Tag Archives: Eric Harabadian

Album Review: JK Collective – Ring Road

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photo by Ariane Kok; photo courtesy of Jan Knetsch

by Eric Harabadian, Contributing Blogger

Album Review of JK Collective: Ring Road

JK Collective is a group of studio musicians and composers from the Netherlands that specializes in ‘60s-inspired rock and pop. Although they sound more than capable of handling any musical situation, the original songs performed on Ring Road strongly reflect their fascination with British, European and American-based classic rock.

album cover designed by Jasper Davidson; image courtesy of Jan Knetsch

Multi-instrumentalist and composer Jan Knetsch is at the helm here and leads his merry men of musicality down a road that is letter perfect in tone and texture. The dozen tracks here were sparked by Knetsch and his wife’s journey to the USA down Route 66 in 2022. Upon hearing The Beatles’ “I Saw Her Standing There” wafting from a roadhouse sound system, it stirred something in him to begin writing new music and tapping into that ‘60s-era style and feel. When Knetsch returned home to the Netherlands, he assembled this collective of musicians and got to work.

What you have here is a cadre of great original songs. “Ring Road Theme” is a mid- tempo rocker that blossoms on a bed of orchestral beauty. Woodwinds, strings and things blended with a wonderful and spirited melody really set the scene. “Together to Get Her” has a heavy British feel. It recalls the harmonic craftsmanship of The Hollies and The Beatles, with a touch of modern flair. The overall mood is upbeat, with a cool minor-ish guitar break. “I Don’t Wanna Give You Up” features great harmonies (hmm, I think I see a trend here… LOL!), with some tasty guitar action and a funky grooving bass line. “To Be Loved” features that Mersey Beat factor. There is also a predominant Beatle-esque sensibility, with a George Harrison-like slide guitar.

photo by Ariane Kok; photo courtesy of Jan Knetsch

“One Man Show” is very cinematic and taps into the bands’ penchant for storytelling. “The Mother Road” could almost be considered auto-biographical where it talks about traveling along Route 66. A ripping guitar solo and strong hooks bring it all back to the origin of JK Collective. “Work in Progress” spotlights the bands’ American influences, with a vocal nod to The Beach Boys. They’ve done their homework well and embody that freewheeling California sound. “Sweet Melody” sounds like Abbey Road-era Beatles. Superb harmonies, coupled with strings and brilliant hooks, make this a highlight. Continuing with The Beatles influence, there is no mistaking the “Eleanor Rigby” cadence and chamber string flourishes of “Roses in the Vale.” This track also vaguely recalls some of the early Moody Blues orchestral work. “Dreamers Drive” throws the whole works into the mix, blending woodwinds, strings, and straight up rock. And “My Song of the Day” rounds things out with a tasteful and well-placed acoustic ballad.

Ring Road is an album that shines a light on diversity and is very fluid in its songwriting approach. But there is a cinematic quality to their songs as well which taps into the JK Collective goals of licensing and marketing their music for films and video projects.

Album Review: Jason Kao Hwang – Soliloquies

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Jason Kao Hwang – Soliloquies album cover

image courtesy of Jason Kao Hwang

by Eric Harabadian, Contributing Blogger

Album Review of Jason Kao Hwang: Soliloquies

Originally from the Midwest and currently based in New Jersey, Jason Kao Hwang is a classically-trained violinist and composer who specializes in a free jazz and improvisational approach to his instrument. He cut his musical teeth in the late ’70s and early ’80s playing with some of the heavyweights of avant garde jazz music such as saxophonist Anthony Braxton, saxophonist/flautist Henry Threadgill, and bassist Reggie Workman. Hwang, who is of Chinese descent, has also been heavily involved in world music that reflects his Asian-American heritage.

That wealth of musical and cultural knowledge is uniquely compressed into a dozen tight and expressive original solo violin etudes and improvisations. In particular, the strings master employs a specific technique throughout the recording called “pizzicato.” It is an alternate manner of playing where, instead of using a bow and swiping the violin strings, the instrument is “picked” or plucked similar to an approach on guitar. It’s a technique that gives the violin and each composition an entirely different and more percussive feel when compared with the way the instrument is primarily played.

In the dramatic arts soliloquies are intimate monologues where a character stands alone on stage to confide their innermost thoughts to the audience. Similarly, Hwang found a way to express himself in an improvisational and solitary context. Each original composition here tells part of a story. It’s a story that is a love letter to his parents and family’s first and second generation immigrant experiences.

The appropriately titled “At the Beginning” ushers in a demure and delicate melody on which the use of subtle pull-offs, trills and fleet-fingered picking is employed. The follow up “Hungry Shadows” develops those initial ideas and spotlights nuanced octaves and space. “Vagabond” navigates the melody in an unorthodox manner, with wit and strategic grace. Angular themes and well thought-out string bends and glissando define tracks such as “Spinning Coins,” “Remembering Our Conversation,” and “Encirclement.” Solo pizzicato in the hands of a sonic craftsman such as Hwang is magical because he refuses to be bound by the chains of conformity. Throughout his musical explorations on this album he makes his acoustic violin sound like a talking drum, flamenco guitar, and an Asian lute-like instrument called a Koto.

Every artist should grant themselves the opportunity to truly express who they are and where they come from. For all the sideman and collaborative work Hwang has done over the years, it’s nice to hear the soloist captured in his natural and familial element. And that’s what you essentially find here. “For the children of war survivors there are conversations with our parents we wished we had and could not,” explains Hwang in the liner notes. “I often wonder about my parents’ vague allusions to atrocities they survived in China during World War II because their trauma was far greater than I can imagine, even now, over 20 years since their passing. In Soliloquies I honor their courage by embracing their voices within mine, to sing into our unknowable silence encircling dreams. I am especially playing for my father, who endured multiple strokes, the last of which took his voice.”

Soliloquies is a dedicated listen and one that, in light of the stories behind each track, will draw you in with its earnestness, subtle delivery and powerful resolve.

Interview with Derek “Mo” Moore of Nektar and Album Review of Nektar – Mission to Mars

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Nektar – Mission to Mars album cover

image courtesy of Chipster PR

by Eric Harabadian, Contributing Blogger

Interview with Derek “Mo” Moore of Nektar and Album Review of Nektar: Mission to Mars

Nektar is a band that originally was entirely British but found early success in the late ‘60s in Germany. Guitarist-vocalist Roye Albrighton, keyboardist Allan “Taff” Freeman, bassist-vocalist Derek “Mo” Moore, drummer-vocalist Ron Howden and lighting/effects specialist Mick Brockett comprised the original group which formed in 1969. They broke out on the U.S. charts in the early ‘70s, with influential and conceptual albums like A Tab in the Ocean, Remember the Future, Down to Earth, and Recycled.

Mission to Mars is Nektar’s 16th studio album, and that’s not counting a plethora of legit live albums, as well. They’ve always been a great live act due to their tight and collaborative sound as well as a phenomenal and entrancing light and images show.

The current lineup of Nektar consists of long-time guitarist-vocalist Ryche Chlanda, keyboardist Kendall Scott, bassist-vocalist Derek “Mo” Moore, vocalist Maryann Castello, and drummer Jay Dittamo. The album Mission to Mars is the first part of a proposed trilogy of albums for the band. Chlanda and Moore co-wrote the lyrics and came up with the universal space concepts, which will act as set pieces for songs going forward.

Recently we sat down with original bassist-vocalist and songwriter Moore to discuss the new album and the history of one of rock’s most enduring and prolific acts.

Mission to Mars was co-produced by Moore and Chlanda and includes themes about outer space, the Universe, spirituality and positive vibes. Moore really lights up when discussing the origin of their current record and the production scheme behind it. “We did the mix with the goal of being able to hear everything,” says Moore. “We planned where everything was gonna be placed and what vocals were gonna go from left to right. And once we got that done we had it mastered by Leon Zervos, who used to be with Sterling Sound in New York City. Our friend and engineer Joe DeMaio has a studio called Shorefire in Long Branch, New Jersey and he did the basic live tracks with us. We always do the basic tracks live because that retains the freshness and it doesn’t sound too clinical.”

And from the opening title track, Mission to Mars erupts from the gate, with a rhythmic bravado and rocking presence that deftly blends sci-fi imagery with vibrant audio colors and pulse. Chlanda’s full-bodied guitar work and gritty vocals lead an uplifting chorus of “Celebrate, scream and shout. Love yourself and let it out.” The song takes some collective thematic detours by way of Kendall Scott’s bubbly synthesizers as the harmonies establish this revived assemblage of the band as simply sublime.

“We mastered the vinyl and CD versions separately,” says Moore. “When you do digital, some of the frequencies are cut out because your ears hear things different, and it sort of compensates for that. But you can’t do that on vinyl. On vinyl, you can have all the frequencies there by keeping the length of each side down to about 16 minutes. That way you get a bigger groove, with the bottom end of the bass and drums. And the rest of it takes up the top. It makes for a very warm sound. We went to a lot of trouble to make sure the CD sounded perfect too. And then we switched to vinyl.”

“Long Lost Sunday” is the second song in the track order on the new album, and it takes the listener further into the galaxy of complex emotions in the search for a higher self. It’s heady stuff that finds balance in memorable riffs, taut staccato rhythms, and free flowing vocals. By the time the song builds to the vocal climax of “Don’t walk away… don’t walk away,” you’re hooked in the somewhat atmospheric grandeur of it all. It’s a powerful piece of music.

“One Day Hi One Day Lo” is another track that had major co-writing contributions from Scott. He provides the orchestral arrangements at the beginning that unfold into a multi-tiered Beatles-esque trip through space tempered with Dadaist existential themes.

Alas, Nektar’s latest venture is somewhat bittersweet amid the loss of original drummer-vocalist Ron Howden. Howden performed on the band’s last live 2 CD/Blu-ray release two years ago entitled Journey to the Other Side (Live From the Dunellen Theatre). And, unfortunately, that was his last performance with the band. Returning valiantly from a bout with cancer, he was on the ground floor of talks with Chlanda and Moore about recording what would become, Mission to Mars, but a brain aneurysm took him days after their last meeting, and it was not meant to be.

“Ron died last September,” says Moore. “I played with him for 60 years. It was very sad. But we know Ron would’ve wanted us to continue, so we finished putting the songs together. And our drummer Jay used to play with Kendall and Ryche in Ryche Chlanda’s Flying Dreams, so it was a great fit.”

The final track on Mission to Mars is called “I’ll Let You In,” and it proved to be a very emotional song for Chlanda, in particular, to sing. It’s a dreamy and ethereal ballad, with a resonant chorus that has hope and an inclusive message of renewal, healing, and celebration.

“That song actually got picked up by some Christian radio stations across the country,” says Moore. “I handle a lot of the radio marketing with a friend of mine. And I told him I thought ‘I’ll Let You In’ could cross over into the Christian market. We’ve got about ten stations in the U.K. and about 40 in the U.S. playing ‘Mission to Mars’ and ‘I’ll Let You In.’ I think we stand a chance with this album of making it on mainstream radio.”

Watch for Nektar to be booking new tour dates for the U.S. and Europe in 2025.

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

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Kristian Montgomery & the Winterkill Band – Lower County Outlaw

image courtesy of Kristian Montgomery & the Winterkill Band

by Eric Harabadian, Contributing Blogger

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

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

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

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

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

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

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

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

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

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

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

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

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

Looking Ahead

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

Single/Video Review: Stormstress – “Buried You in the Snow”

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Stormstress

photo by Fuel Heart Productions; photo courtesy of Stormstress

by Eric Harabadian, Contributing Blogger

Video Review of Stormstress: “Buried You in the Snow”

Stormstress is a hard rock/heavy metal trio, with ties to Boston and Detroit. Mirror image sisters Tanya Venom (guitars/vocals) and Tia Mayhem (bass/vocals), along with Maddie May Scott (drums/vocals) are riding high off the success of their independent release Silver Lining in 2022. This is their first foray into new material since that album, and it presents a perfect balance of raw power and vocally orchestrated bliss. Amid a white background, the band erupts, with a scream and a swath of crunchy guitars, pummeling bass and sparse, meaty drums. Their hair and garb are a mix of black and white, fiery reds, icy blues and extreme face paint that all add to the drama of their message.

“Buried You in the Snow” takes on the demons and situations in life that haunt us, whether that be an addiction, a personal impasse, or just any barrier that stands in the way of you emerging as your best self. The song is all about letting go of that seemingly insurmountable albatross and finally finding vindication and freedom in one’s own skin. Here’s a taste of some of the lyrics that set the scene: “I could feel the bite of winter in the air. Not a single star to shine on my despair. By the candlelight, I drew the 13th card, the Reaper spoke I had to break your heart.” And the second verse really cinches a first person account of the loneliness one feels enmeshed in a problem, with “The bliss in your eyes, faded away… oh! Dusk beckoned while you begged me to stay. But when midnight struck, I made a vow I’ve gotta learn to be strong somehow… alone.” Cut from a similar cloth as Dio, Epica, and Heart, Stormstress delivers a powerful treatise on self-actualization, blended with supernatural and gothic imagery. It’s a combination that truly resonates, via Venom’s superb guitar work and the stunning call and response vocals of counterparts Mayhem and Scott.

Stormstress

photo by Fuel Heart Productions; photo courtesy of Stormstress

The song resolves as Venom’s imagery involving the darkness of night and the shimmering white of snow is culminated this way: “All I could see was shades of white, I swear it was the hardest night, but I let the dark take you away (I had to let you go)… I buried you in the snow… until you were gone!” And with that, mission accomplished in a heart-wrenching and poetic song destined for these modern times.

Kudos go to co-producer/engineer Doug Batchelder of the Den Studios for his masterful and meticulous handling of the delicate frequencies and elegant captures of the band’s multi-dimensional vocals. The overall sonic palette as well as, of course, the song itself is truly a work of art!

Stormstress

photo by Fuel Heart Productions; photo courtesy of Stormstress

Looking Back

You can find the Blog‘s review of Stormstress’ Silver Lining here.

Looking Ahead

Keep an eye on the “Tour” page of Stormstress’ website for upcoming concert data. Currently, it lists two upcoming shows in Provincetown, MA: Friday, July 21st; and Friday, October 13th. The trio just rocked Detroit and Chicago a couple weeks ago – and Provincetown last weekend – so I’m sure more dates will be added to the calendar soon.

You can also follow Stormstress on TikTok, Instagram, and Facebook to keep up-to-date.

Album Review: Carl Weingarten – Stop Me Try

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Carl Weingarten

photo courtesy of Rock Rose Music

by Eric Harabadian, Contributing Blogger

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

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

Carl Weingarten – Stop Me Try album cover

image courtesy of Rock Rose Music

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

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

Album Review: Jimmy Ryan – Astral Café

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by Eric Harabadian, Contributing Blogger

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

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

Jimmy Ryan – Astral Cafe

image courtesy of Rock Rose Music

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

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

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

Jimmy Ryan

photo courtesy of Rock Rose Music

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

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

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

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

Album Review: Karen Shook – Moodswings Part 17

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Karen Shook

photo courtesy of Karen Shook

by Eric Harabadian, Contributing Blogger

Album Review of Karen Shook: Moodswings Part 17

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

Karen Shook – Moodswings Part 17

image courtesy of Karen Shook

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

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

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

Karen Shook

photo courtesy of Karen Shook

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

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

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

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

Karen Shook

photo courtesy of Karen Shook

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

Looking Ahead

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

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

Album Review: Matt Hillyer – Glorieta

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Matt Hillyer

photo by Shane Kislack; photo courtesy of RPR Media

by Eric Harabadian, Contributing Blogger

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

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

Matt Hillyer – Glorieta album cover

image courtesy of RPR Media

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

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

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

Matt Hillyer

photo by Shane Kislack; photo courtesy of RPR Media

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

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

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

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

Matt Hillyer

photo by Weslie Delgado; photo courtesy of RPR Media

Looking Ahead

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

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

Album Review: Laura Ainsworth – You Asked For It

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Laura Ainsworth – You Asked for It album cover

image courtesy of Eclectus Records

by Eric Harabadian, Contributing Blogger

Album Review of Laura Ainsworth: You Asked For It (Eclectus Records/Ratspack Records)

Texas-based vocalist and song stylist Laura Ainsworth has carved a unique niche for herself in the jazz and vintage pop worlds. Over the last 15 years or so, she has released four albums that spotlight her penchant for blending irony, humor, and legit chops with rare nuggets from the Great American Songbook. Her fifth and latest release emerged from her legion of fan requests for classic and more familiar fare. So, while the stunning ginger-haired musician complied with public demand, she still decided to put her own indelible imprint on the proceedings. “Whenever I perform live, fans always request the old, familiar favorites,” states Ainsworth from the album liner notes. “The band and I love performing them, but we felt there were already enough recorded versions. But fans keep asking me to record them, particularly ‘Cry Me a River’ and ‘Over the Rainbow.’ I do love to put a fresh, personal spin on even the most familiar songs. So I decided to do a requests album as a lark.”

Laura Ainsworth

photo by TGS Photography; photo courtesy of Eclectus Records

The album was produced by long-time keyboardist and music director Brian Piper and Ainsworth. And the combo that is on this disc brings a strong balance of orchestration and improvisation to their approach. Rodney Booth (trumpet, flugelhorn), Chris McGuire (tenor sax), Noel Johnston (guitar), Young Heo (bass), and Steve Barnes (drums) complete the ensemble.

The dozen songs Ainsworth has chosen reflect some of the finest and best loved works from stage and screen. And, on many of these cherished gems, she includes additional verses for the intros and reworks some of the arrangements. Singer Julie London had a hit with “Cry Me a River” in the ‘50s, Joe Cocker revamped the song for the late ‘60s, and Laura Ainsworth revitalizes this classic once again in the modern day. Few singers give this the gravitas and respect it deserves, as the fiery chanteuse delivers on all fronts. It’s an appropriately bluesy and slightly melancholic take, with a straight-ahead jazz feel.

Oscar Hammerstein and Jerome Kern’s “All the Things You Are” follows and gets the first of many personal signatures where Ainsworth sets up the song with a musical recitation. By doing this, not only does she make it uniquely her own, but it further connects with the listener in a profound way. Her vocals flow above a tasty horn chart and Piper’s inspired piano solo.

Laura Ainsworth

photo by Alan Mercer; photo courtesy of Eclectus Records

James Bond and Sean Connery fans will surely get a kick out of the kitschy and samba-like “Goldfinger.” Written by Anthony Newley and popularized in the ‘60s by singer Shirley Bassey, Ainsworth gives it all the sexy charm and cool one would expect. Kudos are bestowed saxophonist McGuire who rallies a smooth combo feel.

“Someone to Watch Over Me” is a tender ballad that features just the right amount of nuance and phrasing to tug at your heartstrings. These kinds of songs are Ainsworth’s calling card.

Guitarist Johnston takes a Barney Kessell/Joe Pass-influenced solo on the relaxed and swinging “Scotch and Soda.” In it, the leader cleverly sells the parallel between the inebriation one gets from alcohol and falling in love. Here’s an example of the way Ainsworth blends humor and lyrical wit, “People don’t believe me, they think that I’m just braggin,’ but I could feel the way I do and still be on the wagon.”

Laura Ainsworth

photo by Alan Mercer; photo courtesy of Eclectus Records

Rodgers and Hart’s “Isn’t it Romantic” is a prime example of a standard that has been performed by countless artists. But, true to form, Ainsworth and Piper add a sweet horn chart, a cha-cha beat and engaging interplay on piano, muted trumpet and sax, respectively.

There are some other noteworthy moments on this album as well, but this reviewer would be remiss if we didn’t make mention of this collection’s finale. “Over the Rainbow” is, undoubtedly, one of Harold Arlen’s most famous compositions and has a timeless mix of fantasy and wonder that has touched generations. Ainsworth and Piper boil this essential piece down to its essence with just voice and piano. And with it, the classic songstress properly delivers a message of hope and dreams to all those that will hear. It’s a very endearing and sincere performance.

Miscellany

Here at the Blog in 2021, Eric Harabadian also reviewed Laura’s previous album, Top Shelf.

This past October, Laura recorded “Have Yourself a Merry Little Christmas,” a song she released on December 3rd. You can view a YouTube video of the song here.

Also note that you can purchase both the 11-song digital album and the12-song “mini-LP CD” – a Japanese import with the extra track “As Time Goes By” – at: lauraainsworth.bandcamp.com. (In other words, if you buy the compact disc, you get a bonus track!)

You can remain informed about new releases and developments in Laura’s career on her website, on her Facebook page, or by following her on Twitter or Instagram.