Tag Archives: Geoff Wilbur

Single Review: The Amplifier Heads – “They Came to Rock” feat. Barrence Whitfield

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image courtesy of Knyvet

Single Review of The Amplifier Heads: “They Came to Rock” feat. Barrence Whitfield (Rum Bar Records)

One of the singles from The Amplifier Heads‘ 2024 release Songs From They Came to Rock, “They Came to Rock” is a ’50s-style boppin’ rocker, with Amplifier Heads bandleader Sal Baglio tabbing Barrence Whitfield for the fun, sometimes-booming, memorably stylistically appropriate vocals. This catchy song is a smile-inducing homage to old-style rock ‘n roll, with an otherwordly vibe fitting the song’s content.

Barrence Whitfield and The Amplifier Heads' Sal Baglio

Whitfield and Baglio; photo courtesy of Knyvet

The band released a fun video, too, with a hilariously serious, newsreel-style video lead-in. You might categorize the video under “space camp.” In any case, you should definitely give the video a view; you can find it on YouTube via this link.

The full album was released in April 2024, a few weeks after this single dropped; you can check out the entire space-themed “rock opera,” Songs From They Came to Rock, here on the album’s Bandcamp page.

Looking Ahead

You can keep track of upcoming performances from The Amplifier Heads or Sal Baglio here on the “Live” page of the band’s website.

 

Album Review: Simon Stanley Ward & the Shadows of Doubt – Rocket in the Desert

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photo courtesy of Simon Stanley Ward

Album Review of Simon Stanley Ward & the Shadows of Doubt: Rocket in the Desert

This is such a cool album from Simon Stanley Ward & the Shadows of Doubt! The story behind the recording of Rocket in the Desert is both heartwarming and heartbreaking, and it’s told in a bit of detail here on the band’s website.

image courtesy of Simon Stanley Ward

The band consists of Simon Stanley Ward (vocals, acoustic guitar, fiddle), Paul Lush (lead guitar, producer), Neil Marsh (drums) and Geoff Easeman (bass guitar). Of course, as you’ll discover when you read the heartwarming-slash-heartbreaking tale I referenced above, you’ll discover the band moved heaven and earth to ensure that Geoff was able to record with them. Geoff completed the bass tracks for eight of the ten tracks on this record while in hospice; as Geoff had suggested before he passed, his son Richard Easeman filled that role on the ninth and tenth tracks. Again, you can read more on the band’s website, so let’s talk about the damn fine music itself.

photo courtesy of Simon Stanley Ward

Stylistically, Simon Stanley Ward & the Shadows of Doubt sport a sound that covers a broad swath of the Americana genre and perhaps a bit more. You can hear the country, folk, and rockabilly influences, plus a bit of straight-on rock ‘n roll. The music is very song-driven and lyrically often quite clever.

Some of the songs – particularly album-opener “I’m a Worrier” – have a bit of a Red Sammy vibe, to tie them to a band I reviewed recently, but Simon & the Shadows are more of the quirky folk-country singer-songwriter (though they’re a band) type of band.

The catchiest song – the most likely hitworthy, at least – is a ’50s-style rocker with a little bit of a folk-rockabilly tint, “This Ain’t It.” Ironically, it’s a song, lyrically, about how the band is going to write a hit record one day, but this ain’t it… or maybe it is. Did I mention lyrically clever? Oh, yeah, these guys are just getting started.

photo courtesy of Simon Stanley Ward

The title track, “Rocket in the Desert” is one of the more rockin’est on the disc, thumping along energetically with a nifty little guitar flourish for seasoning.

If you’re looking for silliness, you’ll enjoy “Big Foot Baby,” possibly “Terpsichorean Footwear,” and definitely “Deadheading” – my favorite among this trio – which is possibly the grooviest acid-folk-rock song about gardening you’ll ever hear.

“Designated Driver” is another tune that’s lyrically clever, describing the role of a designated driver at a surprising level of detail, all while creating a psychedelically, western-flavored soundbed and crooning smoothly at the climax, “I’m the designated driver… on the highway of love.” It’s just frickin’ cool.

photo courtesy of Simon Stanley Ward

The two closing songs on the disc, “When September Comes” and “Loving You,” are the ones featuring Richard Easeman on bass, and they’re energetic, fun closing numbers, both with a bit of a country dancehall flavor. The fiddling and the rhythm on “Loving You,” in particular, I’m sure make it a crowd favorite when performed live. In any case, it’s a great way to close a strong disc.

If you’ve not yet heard this album and your tastes include any flavor of Americana or you appreciate clever lyrics and catchy tunes, you should give Rocket in the Desert a spin.

Single Review: Bernie Marsden – “Invisible” feat. Jaime Kyle

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photo courtesy of BJF Media

Single Review of Bernie Marsden: “Invisible” feat. Jaime Kyle (Conquest Music)

Just about a week ago, I reviewed Jaime Kyle’s recent kickass album Wild One. Well, she also lent her voice to the single “Invisible”, released by Conquest Music as the last single from Bernie Marsden‘s final album. Of course, Bernie is most widely known as one of the original members of Whitesnake, co-writer of some of the band’s earliest hits.

image courtesy of BJF Media

“Invisible” appeared on the late 2023 double-album Working Man, a record Bernie had just completed and which was released a few months after he passed away. The details about the song’s release are detailed on the Bernie Marsden website quite completely, so click through here to read more about it; I’ll stick to reviewing the music.

From the opening guitar riff, “Invisible” identifies itself as a “turn up the volume” room-rocker. In fact, it becomes so quickly familiar that I had to review the songwriting credits just to make sure this wasn’t a cover of a song I already knew. The song has self-empowerment, anthemic qualities, with lyrics like “you’ll never change me, so don’t even try” playing right into the gritty edge of Jaime’s vocals. Meanwhile, Bernie’s playful axe riffs and slightly longer, engaging guitar runs provide the tempo and the hooks. The song rides the line between guitar rock and power pop, providing perfect fodder for rock radio, to the extent that category still exists. Not that it matters. If you dig catchy, guitar-driven, energetic rock ‘n roll, give “Invisible” a listen and add it to your playlist.

Single Review: Kill Shelter – “She’s in Parties”

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photo courtesy of HYPR Communications

Single Review of Kill Shelter: “She’s in Parties”

Kill Shelter is UK artist, DJ, and producer Pete Burns. The song “She’s in Parties” was originally recorded when Kill Shelter was asked by Unknown Pleasures Records to record a Bauhaus song to appear on the Honoris III compilation, which was released in 2022. Pete Burns (vocals, guitars, synths, programming) was joined on the recording by Alan “Lord Hagos” Haggarty (bass) and Lynsey Burns (backing vocals). More recently – early last year – Kill Shelter released a “She’s in Parties” as a single with a music video featuring model DJ MAUS.

image courtesy of HYPR Communications

I was, of course, not a goth kid, so I was unfamiliar with the original. I also tend to enjoy modern updates of songs, even longtime favorites – at least, when they’re juiced up rather than blandified (I’m looking at you with that comment, pop music). Well, Kill Shelter adds a lot of character and energy to this cover. The staticky, thumping distortion that rhythmically served as the beat was energetic and catchy. Pete’s vocals played it straight, with a very matter-of-fact delivery augmented by reverbing echoes. This just feels like one of those club tunes you get up to dance to, then realize the beat isn’t really made for dancing, but the song’s so cool you just stand there swaying, enjoying the three or four minutes.

photo courtesy of HYPR Communications

If you’re a longtime blog reader, the band I’ve reviewed that most reminds me of this recording would be The Sweetest Condition, but only insomuch as I might book them at the same event because TSC’s music was largely danceable industrial music, whereas Kill Shelter’s cover of “She’s in Parties” is an echoing, beat-driven, post-goth experience. I’m thinking this updated rendition of “She’s in Parties” would find footing with an exceptionally large swath of music fans. At the very least, I guarantee it’s worth a listen, so please, dear readers, go give it one.

 

Single Review: Joe Kidd & Sheila Burke – “Last Time I Looked”

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image courtesy of Joe Kidd & Sheila Burke

Single Review of Joe Kidd & Sheila Burke: “Last Time I Looked”

Here at the blog, we last reviewed Joe Kidd & Shiela Burke a few years ago. Well, contributor Eric Harabadian reviewed them… six years ago! For this duo, that’s been too long. Since Eric wrote that review, this will be my first attempt to capture the uniquely pleasant, enjoyable, identifiable vibe of one of Joe and Sheila’s recordings.

Joe & Sheila’s e-mail message accompanying the release of this single said: “Imagine yourself in an Alien Future: You are a survivor of climate catastrophe, nuclear holocaust, famine, plague, apocalyptic social upheaval. You are telling stories to the young ones, remembering the world as it was in the not too distant past.” That certainly describes the subject matter well. Lyrics include phrases like “Last time I looked, we could all breathe clean air” and “Last time I looked, no reason to beware.”

Sonically, “Last Time I Looked” is top-tier singer-songwriter fare. Folky, but with some guitar choices that hint at a broader appeal, marking it as a song that could be more easily appreciated and enjoyed by a crossover audience. Joe’s raspy voice and Sheila’s crisp, rich, tuneful singing blend exceptionally well. There’s a bit of a ’60s/’70s flavor in the song, harkening back to an era when the best folk-based songs could break through to a mainstream radio audience. Personally, I also like the fact that it seems like a song you could sing along with – most of the lines begin with the words “last time I looked,” after all – but it’d take a lot of listens before you could even hope to begin to sing along to all the words that follow that recurring phrase. Just about every line is different. So you just listen and enjoy. Just one more of the many cool things about this tune.

 

Album Review: Mareike Wiening – Reveal

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photo by Luke Marantz; photo courtesy of hubtone PR

Album Review of Mareike Wiening – Reveal

Drummer/bandleader/composer Mareike Wiening teams with Rich Perry (saxophone), Glenn Zaleski (piano), Alex Goodman (guitar), and Johannes Felscher (bass) on Reveal. They’re joined by Dave Douglas (trumpet) on three of the album’s eight tracks.

image courtesy of hubtone PR

The music on this disc is smooth – great music to listen to while working, as I’m fond of saying about my favorite instrumental discs. That means, of course, that it’s unobtrusive enough that it doesn’t interrupt my thought process but memorable enough that I find myself humming them later in the day (or bobbing and swaying to them while working).

Album opener “Time for Priorities” is one of my favorite songs on Reveal. I love the journey the saxophone takes throughout the song, bolstered by some percussion and keys that help to bridge the gaps and some thumpy plucking on the bass in the style that those of us who aren’t jazz experts expect from a jazz bassist.

photo by Luke Marantz; photo courtesy of hubtone PR

My other favorite song on this album is “Reveal,” and rock fans who enjoy drum solos might appreciate the featured drum part early on, which leads into the lively horn part that serves as a recurring thread to stitch this song together.

There are elements that stand out on all the tracks. I mean, I really enjoy the pianowork early in “The Girl By the Window.” And “Encore” and “Balada” are probably the most melancholy tracks, at least predominantly. Whether you’re a big jazz fan or, like me, a more casual enjoyer of some occasional jazz, you’ll discover something you like on Reveal.

Looking Ahead

Per the “Shows” page of Mareike’s website, she’ll be performing in Germany (plus one date each in Vienna and Zurich) in January, February, and March. If that’s near you, be sure to check her website for dates and venues.

Single Review: The String Revolution feat. Tommy Emmanuel – “Folsom Prison Blues”

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photo by Mark Marynovic; photo courtesy of Leighton Media

Single Review of The String Revolution feat. Tommy Emmanuel: “Folsom Prison Blues”

We all know this song, made famous by Johnny Cash. It’s a song that almost shouldn’t be covered. And yet it was, winningly. Grammy winningly, in fact. This instrumental cover by The String Revolution, joined by guitar luminary Tommy Emmanuel, won the 2024 Grammy for Best Arrangement, Instrumental or A Cappella. The arrangement earned a Grammy for The String Revolution trio of Markus Illko, Janet Robin and Rober Luis, plus Tommy Emmanuel and John Carter Cash.

image courtesy of Leighton Media

This version of “Folsom Prison Blues” utilizes multiple guitarists intricately well, as I suppose as you’d expect from a band of guitarists. There’s a nifty little lead-in – a lead-in that turns a bit ominous for a stretch before transitioning to the classic song’s easily-recognizable opening notes. A blending of picking, thumping, and tempo carry the song predictably for a while, but there’s plenty of creative originality front, middle, and back of the song (including a mid-song return of that ominous sequence) while still staying wholly true to the “Folsom Prison Blues” we know and love.

photo by Maarten de Boer at iheartmaarten; photo courtesy of Leighton Media

In all, this song, as performed by this award-winning trio (or, I suppose foursome, with Tommy Emmanuel on board) is an energetic guitar-pickin’ package. It’ll be a neat addition to the music collections of Johnny Cash fans… or those who enjoy intricate guitarwork or excellent musicianship. It’d be hard not to enjoy this piece; and it’s obvious why this is a Grammy-winning arrangement. But don’t take my word for it – check it out for yourself.

 

Album Review: Bees Deluxe – Hallucinate

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photo courtesy of Bees Deluxe

Album Review of Bees Deluxe: Hallucinate

Bees Deluxe‘s music is a unique, progressive combination of blues, jazz, and funky rock. On the band’s newest album Hallucinate, Conrad Warre (guitar, bass, vocals, trumpet, kaossilator, strings, keyboards), Carol Band (keyboards, vocals, harmonica), Paul Giovine (drums, percussion), and Adam Sankowski (bass guitar) are joined by a half-dozen additional musicians to round out the sound on various tracks. You can read the liner notes via this link for a glimpse at the other exceptional instrumentalists involved in this project.

The album has a cohesive sound, with an experimental bent permeating throughout, giving a jazz feeling and even an alternative progressive rock flavor to what is, if you dig deeply, primarily a blues album. The band refers to itself as Boston’s British/American acid blues, the “British” referring to guitarist Warre’s British origin, and who am I to argue with the description? I certainly can’t concoct a better description to this high-brow mélange of musical influences.

Bees Deluxe opens Hallucinate coolly with the rhythmically catchy “Sharkskin Suit,” then follows it immediately with the funky grooves of “When Is Yesterday.”

There’s a familiarity I feel for Bees Deluxe’s sound, and it comes from an entirely different – or seemingly entirely different – musical style. At least, there’s a similarity to an artist I’ve always thought of as a different genre. Notably, “Houdini” and “What’s Wrong with Me” both remind me of the Les Paul’s (The Paul’s) albums I’ve previously reviewed, and Warre’s vocals throughout hint just a bit (or quite a bit, as the case may be) at the vocal stylings found on Les Paul’s (The Paul’s)’s releases.

photo courtesy of Bees Deluxe

Back to Bees Deluxe, though, and there’s an originality in the band’s sound that makes its music difficult to categorize (blues and jazz with a bit of an old-school alt-pop-rock energy) but easy to enjoy. “Queen Midas” stands out as a song that might have stood a chance as a crossover song, with a soft-edged but still clearly punk attitude and aggression intertwined with the smoother overall music bed.

I’m especially drawn to a song that stands out by being so different, the smooth, keyboard-driven instrumental piece, “How to Play 96 Tears,” that lacks the edginess of the surrounding tracks. It’s just a really good, short piano number. The other instrumental piece on the record, “Gary Burton’s ex-Guitar Player Stole My Highschool Girlfriend and Now I Can’t Stop Dreaming About Her,” features some cool, contemplative guitar noodling, something you’ll need to replay the song to notice, since you spent the whole three minutes the first time through just reading the song title.

photo courtesy of Bees Deluxe

And finally, if you ever hear me call a song “hep,” as in “cool-but-old school,” it’d have to sound a lot like Bees Deluxe’s “Call Me Frank.”

I’ve already mentioned the two final songs on the album, “Houdini” and “What’s Wrong with Me,” the latter a catchy pop-jazz-blues groove that’ll leave you wanting more. Or, at least, to start over and play the album again.

Hallucinate is a solid entry from this I-suppose-they-must-be-blues-maybe outfit, one of the more unique – and uniquely talented – groups on the Boston music scene. I’m guessing it’ll be a groovy live performance; hopefully, I’ll find my way to one of their gigs one of these days.

 

Album Review: Red Sammy – Holy Fluorescent Light

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photo courtesy of Red Sammy

Album Review of Red Sammy: Holy Fluorescent Light

A year ago, I reviewed Red Sammy’s very cool single, “Some Days I Feel Crazy.” That song is track number two on Red Sammy‘s newest 8-song album, Holy Fluorescent Light, that dropped early this year. Founded by bandleader/singer/songwriter Adam Trice in 2007, this newest release in Red Sammy’s ten studio album. On this album, Trice (guitar, vocals) is joined by Bruce Elliott (guitar), Greg Humphreys (bass, backing vocals), and Kenneth Noble (drums, percussion).

image courtesy of Red Sammy

On Holy Fluorescent Light, Red Sammy delivers a variety of tempos and energy levels. Some of the songs on the disc are rattly and raucous, while others are more truly mellow. Regardless, though, the songs carry a laid-back vibe that runs through all of Red Sammy’s music, while the distinctive songwriting and Trice’s unique vocals further provide that inter-song link. Ah, those vocals. They’re a sort of mumbled warble with a folky drawl but a college alt-rock delivery; combined with the music, the resulting style might be described as Bob Dylan meets R.E.M. In any case, the whole album – beginning to end – is a cool listen. If not by the end of your first listen, then certainly within a few listens, you’ll be hooked on this jangly sound that I’m convinced must translate exceptionally to a live performance. Across a broad range of venues, in fact; it’s a style that’d be capable of entertaining audiences equally from the big stages of open-air festivals or in the cramped confines of college dive bars.

Red Sammy’s Adam Trice; photo courtesy of Red Sammy

The whole collection makes for a fun, cohesive listen, but I’ll point out a few of my personal favorites. Album-opener “Gettin’ It Over” chugs along moderately energetically, a great way to kick things off. It’s followed by the previously-reviewed single, the catchy, quirky Americana-rocker “Some Days I Feel Crazy.” And I’m kind of fond of the mellow, strumming growler “I Couldn’t Find a Way Home Last Night,” which Trice delivers as if he may have had a rough time last night and was truly unable to find a way home. But you, know, it’s all cool.

“Don’t Know What to Say” has a distinctive guitar line that connects with the Parrothead-ish vibe I mentioned in my review of the band’s single late last year. Meanwhile, album-ender “I Worry Sick About You” has a singalongable chorus – well, the line “I worry sick about you,” basically.

Beginning to end, Holy Fluorescent Light offers a cool listen of college rock-flavored Americana with fun, identifiably quirky songwriting and delivery. The album serves as a nice introduction to Red Sammy for new listeners or equally as a well-anticipated tenth studio album for longtime fans.

photo courtesy of Red Sammy

Looking Ahead

Be sure to check the “Upcoming Shows” page of Red Sammy’s website for concert dates. It looks like the band will be performing at the Apollo Civic Theatre in Martinsburg, WV on Saturday, February 22nd. Keep an eye out for additional shows as they’re added.

Album Review: Jaime Kyle – Wild One

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photo courtesy of BJF Media

Album Review of Jaime Kyle: Wild One

Jaime Kyle is a talented rock ‘n roll singer-songwriter. Her songs have been covered by a variety of artists. In fact, this album’s title track, which Jaime co-wrote, was recorded 30 years ago by Faith Hill. Rest assured, when you listen to this album (if you’re not already familiar with Jaime), you’ll notice her chops are every bit as exceptional as her songwriting. (I mean, natch. I only review music I would recommend.) Wild One, the album, ranges from rollicking rockers to heartfelt ballads, playing to Jaime’s myriad vocal strengths, even hinting at country on one ballad; of course, she knows how to write for country, so that’s probably not much of a stretch for her.

image courtesy of BJF Media

Jaime roars out of the gates on this record with the title track, a full-throttle, anthemic rocker. Song number two “Driving with the Brakes On,” is only slightly less persistent, with a little more texture in the verses but no less energy in the chorus.

“Change” is kind of a Pat Benatar-ish softer rock number – one of those tracks with a not-quite-slow-enough-to-be-a-ballad tempo, but it’s definitely a slow song. It’s a song that requires an almost whispery soft-touch vocal as well as cutting vocal power, showcasing the versatility in Jaime’s chords. And it’s followed by “Blue Night,” a true ballad that hints at country. Or, at least, explores rock-country ballad territory a little.

photo courtesy of BJF Media

Next up, “Perfect Love” is a playful rock ‘n roll romp, an uncredited duet that excels in part due to the exceptional vocal interplay. “Lie,” meanwhile, is a song so full of spit and vinegar you’d might expect it to be covered by Miranda Lambert at some point.

The rest of the disc is equally a mix of slow songs and rockers; I’ll mention a few of my faves. “Not About Love” is the closest thing to a soaring torch song you’ll find on this disc. “Dirty Goodbye” is a mid-tempo rocker that feels as if it exceeds that medium energy level thanks to some well-placed, divine guitar riffs. And the disc closes playfully and fun with the upbeat, sunsplashed “Happy Town.”

For those who like big, open, catchy rock albums with a nice mix of rockers and ballads – and maybe the stray vocal or guitar riff that hints at country – you’ll dig Jaime Kyle’s Wild One.