music

Album Review of Craig Bickhardt: Soliloquy: Sixteen Solo Songs

Craig Bickhardt has a classic folk singer-songwriter voice. It’s rich but a little raspy. Craig’s voice can be powerful in some instances, tender in others. He can be a storyteller, can help you feel the emotions in the lyrics, or see things from a new perspective. Craig’s voice, coupled with his detail-oriented, picture-painting lyric-writing skills, dependably result in an instant-classic collection of folk songs, and Soliloquy is no exception.

This record is just Craig, his guitar and his voice – solo, as the album title indicates. It’s an attempt to capture the intimacy of one of Craig’s acoustic performances, and it certainly does. The production of such an undertaking is extremely important, and Craig’s performance on this record is captured with a rich, full sound that plays well through speakers or headphones. Now, 16 songs is a lot, so I’ll just focus on some favorites or tracks that stand out for different reasons.

Craig opens the record with “Go Round,” with energetic finger-picking that provides an energetic opening to the album, something that’s always wise to do on a record that’ll feature a lot of softer crooning later on. Wake the audience up at the beginning! The song itself is playful, both musically and regarding wordplay, with fun lyrics like “Way back in ancient times, men had the upper hand, ’til Solomon’s seven hundred wives made a wreck of the man.”

“It Opens” is a song about embracing what comes in life, built around the chorus “It don’t look like a door. It don’t look like a door. But it opens, it opens.” Craig rolls out his raspy voice in a couple spots in this song. It seems like more, but upon closer listen, no just in a select few spots, mostly at the beginning of the verses.

Craig Bickhardt – Soliloquy: Sixteen Solo Songs album cover

image courtesy of Trespass Music

“You Take Me Home” is a pleasant love song on which Craig employs a rough-hewn vocal delivery that conveys his emotion, punctuated by guitar-picking that’s almost like a soft rain.

“The Real Game” is an energetic song about preferring baseball played for the love of the game rather than money or fame. About remembering the pure reason for enjoying the game. It has a lively tempo and is extremely catchy, though it espouses an opinion that can come off as kind of pretentious and preachy. However, given the story behind the song, I know that’s not intended, so I try to hear it a super-catchy song about the simple pleasures, unencumbered by real-life, adult complications.

“This Old House” and “Stan” are extremely well-written songs that paint vivid pictures of frequent folk song themes, at least among the better folk songwriters with the talent to pull it off. “This Old House” is an ode to a dependable house, while “Stan” is about a man who saw his livelihood disappear, as the world leaves people behind – in this case, Stan. The first of this pair of songs is pleasant and reminiscent, while the second is matter-of-factly heartbreaking.

“The Restless Kind” stands out as a particularly energetic quick-picker of a song, a song on which Craig varies his vocals more than on many of his others. It’s a peppy song that could inspire those among us who are restless souls to feel much better about their desire to avoid putting down roots or staying in one place too long. Come to think about it, it’d be nice if it inspires a few restless people to throw off their shackles. Again, the energetic delivery could certainly inspire.

I think the connection made on “Men and Rivers” is interesting. Referencing Huck Finn and Tom Sawyer in one verse, Lewis and Clark in another, Craig keeps things moving with rhythmic guitar-picking as he elucidates “the bond between men and rivers.” I suppose, much like “The Restless Kind,” this could inspire some restless souls to break free from societal expectations, as well, but more specifically as it relates to men… and rivers.

“Donald and June” is one of the best life-story storytelling song you’re ever going to hear. The pattern of the strumming and Craig’s vocal cadence do a great job of supporting his precisely-phrased lyrics to paint a vivid picture of a couple’s life together. This song is truly something special.

“Life With the Sound Turned Down” deploys a nifty little recurring guitar bit, while Craig’s delivery is energetic. There are some vocal flourishes on this song that recall, for me, another of my all-time favorite singer-songwriters, Billy Crockett (who I reviewed live here, while I reviewed one of Billy’s albums here). Mostly, though, this song will stand out because of the slightly different vocal delivery style Craig deploys on it.

Craig closes the record with another soft love song, “Where in the World.” He sets it atop the backdrop of a world on the brink, but “Just when the world’s looking painfully blue, I see a light shining through.” The guitarwork pairs the verse lines as couplets; it’s always a pleasure when guitar styles are varied, particularly on an album where that’s the only instrument on the record. You want to keep a folk album interesting over the course of 16 songs? Then you’ve gotta vary the guitar patterns, like Craig does. Have I mentioned how exceptionally talented he is? Well, I’m saying it again. Soliloquy is an inspired 16-song collection. And “Where in the World” is a sweet way to close it, leaving the listener with a warm heart and a soft smile, while acknowledging the world around us isn’t ideal.

If you’re a folk music fan, you need this record – heck, probably several Craig Bickhardt records – in your collection. If you’re not so much of a folkie, then i you only listen to one song on Soliloquy, I’d recommend “Donald and June.” While Craig’s songs are all among the best folk performances you’ll ever hear, that song is simply inspired.

More Recently

Three months ago, in February, Craig released another album, Man of Sorrows, this one a collaboration with Thom Schuyler on which a whole lot of other talented artists make appearances, as well.

Album Review: Travellin’ Blue – Take the Edge Off

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Travellin' Blue

photo courtesy of Big D Radio Promotions

Album Review of Travellin’ Blue: Take the Edge Off

Here at the blog, I reviewed a couple singles from the kickass Belgian blues band the Travellin’ Blue Kings, most recently a little more than a year ago. Well, after some line-up changes, the band has released a brand new album of powerful blues and blues rock, Take the Edge Off, now as Travellin’ Blue. The band’s current line-up features JB Biesmans (vocals, saxophone, harp), Luke Alexander (guitar), Patrick Cuyvers (Hammond organ, piano, backing vocals), Winne Penninckx (bass), and Steve Wouters (drums).

I’ve gotta say, line-up changes and name-change notwithstanding, Travellin’ Blue remains one of Europe’s most diversely talented, engaging, enjoyable blues-meets-blues-rock bands. If you’re not yet familiar with the band, Travellin’ Blue’s sound is classic, guitar-driven blues and blues rock, with some cool organ placement adding to the mix.

“Better Left Unsaid” kicks the album off with a sweet guitar riff that builds into an energetic, full, slightly gritty soundbed, perfect for Biesmans’ gravelly, true-blues vocals. The song is driven by a recurrent, persistent rhythm and features music slow-builds and releases that add to the feeling of a good-time, broad-appeal blues-rock song.

Travellin' Blue – Take the Edge Off album cover

image courtesy of Big D Radio Promotions

The band gets deeper into the blues rock weeds with the chunky rhythm of “No Gooder,” a song with a grinding beat that is a little reminiscent of George Thorogood in places while diverting to an almost-dissonant, edgy, coolly uncomfortable musical direction elsewhere, resulting in a cohesive yet extremely original number, all the while leaning into the verbally awkward “you’re no gooder, no,” making it sound cool and oh, so very blue.

“The Closer is King” is deep, slow, and heavy, and features a guitar solo that gives off Clapton/”While My Guitar Gently Weeps”-esque energy.

“Death Smiles At Us All” is another cool number, grabbing your attention quickly with a staccato opening that employs ample harpwork. The back half of the song is similar, with a long instrumental section mid-song meandering through plenty of groovy rockin’ blues real estate before returning. And just to keep you on your toes, the song closes with a smooth outro. Thankfully, I’ve gotta say, as it was a necessary palate cleanse heading into the next number.

That next number is perhaps the best-bet for a hit single on this disc – it’s one of my three best-bets, anyway, for broad appeal. In fact, it was one of the two single releases in advance of the album. I’m talking about “Come Hell or High Water.” It’s a steady, straightforward blues-rock song featuring the singalong lyric “Come hell or high water, lock up your daughter.” OK, so maybe be a little careful where you are when you sing along.

Blues-based classic rock comes calling again with the opening guitar riffs – does that riff sound “Lunatic Fringe”-ish to you, or is it just me? – and organ on the title track, “Take the Edge Off,” pulling the listener into this blues/rock guitar riff-driven number.

“After All” follows, a change of pace, as it’s a laid-back blues number, guided by prominent, well-placed sax and piano, with a cool, smooth delivery that reminds me a lot of Lew Jetton (notably some favorites from his Rain album, which I reviewed several years ago). The sax is again prominent in peppy instrumental “Hellhole Shuffle.” Indeed, this two-song pairing late in the disc offers a nice taste of the band’s versatility in the groovin’, laid-back blues lane.

Finally, the album closes with a guitar-driven, modestly-paced yet energetic number, “Lay Down Knuckle Under,” which plays with pace changes, playful instrumentation, and a gritty recurring blues guitar riff. This song is an ideal closer, as a blues album can only truly be blues if it ends on a complaint song, and this one will have you singing along with the complaint, “just lay down knuckle under, lay down knuckle under.” Biesmans’ vocals, more than anywhere else on this record, are a true blues wail in the latter half of this song. You’re gonna dig it. And it ends in one of my favorite album-ending methods, the fade out. (The hard stop is another fave, but on this record, the band chose a fade out.)

This collection, as Stefon would say, “has everything.” Rockin’ blues, blues rock, laid-back blues, classic rock-infused axework. Big organ sounds. Gritty blues vocals. Nifty sax work. And it’s all on one disc. Travellin’ Blue is one of the top blues bands in Europe at the moment; you really should check out Take the Edge Off.

Circling back, before I wrap, I mentioned that I had three best-bets for broad appeal. Indeed, I do. If you want to start your Travellin’ Blue journey by checking out just three tracks, start with “Better Left Unsaid,” “Come Hell or High Water,” and “Lay Down Knuckle Under.” After that, of course, once you’re convinced you love this band, you can progress to some of my other favorites, like “Death Smiles At Us All,” “No Gooder,” “After All”… Enjoy!

Album Review: Pure Prairie League – Back on Track

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Pure Prairie League

photo courtesy of Michael J. Media Group

Album Review: Pure Prairie League – Back on Track

Old-school country pop-rock from a legendary band. Sure, I wasn’t initially as excited as I would have been by a new Garth Brooks disc. Or, going back to a more comparable ’70s star, a new Crystal Gayle record. But then I listened to Back on Track and remembered why we all know Pure Prairie League‘s name. Damn, these guys know how to write – and perform – a pleasant soft country pop-rock song. And when I say “country pop-rock,” I mean like from the ’70s, when that branch of country music leaned more toward the Eagles than toward more explosive rock bands like Poison. And yet, this new record is modern-sounding, not stuck in the past. I don’t know why I’m surprised – sorry, Pure Prairie League, I guess I underestimated you a little. Then again, this is the band’s first studio album in 20 years, and with the longest-tenured band member having joined in 2011, none were band members the last time Pure Prairie League released an album.

Pure Prairie League – Back on Track album cover

image courtesy of Michael J. Media Group

Of modern successful country acts, I’d compare this Pure Prairie League album perhaps to Lonestar, a band whose most recent release, 2016’s Never Enders, is actually one of my favorites of theirs, even if it didn’t chart as highly as any of their preceding studio albums. But I digress. This review is supposed to be about Pure Prairie’s League’s wicked-cool, brand-spanking-new, December 2024 release.

From note number one, “The Beginning” kicks things off nicely with a distinct soft country-rock twang. Second track, “Picture Perfect Life,” is more of a swinging, classic country number. And “I Believe” follows with a deep-voiced, rich, heartfelt ballad. Man, this stuff would have been all over country radio in the late ’70s/early ’80s.

“Skipping Stones” has a big, rich, somewhat modern country sound mixed in with old-school harmonies, leaning toward the rock edge of country-rock, suitable for back-to-back playlist status with Poco. You’ll dig the opening lyric, “I don’t like trouble. Trouble likes me.” Oh, yeah!

“Crazy World” is a peppy, softly tuneful number. This is the one that reminds me the most of the Eagles on this record, though it’s clearly more country with the requisite twang. And it’s a bit more of a striding, bouncing, walking-along song than the Eagles’ smoother California style. But oh, those Eagles-esque harmonies!

Pure Prairie League

photo by Laura Schneier; photo courtesy of Michael J. Media Group

“Modern Problem” sounds almost like a ’70s soft progressive track that would have gained airplay at the time. (Alan Parsons, anyone?) If you’d like a back-to-back playlist pairing, I’d suggest Michael Martin Murphey’s “Wildfire.”

Next up, “A Love Like Yours” offers up an almost-bluesy-pop arrangement of a light pop-country song. With horns. This is a smooth song. And I love the jamming, all-instrumental long-outro.

“I’m the Lucky One” follows, the sort of sweet, mildly energetic crooner no country album would be complete without. Sonically, the country artist I’d think would be best-suited to cover this song would be Blog favorite Houston Bernard. Indeed, this sounds like exactly the sort of song you’d find on one of his records, complete with Houston’s confident vocal delivery.

“Love Song” comes across as one of those harmonizing ’70s folk-influenced soft psychedelic rock numbers. Then “Price of Love” follows, adding a Jimmy Buffett-reminiscent style to this smoothly harmonized, old-school tune.

“Six Feet of Snow” is an old-fashioned, at least partly fiddle-driven country dancehall number. And “Back on Track” kicks off with a funky beat, closing the album as a fast-paced number that sounds like a runaway train during the chorus but dabbles in a variety of other influences in-between.

As a whole, this is an impressive album. And I didn’t realize how varied the influences were until I starting writing about each song individually. During dozens of pre-review listens, I could have sworn was a collection of songs that would be described similarly. Indeed, though, almost every song has a very distinct, different influence, yet the album is an impressive, cohesive whole.

To be honest, I wasn’t sure I’d be interested a Pure Prairie League album until I listened to it and realized this is a great record. If you loved the sound that earned Pure Prairie League its hits in the late ’70s/early ’80s, you’ll really like this album. And if you don’t know what that sounds like, give this record a listen and find out.

Album Review: Mark Barron – Redefinition

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Mark Barron – Redefinition album cover

image courtesy of Mark Barron

Album Review of Mark Barron: Redefinition

Rocker Mark Barron covers a lot of territory with axework that ranges from blistering to floating on Redefinition, and all that real estate is in the progressive rock township. Can I place it Barron’s music into a subcategory of progressive rock? Well, if progressive, soaring, guitar-wizardry-driven space rock is a progressive rock subgenre, then this would be the dictionary definition of it.

Barron is a jack of all trades, a multi-instrumentalist, not just a guitar wizard. The liner notes of Redefinition read: “Mark Barron: Vocals, guitar, keyboards, bass, drums, production and mixing. Music and lyrics by Mark Barron. Mastered by Doug Northcott at Amplitude Audio.” So we know he doesn’t master his own record. He can’t do everything, I guess, but Barron comes close.

First song “Praeludium” kicks off with heavy, soaring hard rock guitar, suggesting perhaps a heavier record than Redefinition turns out to be, the sort of anthemic, soaring heavy metal that might have instrumentally backed one of Dio’s more melodic productions. At the very least, it suggests images of knights and dragons and castles – very medieval and adventury sounding, like the backdrop of a D&D quest.

Then the title track, “Redefinition,” begins with a sort of synthy-sounding, ’80s electronic-style intro, which leads into some higher, more technical, prog rock instrumental shredding. Yet, a garbled, wizardly background vocal resumes the fantasy before the lead vocals themselves bring about an almost Styx-influenced mainstream-meets-progressive sound. By this point, it’s clear any and all expectations should be thrown out the window, and you should just sit back and enjoy the album’s journey.

Throughout the journey, you get energetic progressive rock with a soaring musical backdrop and plenty of axe-wizardly shredding.

“Closer to Me” soars softly, with a calm, outdoorsy vibe, with the music suggesting water imagery just before the lyric “as the wings crash down on me,” as if so-designed. The energetic kick into the song’s chorus is almost Survivor-like, though the rest of the song is pure floating, soaring, kinda mellow progressive rock. Of all the songs on this record, “Closer to Me” is the one that most often pops into my head, so do give it a listen.

A fun, lighthearted instrumental romp, “Burnout,” follows, and it’s my favorite instrumental number on the record, perhaps my favorite song overall. It’s followed by “Afterglow,” which features guitar noodling through the song’s first half before the first vocals, which soar angelically, turning the song into almost a hymn.

The rest of the album continues along similar themes while still unleashing new facets of Barron’s skill-set. “Leap of Faith” feels very Styx-ish. “Into the Wild” is a fun, 5-plus minute journey powered frequently by relatively fast-paced guitar and a persistent, driving drumbeat. And “Rift” features a bit more keywork than many of Redefinition‘s other numbers – in addition to plentiful guitar, natch – as the song leans toward the more mainstream end of progressive rock. The guitar in the instrumental “Divinity” is the crunchiest, thickest on the record, seeming to lean a little bluesy at times, too.

The album’s penultimate track, “Ivory,” is motored by pianowork, slow and very balladic, with Barron adding softer-edged though still insistent vocals; it also might be well-suited to musical theater, specifically something along the lines of Phantom of the Opera. Indeed, Barron seems to channel Andrew Lloyd Webber throughout much of this song.

The 11-song journey through Redefinition ends with “Weightless,” a 7-minute closing number that showcases many sides of Mark’s music, from the song’s soft opening to its varied guitar styles to an almost march-style rhythm and beat, particularly through its middle, before beginning its big, soaring-into-wide-open-spaces final minute-plus dramatic climax then fading out. It’s a fitting ending to an impressive progressive rock song collection!

So, if you’re a progressive rock fan, you should definition check out this record. It’s a good one. And if you’re not already familiar with Mark Barron, then you have a new name to remember. And if you’re not a prog rocker, well, maybe start by checking out “Closer to Me,” “Ivory,” and “Burnout” – there’s probably something in this collection you’ll like, too.

EP Review: Diablogato – Snake Oil Salvation

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Diablogato

photo by Pat Piasecki; photo courtesy of Knyvet

EP Review of Diablogato: Snake Oil Salvation (Rum Bar Records)

Crazy-ass, eclectic, electric, straight-ahead, aggressive, guitar-driven, distortion-laden western rock and roll. That’s Diablogato. And this record is exactly what you’d expect from a leather-clad, axeslinging devil cat! Or perhaps a stray cat possessed by the devil. Indeed, Johnny Custom plays upright bass for Diablogato, partially inspiring my Stray Cats reference, as this music swings pretty well for heavy rock music; maybe the bass plays a role. Custom is joined by Charlie MacSteven on guitar and backing vocals, Jesse Von Kenmore on drums and the inimitable, rough-hewn powerful voice of Drew Indinagaro on vocals and guitar.

“Heavens Gate” kicks things off with an echoing, heavy, angry rhythm thumping straight through grittily howling blues-rock vocals. You may not be able to imagine things will amp up after this opener, but Diablogato is just getting started.

Diablogato – Snake Oil Salvation EP cover art

image courtesy of Knyvet

My two favorite songs on this EP (personal taste, ymmv), in reverse order, are numbers two and three. The first of those two, “Wandering Hearts” opens more airily haunting, like a devil-possessed Johnny Cash song. The “whoa-o-oah” will draw the listener in. What if Chris Isaak’s “Wicked Game” was darker, heavier, and a bit more foreboding but still just as haunting? Then you could pair it with “Wandering Hearts,” though the surf-meets-blues-rock guitar solo during the late-song bridge in “Wandering Hearts” really doesn’t compare to much of anything else.

Third song “Fire and Powder,” my favorite on the EP, amps up the “whoa-o-oah” to the next level, with a frantic, full-speed-ahead energy that’s interrupted only at the halfway-point for an instrumental section that begins slow but intense and slowly ramps up the speed until it returns again to maximum energy level, erupting into a nifty, high-speed guitar solo that runs until the song’s few closing lyrics. The tempo, though? Whew!

Of course, just because those are my favorite tracks, that doesn’t mean I’m dissing the rest of the disc. Au contraire, six songs isn’t nearly enough Diablogato for one sitting!

“Jet Black Night” is a slower-paced but still heavy, bluesy-groovin’ heavy rocker. “July 1969” has a steady beat, some country twang with an almost folk-influenced heavy rock vocal, meaning it harkens back a bit to that psychedelic rock era, and a raucous punk-but-it’s-too-smooth-to-be-punk attitude. And “Lost Highway,” which closes the EP, opens with a mellower, more bluesy rock vibe before picking up the pace with energetic rock, except for the instrumental guitar bridges, which are slower, a bit bluesy and haunting, and very heavy and plodding, much like late ’70s/early ’80s heavy metal – pre-big hair, real heavy metal. It’s a cool blend of styles, much like this entire Diablogato album, making it a fitting conclusion to a fantastic six-song listen.

In the end, if, based on Snake Oil Salvation, I had to compare Diablogato to other bands I’ve reviewed at the blog over the years, I’d say they belong in the desert southwest, nestled between Angie & the Deserters and Love and a .38. In other words, as the middle band in a kickass rock ‘n roll triple-bill with two other artists that give off a similar vibe, arranged from lightest to heaviest, with Diablogato perhaps residing closer to the heavier band. Regardless, Diablogato is a very original, thoroughly engaging must-hear, especially – but not exclusively – for guitar-based rock fans.

Album Review: Neale Eckstein – Never Too Late

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Neale Eckstein sitting in a studio, holding an acoustic guitar

photo courtesy of Broken Jukebox Media

Album Review of Neale Eckstein: Never Too Late

Neale Eckstein has been a part of the metro Boston music scene for as long as I remember. His Fox Run Studio has recorded numerous projects. His Fox Run Concert Series has hosted top artists from all over since the late ’90s. I’ve seen Neale share photos from his Kerrville Folk Festival visits for years. It never dawned on me that he hadn’t ever released a full-length album as a singer-songwriter. Until October 2024, that is, when Never Too Late came out. Digging deeper into Neale’s bio, he’s a retired pediatric dentist (I already knew that), who didn’t take up songwriting until he was nearly 60 (that’s something I didn’t know). Although he released an album with “Neale Eckstein & Friends,” he only performed lead vocal on one song, so that doesn’t count. In 2019, he released a short EP. But finally, at age 75, Neale released his first full-length record. I have one problem with that – there’s no way Neale’s 75! As they always say, I guess – music keeps you young!

Neale’s songwriting is impeccable. And his voice is earnest, honest, and a bit gravelly, well-suited for the observational (or participatory) storytelling music at which he excels. If I were to paint a picture for you, Neale’s vocals are the sort you’d expect from a grizzled old cowboy, singing expansive western-folk music while sitting around a campfire somewhere in the dusty southwest.

Never Too Late contains many memorable lyrical moments, a nod to Neale’s songwriting prowess and to his honest, heartfelt delivery. Vocally, again, Neale’s voice is hoarse, gravelly, forthright, and emotive, helping him attain that folk music storyteller role on pretty much every song.

The first three songs on the album run the gamut of song topics. “Masterpiece” kicks things off reminiscently about parents cherishing the memories and times spent with their young children. “One Month Crazier” is a fun song about being on the road; I mean, it’s sung kind of sadly, but it’s packed with clever wordplay. And “Red Swivel Stool” is a song about growing up in segregated Durham, North Carolina, through the eyes of a child who notes, “Some sat in the front. Some sat in the back. And some couldn’t sit anywhere at all. Some went to the front door. Some went to the back. Didn’t make much sense when I was small. Didn’t make much sense at all.” Of course, since the song is sung as if looking back as an adult, the final line of the song revises the ending to that chorus to “Still don’t make no sense at all.”

Neale Eckstein – Never Too Late album cover

photo courtesy of Broken Jukebox Media

A couple songs later is “Devil’s Gate,” a very western-sounding song about the Pony Express, with a rhythm sounding very much like hoofbeats.

“Like a Poem Needs a Rhyme” is a sweet, heartfelt song, sung as a duet with acclaimed, Austin-based folk-Americana singer-songwriter BettySoo. The song is soft, slow, simple, and straightforwardly from the heart. The album notes say it was inspired by Kris Kristofferson, and you can really hear the influence in this track.

“Big Shining Circle” is a steady, soft ode to moon photography with some nifty, occasional guitar twang keeping things interesting. That’s notable for a couple reasons. First, it’s the only song I’ve heard that focuses on this particular subject, so it’s likely to become the all-time favorite song to a small but very devoted following. Also, well, check out the album cover. Neale loves taking pictures of the moon, and his passion shows in both this song and the record’s cover art.

“Stormchaser” is slow and haunting, a storm-themed song about relationships, that includes the particularly cool lyrical turn-of-phrase: “But I know that I will never leave when I am warned. Been running into the wind since the day I was born… a stormchaser.” The music, too, accompanies the feeling of eerie calm right before the storm arrives, a little unsettled and echoey at times.

“Fall From Grace” and “Gonna Get It Right,” back to back, are songs Neale notes are inspired by friends’ breakups, and they carry the appropriate gravitas but with slightly different melodies and vocal/musical approaches, so this is the part of the record to turn to if you want to hear a couple tightly-written and well-performed songs about this particular topic.

The album closes with “Messy Bed,” a slow, powerful song – sung, of course, with a soft, gravelly, truthful-sounding voice – based on the message of the fact that it’s never too late. For Neale’s first full-length release after a lifetime of experiences, it’s such a fitting way to end this record, as the chorus sings: “So don’t be afraid of the messy bed you made. No, don’t be afraid ‘cause it just gets in the way. And sometimes the world makes you wait, but the truth is, it’s never too late.” Words to live your life by in the form of, perhaps, an encouraging song to help you do just that.

In all, this 14-song collection is soft, well-written, and excellently-performed. Folk music fans, in particular, are likely to really enjoy this record, though all of us are likely to latch onto at least a song or two that really touches us, so it’s probably worth at least one listen to everyone; many, many more to core fans of this genre because it’s a great disc.

What’s next? Well, I believe there’s a “Fox Run Five” recording in the works – the “Fox Run five” being Neale’s core set of collaborators – so watch soon for a Fox Run Five double-vinyl release, as Neale discusses in this Facebook video.

Album Review: High Lowdowns – Honey Moonshine

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High Lowdowns

photo by by Kathy Parella; photo courtesy of the High Lowdowns

Album Review of High Lowdowns: Honey Moonshine

New England’s High Lowdowns hail from Worcester, MA and Rhode Island. The bulk of the band’s sound is an energetic, kinda twangy Americana, though the band covers a breadth of musical real estate, coming off as nearly an alt-rock band on at least one track.

The High Lowdowns are Gregg Levins (vocals, guitar, Farfisa organ, harmonica), Joe D’Angelo (lead guitar, bass) Scott Kenyon (drums, percussion) and Julia Benoit (vocals). Honey Moonshine is the band’s second full-length release, following its self-titled 2023 debut.

Honey Moonshine begins with perhaps the three most quickly catchy songs on the album. (It’s always smart to start a record with the songs that connect with listeners the quickest!)

High Lowdowns – Honey Moonshine album cover

image courtesy of the High Lowdowns

Album-opener “So Much More to Life” reminds me, right off the bat, of a long-form version of a Hee Haw song. I mean that in a good way, of course. It’s instantly catchy with a sort of down-home wisdom message and delivery: “So leave all your troubles and leave all your strife. Believe me when I tell you there’s so much more to life.” It’s one of those songs that you initially think must be a cover because it feels so comfortable and familiar from the first note. But it’s not. It’s simply a good, catchy song.

“All Twisted” follows, another lively song feels like something the B-52’s might record… if they were an Americana band. Be aware, you will soon find yourself singing along with the chorus. But there’s nothing NSFW there, so don’t worry.

Next up, in the three-hole, is the album’s title track. “Honey Moonshine” slows things down a bit, with an almost haunted vibe, as you might expect from a Love Love song, but without the dark subject matter. I mean, it’s not a happy song by any means; quite the contrary, the music fits the mood. But it’s just a normal-type of sad.

Saying that the first three songs are the quick-grabbers is, by no means, meant to show disrespect to the rest of the disc. The whole 10-track record is a fantastic repeat listen. It’s just that the first two singles, if you’re thinking like a record company exec, should probably come from the album’s first three tracks.

High Lowdowns

photo by Steph Benoit; photo courtesy of the High Lowdowns

The very next song, in fact – “The Devil You Embrace” – turns a really nifty phrase in its chorus: “We all got demons now to twist and turn our fate. They’ll walk you down pathways where temptation lies in wait. It ain’t easy but you’ll find, at the end of the day, it’s only you that gets to choose the devil you embrace.” I’m not sure if I’d describe that more as “cool” or “badass,” so I’ll meet somewhere in the middle. That chorus’ lyrics are “coolass”!

“Wilted” is another of my favorites, a moderately-paced danceabilly-ish number. And it’s followed by “Turn This Thing Around,” which is the song I mentioned being a little reminiscent of alt-rock – with an Americana influence, clearly, but it’s a distinctly different sound – albeit it enjoyably so – from most of the rest of the collection.

Those of you who favor “All Twisted” are likely to consider “Can’t Shake You Out” your second favorite track. It’s not a soundalike by any means, but it bops along with a similarly energetic tempo and delivery style. Meanwhile, I could say the same thing about “Soul Tied” relative to “Honey Moonshine.”

The record closes with “Sun Sets West,” a mid-tempo song that maintains a steady, moderately energetic tempo. Indeed, the core sound and delivery of the main portions of the song are relatively mainstream, rich Americana, but notably, the opening – and a late-song solo – have a slightly airy-instrumented structure that hints at a western style. It’s a fun closing number for Honey Moonshine, an enjoyable collection of songs that fit well together yet offer enough variety to provide an interesting full-album listen.

It’s also worth noting that the High Lowdowns’ style seems as if it would translate very well to a live performance, so it’s worth seeking out the band’s upcoming concert calendar. Perhaps, follow the band’s Facebook page for future gig announcements.

 

Album Review: Itamar Erez & Hamin Honari – Migrant Voices

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Itamar Erez & Hamin Honari – Migrant Voices album cover

image courtesy of Dog Ranch Music PR

Album Review of Itamar Erez & Hamin Honari: Migrant Voices

As you know if you’re a regular reader, I like a good instrumental album from time to time. Well, Israeli guitarist Itamar Erez and Iranian percussionist Hamin Honari deliver a great one with Migrant Voices. Erez and Honari met through the Vancouver music scene and have performed together in and around British Columbia. They applied for a Canada Council grant to record this album.

Itamar Erez

Itamar Erez; photo by Diane Smithers; photo courtesy of Dog Ranch Music PR

On Migrant Voices, Erez and Honari combine Erez’s softly meandering, often rhythmic strumming and picking with Honari’s broad array of percussion sounds and beats to create a nifty jazz collection that would be equally at home in a theater setting or at a venue with more of a coffeeshop vibe. In a personal setting, the Migrant Voices album is equally suitable as music for relaxing after a stressful day, music in the background to help feed a bit of relaxation into a stressful day, or in a number of other situations.

Hamin Honori

Hamin Honori; photo courtesy of Dog Ranch Music PR

The title track, “Migrant Voices,” was the only song that was pre-written before the album was recorded. The rest of the songs were “freely improvised without a plan” while in the recording studio, though the artists note that “Forgotten Sands,” while it began as an improvisation, was honed by recording several versions and includes some overdubs. Of course, as the end result is such an enjoyable listen, it seems like a solid artistic choice, just as years of practice and years of performing together by Erez and Honari served as the basis of their improvisation in the first place.

From the steady progressions of “Migrant Voices” to thoughtful use of open space during transitions in “Embrace” and the artistic intertwining of the instruments through out the album, Migrant Voices remains relatively hushed in tone, which is why it’s a great companion for such a variety of experiences, from thoughtful, in-depth listening to accompanying other activities. Throughout, this record is an intriguing listen and an excellent addition to any music collection.

Album Review: Erin Ash Sullivan – Signposts and Marks

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Erin Ash Sullivan

photo courtesy of Erin Ash Sullivan

Album Review of Erin Ash Sullivan: Signposts and Marks

Erin Ash Sullivan serves up an excellent folk music album with Signposts and Marks. The music bed is full and rich, moreso than many folk records, providing a collection of songwriter-driven storytelling songs that can appeal to a broader audience than the more simply-produced acoustic singer-songwriter fare with which she shares a genre.

Erin Ash Sullivan – Signposts and Marks album cover

image courtesy of Erin Ash Sullivan

Erin’s voice is strong, emotive, and varied – she’s a heckuva singer even without the “hyphen-songwriter” attached. But she’s also quite a lyricist, utilizing relatably descriptive phrasing to paint pictures that make an unusually broad range of topics come to life on this record.

Erin opens with “Goat on a Stone Wall,” a song whose twangy-picking opening slides into one of the more typically rich-folk sounding songs on the record. But it also suggests this record is something a little different than you might have initially expected, carrying quite a bit of tempo throughout, showcasing an impressive vocal range, volume variance, and nimble phrasing.

“Rest Stop Bird,” next, features a semi-haunting chord pattern that reminds me a little of a Shawna Caspi song, especially early on, as it uses the imagery of a bird at a rest stop to convey some deeper thoughts, pleasantly, and catchily.

Erin Ash Sullivan holding a guitar on the steps of building

photo courtesy of Erin Ash Sullivan

“Baltimore” is worth noting, as it’s an exceptionally soulful number, but especially because it’s one of those songs you’ll be sure you’ve heard before. This has gotta be a cover, right? Nope. Instant classic. Some of my favorite lyrics on the entire record, in fact, come in this song: “‘Cause it’s the loved ones that take it the hardest when the actors stop reading their lines. When there’s a twist in the plot, whether they like it or not, all along they’ve been seeing the signs.” There’s so much packed in there, particularly within the context of the song, but no, I’m not going to share more of this song’s lyrics in this review. You’ll have to see and hear for yourself.

“One Time I Stole a Book” is softly and, not surprisingly, confessional, sporting guitarwork that sounds a bit like rain softly hitting the window. It’s a song about Erin’s grandparents, wistfully touching upon life’s little moments, perhaps turning points, with the lyric “give us grace to know the signposts and the marks,” from which the album title is drawn. And yes, Erin explains why she stole the book.

Erin Ash Sullivan

photo courtesy of Erin Ash Sullivan

“Winter Walk” is musically off-kilter, suitably accompanying the more disturbing song content. Give a listen, and then again, and keep thinking to yourself, “the lyrics say what?” For one thing, “two sets of prints out and one set home.” But I must say no more. The songwriter might already suspect I know too much.

“Eat the Pie” is another favorite. It’s a playful, cheerful song about reaching for the brass ring, just going for it, all based on the songwriter’s “tiny voice inside [her] head calling out to [her], ‘Eat the pie! Eat the pie!'” You’ll be cheering for the “nerdy bookish weirdo who was cut from every team,” and your anticipation will be rewarded. Not just by the lyrics’ payoff; you’ll also be treated to not-quite-four-minutes of fun, creatively-worded, whimsical listening enjoyment, almost certainly ending with a smile on your face.

Erin Ash Sullivan performing at Falcon Ridge

photo courtesy of Erin Ash Sullivan

“Don’t Want to Keep Score” is sweet, serene crooner’s waltz that belies its topic of the toxicity of arguments, if you stop swaying to the music long enough to notice the lyrics.

The final three songs are parent to child themed. “We Walk the Flats” is sweet song about the passage of time, though, of course, more about walking on the beach. “How It Should Be,” next, is also heartfelt and wistful. And the record closes with “Before You Go,” a slice-of-lifer about savoring moments.

The twelve tracks of Signposts and Marks are richly textured, lyrically clever songs, delivered by Erin via impressively rich musical arrangements and an exceptional vocal range. If you like singers or songs – and why are you reading a music blog if you don’t? – then you should give this record a listen.