Tag Archives: Album Review

Album Review: Haroula Rose – Here the Blue River

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Haroula Rose

photo courtesy of Howlin’ Wuelf Media

Haroula Rose – Here the Blue River

Album Review of Haroula Rose: Here the Blue River

Haroula Rose‘s voice is ethereal. In fact, first track “Songbird” kicks the album off appropriately, with a calm, enjoyable, otherworldly feel.  (I also like that she ends the album with “Songbird (Reprise),” one of those cool things musicians used to do to bring their works of art full-circle back in the days when albums were king.)

Haroula Rose - Here the Blue River

image courtesy of Howlin’ Wuelf Media

It’s followed by “Margo,” the song that perhaps stands out the most for me from this collection. It has a hooky rhythm and catchy chorus that inspires singing along. All this while maintaining the relaxed energy of the album as a whole.

There’s a cool, rhythmic, musical line that adds character throughout “Moon and Waves” as the song periodically builds to power and mellows.

“The River (Drifting)” has a uniquely haunting aspect to its mellowness with a cleverly picked string backed by a more formidable orchestral wall, as if ushering a classical movie soundtrack through one scene and on to the next.

Haroula Rose

photo courtesy of Howlin’ Wuelf Media

“Sirens” showcases a ’70s psychedelia musical vibe, pulsing along with its purposeful rhythm moving around a vocal more forceful than most on this disc, though still very high and light.

Through “Premontion,” it flows into “This Old House,” a rather wistful, reminiscent, perhaps even melancholy track exceptionally well-suited to Haroula Rose’s soft delivery.

Ethereal music is difficult to get right while keeping it interesting, but Here the Blue River seems to have achieved that balance.

Album Review: Ashley Jordan – He’s Crazy

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Ashley Jordan

photo by Kenzie Klem at Kenzie Klem Photography; photo courtesy of Ashley Jordan

Ashley Jordan – He’s Crazy

The Backstory

Ashley Jordan is well-known and highly regarded around New England. Since I started this blog, I had been looking for an opportunity to catch a live performance of hers, and her gig schedule finally coincided with my availability in August. You can read that review, so I won’t rehash it, but there’s a reason she’s regionally well-known, even in the city of Boston and not just in the outer suburbs where country music has a decent following. I’m pleased to get the chance to review her newest album.

Album Review of Ashley Jordan: He’s Crazy

A singer can only get so far simply by having a broad vocal range and hitting all the notes. There has to be a warmth, a richness, a fullness in the voice to convey understanding and truth, to blend well with the other instruments and to establish an emotional investment and understanding that causes you, the listener, to hang on every word, a tone and tenor that allow you to feel the singer’s emotion straight from her heart as if she’s singing only to you whether it’s in a crowded venue or the privacy of your headset. Ashley Jordan has that. That’s why she’s a local favorite, one of our area gems. And, combined with the strong work ethic and desire I’ve heard mentioned when people speak of her, that’s why she’ll go as far as she gets the opportunity to.

cover photo by Eric Snyder at EAS Photography; image courtesy of Ashley Jordan

cover photo by Eric Snyder at EAS Photography; image courtesy of Ashley Jordan

Ashley is from the small town of Harvard, Massachusetts. For those outside the Boston area, that’s 30 miles and a world away from its name-sharing university and Boston/Cambridge. Harvard, Mass. is small-town USA. I think I drove through it once, but I blinked and missed it. Still, given its proximity to Boston, Ashley was able to hone her skills busking in the big city beginning as a young teen. So it’s not surprising she exudes ample small-town charm backed by big-city confidence when she performs. It’s a deadly combination, one tailor-made for Nashville in particular and country music in general. Indeed, I get a bit of a Carrie Underwood-ish vibe from Ashley Jordan.

He’s Crazy is Ashley’s fourth album. And this time, it’s personal. Or at least it sure seems that way. The album centers upon the theme of an ended relationship, at different times sad, angry, introspective, dismissive, and defiant about it. Much the way Taylor Swift’s relationships are fertile songwriting fodder, this could be Taylor’s next album. But, to be honest, I’d much rather hear Ashley sing it. She clearly knows how to write songs that suit her voice and adds those personal touches, those vocal flourishes, that make a great vocalist unique and recognizable. The songwriting is impeccable, as well; Ashley deals from a vocabulary that’s broad but familiar, and the lyrics chosen are almost always very precise and ideal for the situation.

I’m guessing this album will have staying power, too, because each time I think I’ve selected a favorite song, I’m struck by a different mood and a different perfect track to represent it. So if you’ll indulge me, let me take you song-by-song through this impactful collection.

The disc opens with “Weapon.” Great way to start off. This one’s big-time. After a couple listens, I was checking the liner notes to make sure this was really an original, as it quickly became an old favorite. A powerful country tune, it’s mostly mellow but bursts forth with power and the sort of roar you’re more likely to hear from a rock band like Imagine Dragons. Just a hint of that rock edge, as it’s clearly a country tune, but this is the sort of song that could explode across genres. Between the violin opening and explosions of sound during the song all supporting her powerful vocals, this could be a signature song for a hot young artist.

Ashley Jordan

photo by Eric Snyder at EAS Photography; photo courtesy of Ashley Jordan

“Come Home” is a wistful country crooner, as Ashley’s voice soars through the chorus, and though the song is not rock, it somehow recalls rock phrasings of the word “home” ranging from Phillip Phillips’ “Home” to Scorpions’ “Coming Home,” even if the comparison ends at that word. Indeed, there are ample small-town country girl moments like the way she sings “mem’ry” that show a country sensibility and a hint of even country-folk influence. There’s also that dramatic pause late in the chorus that recalls the hooks from the big ’90s alt-rock hits. (Think Barenaked Ladies.) Though seemingly simple to categorize (“country”), Ashley’s songs are so much more complicated than they first seem once you lift the veil; this is a prime example of that.

I wrote in my live review that I hear a bit of Dolly Parton and Clare Bowen in Ashley’s voice. “Blue Eyed Boy” is the song that most brings both of these comparisons to mind, of Clare during the gentle moments but more of Dolly when she ever-so-slightly adds a little more power. And what seems like a bit of a twang at times comes across as defiant determination across a guitar-pickin’ music backdrop in this well-written song with its encouraging, resolute spin on a particular heartbreak.

The laid-back strumming of “Losin’ My Damn Mind” seems like something you’d hear around a campfire, walking the line between folky country and ’70s storytelling country, yet with a modern pop-inspired wail. And some of the phrases carry a bit of a James Taylor vibe. It’s a nice little damn song.

“In Spite of You” is the truly defiant song in this collection, downright rebellious in comparison to the merely-cranky-by-comparison “Blue Eyed Boy.” (Of course, y’all already know I enjoy a bit of snark and attitude with my country.) With a bit of radio play, I’m sure this would quickly become a favorite post-breakup anthem on campuses nationwide, with some great, cathartic scream-along moments.

Ashley Jordan

photo by Eric Snyder at EAS Photography; photo courtesy of Ashley Jordan

I suppose “Short Fuse” could be a word to the wise about staying on Ashley’s good side. Seriously, though, this is one of many sing-along worthy tunes, with sensitive guitar building to strength and a vocal edge at the song’s climax that conveys the fraying of her last nerve. Yes, she’s a convincing vocalist who’ll convince you every thought and lyric in her songs is the gospel truth, leaving you to wonder how much, if any, is fiction.

“Lone Wolf,” though, is the song that I always scream along with. Ashley, of course, is singing with smooth power on the disc while I’m merely screaming in the car. Though propelled by a tribal rhythm, this track is still slow-paced, but it is the one song on this disc that fully and frequently unleashes the tuneful firepower her voice is capable of.

“So Far Gone” mixes strength and sensitivity, power and compassion into a combination of music and lyrics that serve as a strong reminder of this vocalist’s songwriting skills. It’s all in the details, and, of course, she writes to her vocal strengths.

On “He’s Crazy,” a dancing and screaming guitar line weaves its way behind Ashley’s emotive vocals. This is the one song on which she utilizes a high register that I want to call a falsetto, but it really isn’t. It is quite cool, though. Yet another tool in her toolkit. And by song’s end, she leaves the listener convinced he’s crazy… though after “Short Fuse,” maybe he has a point.

“Angels” closes the album on a sensitive note, softly, though if you listen to the lyrics, perhaps a bit dysfunctionally.

Beginning to end, this album is a moderately-paced country tour de force; for those who don’t yet know her, it’s a terrific introduction to a young woman who has every skill – as a songwriter, in the studio, live, and seemingly off-stage as well – to be a country music star. So get this album, enjoy Ashley’s music, and root for her to gain broader notice. I can only imagine how she’d rock a packed Gillette.

If you get a chance, get ahold of a copy of this disc. I’d guess “Weapon,” “He’s Crazy,” and “Angels” will have the biggest chance of breakout success, but if you’re like me, another song or two on this album, which is solid beginning to end, may be your favorites.

Looking Ahead

Ashley has a busy weekend ahead. On Saturday, September 24th, she has the 11:30 AM time slot on the main stage at the Cape Cod Scallop Fest in Falmouth, MA. And the next day, on Sunday, September 25th, she opens for Trace Adkins at 1:00 PM at Indian Ranch in Webster, MA. The concert page on her website also lists a Friday, September 30 gig at Indian Ranch, performing as part of the Nash Next Radio competition. Obviously, check back to her website for additional upcoming shows.

Album Review: Gemini Syndrome – Memento Mori

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Gemini Syndrome

photo courtesy of Concrete Marketing

Gemini Syndrome – Memento Mori

Backstory

Though my pop music fan friends lump me in with headbangers, true metalheads will confirm that I am, at best, a hard rocker. However, when I hear a band with a proper edge to its vocals, instrumental skills, and an aggressive musical approach with the skill to assemble those elements into a style that stands apart from the crowd, I cross over to the dark side. So yeah, I’m a bit persnickety when it comes to which real, true metal bands I listen to, and I know I leave out very worthy bands from entire sub-genres in the process; that’s why I always tried to have at least one true hardcore metal aficionado on staff when I published Geoff Wilbur’s Renegade Newsletter. But there’s nothing as sincere as my appreciation for a metal band when its sound really speaks to me. Several months ago, I introduced you to one such band, the amazing Forever Still. Now, again, I urge you to take a listen to Gemini Syndrome.

Album Review of Gemini Syndrome: Memento Mori

Gemini Syndrome - Memento Mori

image courtesy of Concrete Marketing

Gemini Syndrome combines the polished, heavy melodic power of Three Days Grace with the raw energy and rough edges of Coal Chamber to form its very own sound in this standout collection of songs, Memento Mori. And, of course, you can’t have an exceptional band without a prodigious vocalist with an identifiable vocal edge. Enter Aaron Nordstrom to rock your face off…

Right from the start, in fact. Album-opener “Anonymous” starts off with power, contains a catchy repeated lyrical/rhythmic section that you’ll remember long after the song ends, adds a little metal growl in the middle, and essentially establishes the mood of this powerful metal album.

If there’s a potential broad-audience hit, it’s “Remember We Die.” (In the video, there’s a minute and a quarter of pre-song storyline before the album version of the song begins.) The chorus soars, there’s a bit of harmony, the tempo changes and occasional forays into brief aggression are well-placed, and the title provides an easy sing-along throughout the track. While this may be the “gateway song” for crossover fans, most of the rest of the disc is heavier.

Gemini Syndrome

photo courtesy of Concrete Marketing

Other standouts include “Gravedigger,” which has an incessant, slow-but-heavy pace, with the vocals and the rhythm section taking turns driving the rhythm in tour de force fashion. Also, “Inception,” which eases into its power. And “Sorry Not Sorry,” which contains a practically pop music melody, balanced with heavier sections and some heavy metal screaming.

The album nearly closes with the aggressive “Eternity,” driven primarily by its pulsing heavy rhythm and typically soaring power vocals, with “Ordo ob Chao” serving as a one-minute decompression-chamber outro, as if meant to pull one final cathartic scream from the listener.

Memento Mori requires consideration not just by full-time hard rockers and headbangers; if you have any metal in your collection, this album may well be a worthy new addition.

On the Road

Gemini Syndrome has a bunch of live gigs scheduled. Scroll down the page on the band’s website for the tour listings to see if they’ll be performing near you. The band’s next show is Saturday, September 24th in Houston, TX with Alice in Chains. And on October 12th, the band hits the road with Sevendust and Red Sun Rising, playing Dallas on October 12th and Austin on October 13th, with dates through the end of the month of October in Flagstaff, Tempe, Las Vegas, Los Angeles, Sacramento, Portland, and Spokane.

Album Review: Norwood – Notes to My Blood

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Norwood

photo courtesy of Norwood

by James Morris, Contributing Blogger

Album Review of Norwood: Notes to My Blood

There is a refreshing “don’t give a damn” ethos at work on this new album, Notes to My Blood, by Norwood. I mean, come on, you’re only 17 seconds in when you are hit with the first F-word on the album. “Prayer” is a nice, loose acoustic opener. No frills, just a polite acoustic word with the Almighty to “make me punk as f***”. Maybe he longs to trade in the acoustic and go electric, thrash the hell out of life and kick a few amps in. What I like is that the next song kinda does. The natty titled “Randolph Carter Rides Again” kicks straight out of the blocks and immediately you realise that Norwood does not appreciate being cast in one mould or tied to a genre. Its like Chris Norwood explains, “These songs are for the people who take life on a person-by-person basis.”

Norwood - Notes To My Blood

image courtesy of Norwood

So expect a varied journey through some great songs that don’t sit in a box of convenience. I am immediately struck by the lyrical nature of the songs that spring from the pen of Chris Norwood. Even in his promo blurb he comes across as creative and thoughtful, as if the imagery of words express themselves from his very soul. The imaginative approach to what is written, as a songwriter myself, makes me very respectful of his approach and his need to express himself without cliche. He says he comes from an ordinary, unremarkable background, “I don’t have a romantic legacy to fall back on, nor do I have the charm of someone who comes from absolutely no background whatsoever. All I have are my guts and a good sense of rhythm.” Guts and rhythm are serving him well on this record.

The album forces you to sit and listen. It’s not something you just put on in the background. You need to take the time to hear the songs and unravel the lyrical twists and turns. There is so much music these days. It’s too easy for people to zone out and find that, with music playing everywhere, they don’t remember any of it. Well stop and take 40 minutes out to actually play this album and do nothing else.

Although the songs are all individual and distinct, there is a clever lyrical and strong musical thread that runs throughout. The band behind Mr. Norwood are perfectly suited to his musical needs and provide a strong backbone to his free-falling style.  “I pride myself on being rough around the edges,” he claims. The trick, therefore, is to surround yourself with a bunch of musicians that click together, and this band that comprises of Nastasia Green, Keith Michael Pinault, Hajnal Pivnick, and Max Maples, each play their part in making this record work so well.

Norwood

photo courtesy of Norwood

Track 3 is “Art Is Never Free” and again takes you in another direction from the previous songs. This is not a problem. The variance is anchored by the ability of the band and a wonderful, almost Hurricane/Dylan weaving violin running across the tracks. It tells you an unorthodox tale set to a great upbeat, catchy tune, slightly reminiscent of the sort of thing The Beautiful South may have done back in their day.

I’m going to say now that, like a film you are planning on going to see and don’t want someone to tell you how it ends, I am not going to tell you what each of the songs is about. So much of the pleasure for me listening was hearing the stories, working stuff out, and getting immersed in the richness of the words chosen to be sung. So go get the album and discover the delights for yourself.

Meanwhile, I will tell you a bit more of how the album made me feel as I wander through the track listing as it plays in my ears.

“New Song” is slower and sounds classy; it reminded me of just how much the band work so well, but also the production on the album is handled with great delicacy allowing everything to breathe.

This is once again demonstrated on “Moonlight,” which is probably the most commercial-sounding tune. Like They Might Be Giants but more interesting.

Norwood

photo courtesy of Norwood

“I Never Told You” and “Pretend” show how the individual and combined voices of Chris Norwood and Nastasia Green work so well together. Voices made for each other. Both songs have more of that great violin I spoke of earlier, and the words and continuing fine tunes just keep you captivated.

“Middle Child” and “Skin” keep it moving and keep you interested, and then the album is rounded out with “When The Time Comes,” a lively, enjoyably acidly angry song. “You can’t hurt me anymore,” they cry in defiance.

I like this album a lot. It’s that loose styled defiance, combined with being able to write melodic and interesting songs. There is no harm, of course, in being backed up by a tight strong band. All this makes me recommend you go and get Notes to My Blood soon because it is already out there my friends and it is waiting to be heard.

If you want to see them live, you can catch Norwood on Saturday, September 17th at the Bitter End in New York City.

Album Review: Stewart Eastham – Dancers in the Mansion

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Stewart Eastham

photo by Katrena Rochell; photo courtesy of Skye Media

Stewart Eastham – Dancers in the Mansion

Album Review of Stewart Eastham: Dancers in the Mansion

It’s always fun to stumble across a talented, old-fashioned country dancehall-style crooner. That’s the essence of Stewart Eastham, though he is capable of performing the whole breadth of styles encompassed by such a description and subtly incorporates some external influences while he’s at it. As a result, his latest collection, the 15-song Dancers in the Mansion, is a welcome listen; a fresh adaptation of a comfortable old musical friend.

Stewart Eastham - Dancers in the Mansion

image courtesy of Skye Media

Stewart’s music swings, and his voice is medium-deep but comes across with the power of the deepest country voices. I’m not comparing him to Kenny Rogers, but some of this album is stylistically similar; Stewart could share a stage with The Gambler in Kenny’s heyday. The rest is reminiscent of old-school, slide guitar twang-driven, Opry-ready tunes. All the while, though, Stewart maintains a fresher, more modern edge to his vocals. The result is a record that should appeal to traditionalists while also drawing in many newer-country fans.

Stewart Eastham

photo by Katrena Rochell; photo courtesy of Skye Media

Stewart does show off some variety over the course of the album. The disc opens with “In the Morning,” a side-to-side sway-inducing number that’s a bit of California country meets jazzy Americana. Occasionally during “Windshield” the music recalls for me the Eagles’ “Desperado,” perhaps “twanged-up” a bit, and it’s delivered in a way I could envision Garth Brooks singing it. There’s a hint of Waylon Jennings in “Jackpot.” And Stewart’s tone and delivery of “Fruit Cocktail Cannery Blues” reminds me a lot of Joshua Kadison.

Stewart Eastham

photo by Katrena Rochell; photo courtesy of Skye Media

But regardless of the stylistic variances on individual tracks, there’s a traditionally country dancehall twang and swing that permeates the disc. “Lonesome Melody” is one such heartfelt crooner, and it’s paired on the disc with the title track, the energetic, emphatic, fast-pickin’ and ivory-ticklin’ country dance number “Dancers in the Mansion.” Elsewhere, Stewart lends his deep voice to a song like “Carry On,” an old-fashioned country heartstring-tugger that sports a hint of ’70s pop-country behind its more traditional steel guitar-driven, storytelling crooning.

Throughout, this is an impressive album, delivered with strength, power, and sincerity by an artist well-suited to carry this brand of traditional country music into the next generation. If this sounds like a style of music you like, give Stewart Eastham a listen.

Looking Ahead

Keep an eye on Stewart’s website for upcoming gigs.

Album Review: TOS – Killer

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TOS

photo courtesy of TOS

TOS – Killer

The Backstory

For those of you who read my review of TOS’s CD release show, you know the backstory. I stumbled across this incredibly talented young band solely because I was looking for some live music here in the outer Boston suburbs one weekend. I’ve been listening to the Killer CD ever since, including most days during my commute. (I have also more recently reviewed another of the band’s concerts, and I may continue reviewing their shows regularly if they keep scheduling gigs a whole lot closer to my house than any of my other favorite local bands.)

Album Review of TOS: Killer

TOS - Killer

image courtesy of TOS

TOS is a rock band with timeless songwriting, talented musicianship, and a unique, identifiable, modern sound.

The band is led by singer/songwriter Sophia Ward, whose sensitive-but-powerful, often haunting vocals provide an appealing delivery of her well-crafted lyrics; both the delivery and songwriting lend artistic credibility to TOS, a band that can be easily considered both rockers and artists.

Her comrades are talented enough to be up for the task. Many of the songs seem to be driven by the rhythm guitar, generally acoustic, delivered ably in varied stylistic formats by Jonathan Sommer. This frees up lead guitarist Jackson Parker to add texture to the songs with his electric axework, his solos proving difference-makers on a few tracks. Then there’s the rhythm section. For the most part I’d label bassist Jae Mannion and drummer Mitch Rolla as steady and dependable. Occasionally one or the other will add a hook or featured run to a song while the other holds down the rhythm fort; the two work together well as a team.

TOS

photo courtesy of TOS

The album-opener “Death of Me” is the standout on the disc, though it’s one of a half-dozen I’d consider exceptional. But this song is appealing on multiple fronts. It introduces the listener to both Sophia’s quintessential somewhat haunting vocal and her occasionally called-upon insistent wail, the strumming rhythm guitar that propels most of the song, the subtlety of the rhythm section (there’s an occasionally recurring bass hook that unassumingly raises the song’s memorability level), and a lead guitar line adds texture in fortuitous spots. As a result, it’s a potential fan favorite with staying power.

Throughout Killer, it’s the variety on the disc that helps it stand up over multiple listens. That begins with the songwriting. There are a couple of my favorite lines that exhibit the lyrical cleverness I look for.

First, during the band’s anti-love song, “Need This Love” – one of my favorites – in a tone that reaches sadly into the soul, supported by a blues-infused rhythm, you’ll hear “I need this love/To go away/’Cause all it’s brought/Is tears and hate.” Great blues lyrics from this alt-rock outfit.

TOS

photo courtesy of TOS

Also, in “Mouthful.” Musically, this song crept up on me but is now on heavy rotation on my stereo. Sophia’s voice dances around the melody deftly in fits and spurts in this one. It’s moody, at times either sultry or sadly angry, and delivers another of my favorite lines on this disc, “Your biggest mistake starts with my name.”

Oh, but the songs get deeper. “Ghost,” anyone? Another haunting song with powerful musical builds and tempo variance. It’s a catchy song you’ll find yourself singing along with, one of the standout tracks on the disc… about being abducted in the woods and held captive. It’s jolting every time you realize what you’re singing along to, but it’s oh-so-well-written.

Lest you think the album’s serious and/or angry, don’t. Even the aforementioned songs are fun listens in all their seriousness. Also, at the absolute opposite end of the spectrum, beginning with an electric guitar riff that’d make a ’70s metal band proud before flowing into a rather pop-rocking, energetic song, is “Reckless.” A partying song that features an excellent, well-placed electric guitar solo.

TOS

photo courtesy of TOS

Another amusing tune that’s a personal favorite is “Cry Baby,” an energetic, rock-strumming-driven ditty with the electric axe line almost a modern twist on ’60s surf rock-style guitar.

And while “Soul Keeper” is yet another relationship song that’s not exactly cheerful, it’s not all romantic doom and gloom in TOS’s repertoire. “Waterfall” is reminiscent and wistful, while “The One” is rather romantic and hopeful, even if its opening reveals that it’s a bit neurotically so.

The disc closes, though, with its title track, “Killer.” Another anti-romantic song. The guitar line is like something Metallica would come up with if it were to write a heavy alt-rock song. And “Killer” does, indeed, close the album emphatically with power-howled vocals, aggressive stop-start drumming, mile-a-minute acoustic guitar picking… every tool in TOS’s kit but the kitchen sink. The ideal album-ender to leave the listener content and out of breath.

So yeah, I’ve been enjoying having this CD in my car the last several weeks. It’s a rockin’ disc from a tight, talented group, containing enough depth and musical variety to remain interesting across dozens of listens.

TOS at The Pleasant Cafe

photo by Geoff Wilbur

Looking Ahead

Get out to hear TOS if you can. This is absolutely one of the best live bands in Boston. TOS’s next performance is Saturday, September 10th at the Remember September Music Festival in Brockton, MA. The band also has an upcoming Saturday, September 24th gig (11:00 AM-1:00 PM for you morning people) at the 22nd Annual Weston Car Show in Weston, MA, a Saturday, October 1 early afternoon (2:00 PM) set at MaynardFest in Maynard, MA, and a Friday, October 10th gig at Out of the Blue Too Art Gallery in Cambridge, MA with Company One and Pillbook. Check the band’s website for more information on those gigs and others as they’re added. You can also sign up for their mailing list like I did.

Album Review: Angie and the Deserters – Blood Like Wine

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Angie and the Deserters

photo courtesy of Miles High Productions

Angie and the Deserters – Blood Like Wine

EP Review of Angie and the Deserters: Blood Like Wine

Angie and the Deserters - Blood Like Wine

image courtesy of Miles High Productions

Your jugular. That’s what Angie Bruyere grabs you by with the opening strains of “Country Radio,” the first track on this energetic, engaging six-song collection. Americana-billy, if I had to give it a name. Angie and the Deserters pair a country twang with a rockin’ attitude and rhythm, with an engaging fiddle mixed in for good measure. If I had to compare Angie’s voice to anyone’s on this first track, I’d say it reminds me of Sarah Borges.

But it’s followed by the crooning twanger “Smile,” a Patsy Cline-ish, school-dance-in-a-gymnasium ballad that’s soaked in slide guitar and fiddle in all the right places. Two songs in, and it’s obvious Angie and the Deserters have range.

Angie Bruyere

photo courtesy of Miles High Productions

“The Gift” is a rather spooky, deserted old-west flavored, haunting tango.

“Ain’t Goin’ Down” comes across like an Angie and the Deserters spin on Tom Petty… if Tom Petty had a hoarsely sexy voice that cracked with emotion like a young Demi Moore and combined it with a country bad-girl attitude.

“Don’t Cry” is a more sensitive number, Americana-meets-Fleetwood Mac at times. It’s smooth enough to cross over to fans of soft rock, top 40, country, classic rock… I can see nearly endless avenues of appeal for this well-written, melodic track.

Angie Bruyere

photo courtesy of Miles High Productions

The package is wrapped up by “On My Way,” another rockabilly-Americana blend, though this is a mellower, more wide-open-spaces take on the genre. Still, as throughout the disc, Angie’s voice cracks in all the most alluring spots, providing an edge to an otherwise smooth, crisp sound.

From beginning to end, Blood Like Wine just jumps out of the speakers and grabs the listeners by the throat… or maybe the ears. But with just six songs, it ends too soon; but not for long. Impatient new fans can reach back and seek out the band’s 2015 debut, the full-length album West of The Night. And Angie and the Deserters also plan to release another EP in October, sharing the second half of the band’s recent Nashville recordings. Not such a long wait to hear more of what this group has to offer.

Album Review: Body English – Stories of Earth

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Body English

photo courtesy of Body English

Body English – Stories of Earth

Album Review of Body English: Stories of Earth

Body English -Stories of Earth

image courtesy of Body English

Supertramp meets Phantom of the Opera. Gordon Lightfoot covers Looking Glass’ “Brandy (You’re a Fine Girl).” Don McLean co-writes with Harry Chapin and Squeeze. High-vocalled soft-progressive ’70s-style pop-rock with a modern twist. Body English is a unique group that combines disparate elements of that certain style of classic rock with a modern progressive flair. It’s a style from that era whose sound is not as often updated by modern rockers and, as such, Stories of Earth is an especially interesting bit of ear candy.

Body English

photo courtesy of Body English

This collection kicks off with perhaps its most commercial, catchiest track, “Kiss Them.” Blending ’70s pop-rock guitar and dynamic, emotional vocals before a wall-of-sound backdrop at times, this track is an energetic, cheerful welcome.

Another standout on this disc, “Prose and Poetry” adds a nicely sensitive, folk-reminiscent vocal crackle to a building, eventually relatively psychedelic (perhaps a bit Who-inspired) musical backdrop by mid-song.

Body English

photo courtesy of Body English

You’ll certainly have your own favorites. Perhaps “I Don’t Wanna Be a Housewife (For Someone Else’s Family)” with its horn-driven opening and clever lyrics. Maybe the energetic “Rock and Roll Will Save You,” a song that somehow incorporates the occasional rockabilly note into its otherwise very progressive DNA. Or possibly the 10 1/2 minute magnum opus that closes the disc in true ’70s progressive rock form, “The Humour in the Heart of the Old Grey Mountain.”

Give this album a few listens. Its spin on the genre is a bit unexpected, but it really grows on you.

To check it out, you can find a stream of Stories of Earth on SoundCloud.

Album Review: Idlewilde – 90 Proof

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Idlewilde – 90 Proof

Album Review of Idlewilde: 90 Proof

Idlewilde - 90 ProofTogether since 1981, Southern New England’s Idlewilde knows its way around the blues. Though I’m aware they’re a group of top-shelf musicians with good day jobs, if I hadn’t known otherwise before being handed this CD, I’d’ve pegged these guys as full-time blues cats. 90 Proof is a fun, diverse collection of rock and blues songs that, after just a few listens, quickly became an old friend (as a blues album should).

Featuring Dale Binsberger (bass, vocals), Jon Gould (lead guitar, vocals), Ryan Snyder (drums, vocals), Phil Spillane (guitar, harmonica, vocals), and Denny Hartzell (“all things keys”), Idlewilde delivers grit and growl that lets you know these guys are blues veterans.

I’m a big fan of the bit-by-bit album opening, and Idlewilde leads with instrumental “Bodeca,” whose sparse intro gives way to blistering guitars, a pulsing, catchy rhythm, and playful blues organ.

“Red Clay” is strung-out, soulful, growling-vocalled, classic blues. It’s followed by mid-tempo yet raucous “When I’m Gone.”

“Trouble,” which features a truly gravelly growl and harmonica opening, settles into a groove that recalls a bit of “Cheap Sunglasses”-era ZZ Top.

And in that vein, the album continues, a club-rocking mix of blues and blues rock that I’m sure translates well to live performance and produces a rousingly fun night for local clubgoers and is well-represented throughout this disc.

There are a few other songs well worth mentioning in this collection. Musicians, for example, are likely to most appreciate the energetic “Telecaster,” an ode to a bluesman’s beloved axe.

Perhaps the most soulful blues song on the disc is “A Darker Shade of Blue.” You may find yourself listening to that one with your eyes closed and your head swaying.

My favorite song on the album is probably “Damn That Rock & Roll” because it’s just so blue. Great organ opening combined with soulful harmonica, a blue beat, and anguished, all building to climax ever-so-slowly. It’s a smoky barroom-flavored, cascading, classic soulful blues number.

And the second of the two “bonus tracks” that close the disc, “The Whiskey Song,” is an old Irish drinking tune that sounds like it was a lot of fun to record.

Idlewilde is, indeed, a longtime favorite “’round these parts,” and with 90 Proof delivers a solid album showcasing plenty of blues-based variety for broad appeal. I’d also consider it proof these guys must put on an energetic, fun live show, one I look forward to catching when the opportunity arises.

EP Review: Mark Webb – Home

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EP Review of Mark Webb: Home

The 5-song collection from Greenville, South Carolina’s Mark Webb kicks off in impressive fashion, presenting a pure, Opry-ready country music sound with Mark’s medium-deep, soulful country voice in such a way that it grabs the listener from the very first note, then again from the very first vocal. Immediately, it’s clear this guy is a big-time talent.

Mark’s talent also manifests itself in the varied song styles he can perform within his musical sweet spot, ranging from old-fashioned country to a folkier Americana-infused brand of softly rocking country. None of the tracks on this EP are particularly loud or brash, perhaps because Mark lets his smooth-yet-textured voice tug at the listeners emotions via carefully crafted lyrics, which touch upon everyday people’s experiences and emotions.

Mark Webb - Home

image courtesy of Gold Ship Records

EP-opener “Queen” is a mid-tempo twanger with enough thump supporting soaring musical and vocal moments to satisfy fans of multiple country music sub-genres.

It’s followed by “Can We Make It Right,” a soft-touch, mid-tempo number that’ll get the listener swaying side-to-side with its rhythm, seasoned by Mark’s Southern-sweet vocals and guitar-strumming with a more Eagles-like soft country-rock flavor.

I’d consider “Come Back Home” as a more traditional country song in the vein of “Can We Make It Right.” In tempo and vibe, though, this also recalls for me the Eagles; in this case, “Peaceful Easy Feeling.”

Sandwiched between the two is “Weak Enough,” a relatively pure country ballad-style track. It opens with sparse strumming that emphasizes the raw, heartfelt tenor in Mark’s voice. A little slide guitar twang joins in, as the music builds with the song’s emotion. Altogether, the song is well put-together, tugging at enough heartstrings with its odd refrain “I’m not weak enough to leave you now.”

Mark closes the EP with “Friend of Mine (Just Like You),” another emotional tune, this one a slow, soft-touch ballad on which his rich, full voice particularly shines. It’s deep, heartfelt country music with perhaps a hint of folk and just the scarcest country twang. Mark sings as if he’s pouring his heart out on this one, and it feels like the sort of song that would quiet a room as the audience connects emotionally and soaks it all in. Terrific end to a solid disc.

From beginning to end, Home is an enjoyable listen. It’s an EP that shows off Mark’s considerable talent. And hopefully it marks the beginning of big things for this talented country singer/songwriter.

Looking Ahead

Mark has a few upcoming live dates listed on his website, including a Saturday, September 17 show in Bristol, TN at the Bristol Rhythm & Roots Reunion and a Thursday, October 13th Fall For Greenville gig with Turnpike Troubadours at Peace Center Amphitheater in Greenville, SC. There are also some dates listed with information TBA. Keep an eye on the “tour” page of Mark’s website for further information about catching him live.