Tag Archives: Geoff Wilbur

Single Review: Rachel Stacy – “Empty Glass”

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Rachel Stacy – "Empty Glass"

image courtesy of Triumph Publicity

I’ve been listening to country fiddling phenom Rachel Stacy since before I started this blog.  An MP3 of her song “How’s It Gonna Feel” has been on my phone for more than a decade. (I’d share a link, but I can’t find it online anymore.) Recently, when I heard Rachel’s newest single “Empty Glass,” I immediately reached out to request to review it. So, yeah, I already dug this artist and this single before the song’s many spins in my review queue. With that as a backdrop, let’s get to the review.

Single Review of Rachel Stacy: “Empty Glass”

Rachel Stacy

photo courtesy of Triumph Publicity

“Empty Glass” was penned by Dean Dillon and Gary Stewart in 1988. You can hear the original on Gary Stewart’s 1988 album Brand New. Rachel Stacy’s cover modernizes the song’s sound, removing some of the, with all due respect (because I enjoyed that era of country music), cheesy lounginess of the original by stepping up the tempo and singing it with a grittier edge. The strings class the song up, with the fiddle work playing the role of lead or rhythm guitar at times and completely carrying a bridge. Adding to the end-of-the-night, closing-the-bar-down flavor, Rachel’s voice has a grittiness, as if she has had a rough night and is, indeed, on her last cigarette, staring wearily into an empty whiskey glass. At the appropriate times, though, her vocals soar, occasionally with an anguished power – not exactly a wail, but somewhere in that neighborhood. All told, this arrangement of “Empty Glass” fully utilizes Rachel’s vocal and musical talents. You won’t soon forget her version of this classic song.

If updated, richly-textured, contemporary classic country were a radio staple these days, we’d be hearing this song all over the airwaves already. It’s nice to see the song is charting, apparently reaching some audience; indeed, it deserves to be even more widely heard. If you’re a country music fan who hasn’t yet discovered Rachel Stacy’s music, this song would make a great introduction, after which you’ll certainly want to sample more songs from Rachel’s catalog.

Looking Ahead

You can find Rachel’s various social media accounts and latest links via her linktree.

To be aware of Rachel’s upcoming live performances, periodically check the “Upcoming Shows” page of her website. The site currently lists several shows in and around Dallas from February 29th through March 17th.

The “Events” tab of Rachel’s Facebook page also lists a June 22nd performance at the In The Music Room Studio & Listening Room in Waxahachie, TX. This looks like the sort of small, intimate performance space that would be an ideal place to catch a talented artist.

Those looking for more new music from Rachel will be pleased to learn that her next single, “Three Words,” is scheduled for a March 29th release.

Album Review: Craig Bickhardt – Outpourings

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Craig Bickhardt

photo courtesy of Trespass Music

Album Review of Craig Bickhardt: Outpourings

Craig Bickhardt is a singer-songwriter who sings folk songs, sprinkled with a hint of Americana, with a rich, resonant, just slightly raspy voice and a penchant for connecting with his listeners as if he’s telling stories we’ve all heard a million times before, but perhaps with different details and not previously told quite so well. Craig is a songwriter whose songs have been recorded by a lot of major country music artists and a few from other genres, too, as you can see from the discography page on his website. As is sometimes the case with great songwriters, Craig is a talented recording artist in his own right, his musical talents providing voice and accompaniment to his own-penned musical creations.

Craig Bickhardt – Outpourings

image courtesy of Trespass Music

Outpourings is a 13-song trip with Craig’s heartfelt voice as the guide. On this record, I’d place him squarely on the folk side of Americana, though perhaps renditions that were more electric and less acoustic would raise the hint of country to greater prominence in the mix.

Opening track, “Breaking the Bread,” immediately caught my attention. Fast-picking, a warm, rough-edged vocal, and a welcoming message – “so glad you’re here, breaking the bread” – provide a welcoming entrée to the album. I hear hints (just hints) of Jim Croce in Craig’s voice, mostly in the delivery, but it’s a surefire attention-grabber.

In “Ancient Lullabies,” I hear a tone that’s more in line with the delivery soft rock piano-man Joshua Kadison used on his mellowest songs. By the end of the disc, you really just hear Craig Bickhardt, but early on you notice the presence elements you appreciate in some other great vocalists, and it helps you appreciate Craig’s vocal talent. Of course, the man’s an accomplished songwriter, so the song structure and lyrics are consistently top-shelf.

Throughout the record, Craig chooses topics that will evoke emotion, and then he paints detailed pictures with his lyrics and the emotion in his voice. There are a few songs that stand out for me; you may or may not have the same favorites.

Craig Bickhardt

photo courtesy of Trespass Music

In “England Or Me,” Craig sings an emotionally power-packed tale of finding love during World War II. It’s a powerful song that’ll leave a lump in your throat, even though neither Craig nor we (most of us) were around for that period of world history. The song and the story it tells, however, are timeless.

“She Won’t Be Yours Alone” is another standout track that will stick with you. It’s an uptempo song that lilts and lifts and dances its way around and through some nifty, thoughtful, clever lyrics.

“Fire in the Spirit” introduces harmony vocals from Aislinn Bickhardt Landolt that blend well with Craig’s voice to offer a new, intriguing vocal line.

“Steal Home (Letter to Curt Flood)” won’t just resonate with baseball fans who understand the importance of Curt Flood in the history of major league baseball free agency. The song soars with melancholy, particularly when the lyrics circle back to introspection.

When Craig adds some tempo to his songs, as he does in spots on “Hills of Geronimo,” another personal favorite, it adds nice variety to the album, probably the reason a song like this is memorable, though the heavy lyrics are there for anyone who chooses to listen closely.

Craig Bickhardt

photo courtesy of Trespass Music

“I Don’t Know About Love At All” is a pure acoustic country ballad, with Tom Hampton’s lap steel providing a lot of that country twang, though the lyrics and Craig’s delivery of them also recall open spaces, suggesting this as a song that might be poured out while sitting around a campfire if a cowboy – or a poet staying up late under the stars – were so inclined.

“If Holes Were Coins” is slow-tempo rockin’ Americana with a serious country edge. Fast picking, organ-like sound in the keywork, harmony vocals again from Aislinn Bickhart Landolt, and the odd lyrical image of “if holes were coins” combine with, probably, the song’s next-to-last position on the album to cause it to be one of those songs that stick with you after the album ends.

Craig closes the disc with a song that returns to the folk side of the spectrum, extending over a bit to the soft rock/singer-songwriter lane, with dancing keys contributing to the light feeling of “I Live For This.” The lyrics, too, seem like something you might expect to be the life motto of a songwriting folk troubadour: “Some cry for more, some die for less. I live for this.”

And with that, the album ends. It’s a mostly folk album with a few other influences popping up in spots, including a more country-flavored section toward the end of the collection. If you like folk singing and appreciate a singer-songwriter who’s a master at his craft, you’ll enjoy Craig Bickhardt’s Outpourings. I’ve certainly enjoyed getting to know this disc.

Craig Bickhardt

photo courtesy of Trespass Music

More Recently

Outpourings was released in January 2023, more than a year ago, and is one of the albums I felt I needed to review as I circled back to see what I missed during my 19-month writing hiatus that ended last summer. In September, Craig re-released No Road Back: A Retrospective, a 2010 album that had long been out of print. The “News” page of Craig’s website also mentions a limited-edition 26-song edition of Outpourings, double the length of the album I just reviewed. The message containing that information is more than a year old, but if you’re a Craig Bickhardt fan, it might be worth reaching out to see if any of those are still available. Of course, if you stream, you can listen to the 26-song version of the album on Spotify.

Looking Ahead

The “Tour” page on Craig’s website lists several upcoming performances, starting March 9th in Ewing, New Jersey. Additional dates spanning the rest of the year are listed in Pennsylvania, Delaware, and Massachusetts. Check Craig’s website for dates, locations, and ticket information for those concerts, and be sure to circle back periodically for new dates as they’re added.

Album Review: Major Moment – The Pain That Makes Us Grow

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Major Moment

photo by Evan Middleton; photo courtesy of Major Moment

Album Review of Major Moment: The Pain That Makes Us Grow

Major Moment‘s sound will catch your ear immediately. They’re one of the best “pop metal bands” I’ve heard in recent years. Their music is synth-loaded, with rockin’ guitars, heavy rhythms, and vocals that range from smooth and soaring to grisly and metallic. If you don’t yet know about Major Moment, especially if you don’t actively seek out music outside the mainstream consciousness, think about some of the most rockin’ Imagine Dragons songs but with double the power. Among bands I’ve reviewed recently, I’d be most likely to pair Major Moment with Metalite. Among the “similar bands” Major Moment mentions on its website, I hear the strongest correlation with Starset; also, though, I hear strong similarities with Skillet, but with generally crisper vocals, and with Bad Omens, but with a willingness to take the vocals a little rougher when called-upon. I hear elements of the rest of the bands Major Moment self-compares to, but those are the strongest comparisons.

Although Boston-based Major Moment burst upon the scene in 2018 with its EP one small stEP, I first ran across the band while listening to music from the 2023 New England Music Awards nominees, as I always do before deciding who to vote for; Major Moment’s video for “Toxic” was nominated for Video of the Year.

Major Moment – The Pain That Makes Us Grow

image courtesy of Major Moment

The Pain That Makes Us Grow is a 14-song collection that Major Moment plans to release one single at a time, while the entire collection is available for purchase by fans with a tentative shipping date of March 2024, months before being available on streaming platforms, with special vinyl bundles being available, too. Starting with the 2020 release of “The Flood” and including the late 2023 release of “Losing Battles,” by my count, six of the fourteen tracks can currently be heard online. The seventh single, “Victim,” is scheduled for a February 23rd release. Personally, I think this is a cool way for musicians to make maximum use of streaming while offering something special to their biggest fans.

Sonically, Major Moment is a band with an identifiable sound that’s fun to listen to, in its deep, sometimes dark, often introspective way. Each song on its own is engaging and attention-grabbing. As a collection, they still are, though you if you prefer an immersive experience, the music is cohesive enough that you can let the songs begin to blend together and simply enjoy the ride, as you might when attending a Major Moment concert, with perhaps just your own two or three favorites briefly rising to more conscious awareness. If you choose this path, to listen less intently, the album provides an immersive adrenaline ride, one that seemingly ends all too soon. Surprising, since it’s a 14-song ride. But each song also deserves a more intentional listen, as the music is meticulously planned and so many of the lyrics are exceptionally well-crafted.

The album opens with “Toxic,” the very song that led me to further investigate this talented rock band. Aggressive rhythm combines with metal vocals that range from tuneful to shout-singing (and even some death growling), bringing life to lyrics like “So toxic, you never let me breathe. I’m losing sleep to give you everything. Oh I’m sick, and you refuse to see I owe you nothing, don’t owe you anything.” The song’s anger is, indeed, well-founded; abusers and gaslighters begone.

“Voices” has a bit more finesse, with rhythmically lighter verses that build to synth- and drum-driven climaxes and a bridge that utilizes the song’s most insistent pace during the transitional late-middle.

Major Moment

photo by Evan Middleton; photo courtesy of Major Moment

“You’ll Never Know,” after buzzing into existence, carries a steadier rhythm and, like most of this album, is driven by great lyrics. The lyrics that jump out most obviously in this song about ignorance breeding bigotry, the lyrics you’ll sing along with, are “You’re a fool. I’m the exception, you’re the rule.” However, I prefer the subtler: “Over and over, you talk over me with all the lies that you believe. Over and over, you walk over me. You dare to tell me I’m naïve.” The song is so engaging, you’ll have to remember to pay attention to all of the lyrics, not just the ones that jump out at you. But, as with almost every Major Moment song, the lyrics are as cool as the music.

A steady pace and rhythm drive “No Fear.” It’s a steady, energetic rock song about ignorance and intolerance. I mean, each of these songs would stand out on its own – a great advantage to releasing them one at a time as singles rather than all at once, lest some gems get lost in the shuffle.

“Overcome” is one of those big songs that will overwhelm any playlist and jump out among the songs around it. A drip, drip, drip leads to a musical outburst, foreshadowing the contrast between the light openness of the verses and the denser, more energetic choruses. There’s a powerful metal-shouted, late-song bridge that transitions to one final quick chorus. In fact, it’s this late transition that helps “Overcome” flow so smoothly into the next song that you barely notice the end of “Overcome” and the beginning of “Victim” because it almost feels like just another transition. (Major kudos for this back-to-back song placement!)

“Victim,” then, carries a similar pace as its predecessor but a very different cadence. In fact, “Victim” is another one of those big standalone songs, the lead-in transition notwithstanding. The song, a warning about living in the past, contains the cool lyrics, “Stop looking back, breathing the air of the past. You’re the victim of your whole life passing by. No harm, no foul, nobody’s gonna cry.” The metal-styled vocal differs from “Overcome” in that it is a bit less harsh, at the end of the song, and shorter, but the two songs feel very structurally similar. Still, though, they’re different and individual enough, with slightly different vibes, that they’re hit-caliber songs in their own rights while proving to be an inspired back-to-back song placement on the album.

“Lunacy” is quite possibly my favorite song in this collection. It has a NSFW lyric that should be cautioned against if you’re listening around other people, especially since it’s probably the most singalongable lyric on the entire album. Seriously, be careful, especially while at work, not to shout along with “You must be f*cking kidding me! My ears are ringing from the laughable lies you claim. You propel the pain. It’s all frenetic. (It’s all frenetic.) You’re so pathetic.” Lyrically, the song is awesome throughout. It’s a full-on mock of conspiracy theorists. Yes, we are all shaking our heads in disbelief at your lunacy. “You’re so pathetic.”

Major Moment

photo by Evan Middleton; photo courtesy of Major Moment

The middle of the album is packed. Early releases of “The Flood” culminated in this ambitious, exceptionally well-produced video for the song three years ago. It’s a powerful Major Moment-styled hard rock song with a steady rhythm. “The Flood” meticulously maintains its restrained pace, only briefly and slightly picking up tempo leading into the chorus, then retreating. As a result, there are multiple climaxes to power within the song’s four-plus minute runtime. Lyrically, there are two or three related themes, notably but not exclusively including self-centeredness. Seriously, dudes, don’t forget to listen to the lyrics.

“What a Time” follows with a mid-paced tempo, a soaring metallic soundbed, and anguished vocals, followed by the more aggressive “All For None,” whose mid-late song bridge sounds, musically, almost like a military march. The lyrics tie oh-so-well to the music on these songs. Listen closely. And if you can’t place the Diomede reference, google it. I’m not judging – I couldn’t exactly place where I knew it from either.

“Losing Battles” is a song that adeptly changes tempo, effectively pausing before bursting forth on more than one occasion to regain the listener’s attention. Lyrically, it’s an interesting, psychologically introspective journey.

With a steady, heavy rockin’ beat, “Dead” is a buzzy, wall-of-noise based thought-provoker, suggesting that (metaphorically) “you’re already dead.”

“Staged” is another big standout for me. It has an energetic tempo and a chorus that jumps out from the verses, grabbing your attention. Are you living your life, or are you just acting? Do you know the part you’re playing? “Curtain call, will anybody know my name if all the world is a stage?”

Closing track “Married” also has a unique appeal. It’s slower with a more muted sound than most of the collection, almost balladically bringing the album to an end. If you want a happy ending, the lyrics won’t provide it, but the music sets you down softly for a sonically pleasant end to the disc, so there’s that.

Seriously, if this is your kind of music, consider grabbing the entire disc now. If you don’t think this is your kind of music, give it a listen, at least – it’s really good, likely to garner crossover listeners who might not gravitate toward most similar artists. When it’s publicly available, I would suggest starting with my personal NSFW favorite “Lunacy,” but it hasn’t been released as a single yet. Among songs that are currently available, “Toxic,” “Dead,” or “The Flood” would all be good “gateway drugs” to ease you into a Major Moment addiction. The lyrics even without music would be worth reading. But the powerful, soaring music and the fresh, original sound? Well, that’d make Major Moment a new fave even without the supporting lyrical prowess.

Major Moment

photo by Evan Middleton; photo courtesy of Major Moment

Looking Ahead

Major Moment continues to release one song at a time from the album. I find six of the fourteen on streaming services, which means there are currently eight unreleased songs on The Pain That Makes Us Grow. That eight will shrink to seven when “Victim,” which is scheduled for a February 23rd release, becomes available. In addition to finding Major Moment’s songs on Spotify and other streaming services, you can find links to all of the band’s videos (from the current album and before) on the “Videos” page of the Major Moment’s website. Or you can check out the band’s YouTube page. I also enjoy what Major Moment shares on TikTok, so give them a follow there for some cool content.

Major Moment doesn’t currently have any live shows scheduled, but keep an eye on the “Shows” page of the band’s website for future dates as they’re added.

 

Single Review: Michelle Held – “The World Moves On”

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Michelle Held

photo by Robert Sherrow; photo courtesy of Michelle Held

Single Review of Michelle Held: “The World Moves On”

Michelle Held has been one of Metro Detroit’s most amazing folk singers for the last decade. (For a quick glimpse into Michelle’s background, I’d recommend this Detroit News “artist spotlight”.) I first reached out to her very early in the Blog‘s history to ask to be on her promo list whenever she next released music. She remembered, though I never dreamed it would be so long before her first-ever official release, the single “The World Moves On,” which dropped on November 17th. Needless to say, after more than a decade of performing and writing songs, Michelle’s first official release does not disappoint. Not that anyone would have thought it might.

Michelle Held – "The World Moves On"

cover art by Cara Dunning; image courtesy of Michelle Held

“The World Moves On” is a thoughtful contemporary folk song, ruminating deeply on the passage of time, the passing of heroes, the steady relentlessness of it all, and the personal emotions it evokes. Michelle’s strumming is steady, her vocals are warm with an edge that digs in and penetrates your consciousness. This song presents a few opportunities for Michelle to share her memorably one-of-a-kind warble, a vocal texture that helps secure a spot in the listener’s memory and sets her apart from other singer-songwriters in and beyond the folk genre.

The song’s arrangement is much grander than a typical folk song, sporting a mix replete with horns and strings that provide a soundscape that’s much more noticeable when you begin to specifically listen for it. When time has passed after my most recent listen to “The World Moves On,” my memory recalls a simple, heartfelt song; then, when I listen again, I rediscover how the horns offer a unique opening, the strings provide an early transition, and they all build throughout the song, adding to its weightiness and power. Michelle started with a powerful song, with just her voice and her guitar, then expanded upon that solid foundation to build a folk song with potentially a much broader appeal.

If you’ve not yet heard “The World Moves On,” you must give it a listen. Or two or three, and remember to listen for all the little things that combine to produce this widely accessible, powerful contemporary folk recording.

Michelle Held

photo by Stacie Huckeba; photo courtesy of Michelle Held

Liner Notes

The recording process for “The World Moves On” began when Michelle laid down vocal and guitar tracks during a recording session with Jim Rawlings in Berkley, MI. Then Savannah Buist and Katie Larson of The Accidentals added strings. [Side note: Several years ago, Blog contributor Joe Szilvagyi reviewed The Accidentals’ Parking Lot EP, then I covered an Accidentals concert in Cambridge, MA.] Later, C.J. Camerieri (Paul Simon, Bon Iver) contributed the horn arrangement for “The World Moves On.” The song was mixed by Eli Crews at Spillway Sound (Laurie Anderson, Tune-Yards) in upstate New York and mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston. The song’s animated video was created by Cara Dunning.

Looking Ahead

Michelle’s live performance talent has been an open secret for more than a decade. There are videos online – that’s how I discovered her so many years ago, since I’ve never seen her live – but if you can catch her in person, it would be an evening well spent. If you’re in Michigan this winter and spring, you’re in luck. The “Tour” page of Michelle’s website lists a few upcoming shows. (Be sure to check back for more as they’re added.) If you’re quick, you can catch Michelle today, February 18th, at 2:00 PM at a Songwriters in the Round concert at the Ferndale Area District Library. She also currently has shows booked on Saturday, March 2nd in Ann Arbor, MI; Saturday, April 6th at the Michigan Music Video Awards in Marshall, MI; Wednesday, April 10th in Hamtramck, MI; and Sunday, April 14th in Livonia, MI.

 

Album Review: Sado-Domestics – Beach Day in Black and White

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Sado-Domestics

photo by Eric Gehring; photo courtesy of Sado-Domestics

Album Review of Sado-Domestics: Beach Day in Black and White

The Sado-Domestics are singer-songwriters Chris Gleason (also of Los Goutos and Noise Floor Delirium) and Lucy Martinez (also of Lucy and the Dreamers); on Beach Day in Black and White, they’re joined by Jimmy Ryan on mandolin/vocals and Eric Royer on pedal steel. You’ve read about some of these musicians’ exploits at the blog over the years. I’ve reviewed a Los Goutos album and live gig here at the Blog, as well as a Noise Floor Delirium recording. Jimmy Ryan was half of the opening duo reviewed as part of the Los Goutos show. Jimmy was also onstage as a member of the Charles River Reprobates for a gig you’ll find reviewed if you scroll down to the bottom of the Los Goutos review. If we’ve given these musicians receive a bit of attention here at the Blog, it’s only because they deserve it; they’re highly acclaimed members of the Boston music community. However, if you’re not yet plugged into Chris & company’s sizeable corner of the Boston music scene, you’re in for a treat.

Sado-Domestics – Beach Day in Black and White

image courtesy of Sado-Domestics

The Sado-Domestics are practically a dictionary definition of Americana music. There’s a blend of folk and country music underpinning the sound, the song-driven mentality you’d expect from singer-songwriters, an overall jangly, chuggin’-along sound that typically accompanies a mellow-to-moderate pace but with the ability to amp things up like a rocker, an obviously irreverent streak, and the propensity to feature disquieting musical and lyrical vibes just often enough to keep the listener uncomfortable at times and engaged throughout.

The disc opens with an engaging style and twang on its catchy, pleasant, smile-inducing ode to moderate snowfall, not unlike this week’s disappointingly weak storm, “Winter Coating,” with Chris’ voice taking the lead and Lucy’s harmonizing. The song keeps an insistent pace, providing a welcoming entry into the disc.

“Get in the Wind,” next up, is a more old-fashioned country crooner, with Lucy’s lead vox serving as a steadying force, swaying but resisting the urge to go fully Patsy Cline, even though this number might tempt a singer to do so.

Sado-Domestics

photo by Jenny Jarad; photo courtesy of Sado-Domestics

“Move On” is a slow-to-mid-tempo Americana number with a little bit of a hitch in its getalong, progressing steadily even as the rhythm implies it might not. An engaging music limp, as it were.

“Out of My Yard” provides a new sonic atmosphere for the collection, combining some almost-ominous vocals with a twangy musical wail . There something a little disquieting about the song’s vibe, and Jimmy’s haunting vocals are perfectly suited to this tune’s vibe. You’ll also notice how the intensity ratchets up a little during the song’s insistently picked bridge.

“Mountain Song” is perhaps the rockin’est song on the disc. A distorted guitar and heavy, thumping rhythm create a tempo that seems much faster than it really is. Lucy tops it off with some clear, forcefully confident vocals, not fast or loud but, in fact, much more effective by being instead steady and unflinching. I’m pretty sure this is the song on Beach Day in Black and White that I’m most likely to still be playing regularly years from now. But, you know, I’m a rocker at heart, so to the extent your tastes differ, you may find yourself most impacted by a different number.

Sado-Domestics

photo by Jenny Jarad; photo courtesy of Sado-Domestics

Chris and Lucy blend their voices most effectively on “Spooked a Horse,” a song they co-lead sing. The rhythm fits the song title, and, you might correctly assume the title, this is one of the more western-flavored Americana songs on this album. Next, Americana song “Bury It” opens almost Gospelly before plugging along as a cleverly instrumented rustic knee-slapper.

“Bacchus Lounge” is a smooth, groovy, twangy-folky tune that tells a colorful story about New Orleans and a positive Mardi Gras experience.

Twangy strummer “Meteorites” forges ahead steadily and purposefully, with a hint of psychedelia toward the middle, but that was merely foreshadowing, as the following tune, “Take a Walk With Jimmy” goes all in on the psychedelic vibe – not surprisingly, of course, as the track would be an inspired background music selection for a dispensary commercial.

To close, the album returns to the wintry theme from which it began, with pickin’ swayer “‘Twas the Season” putting Beach Day in Black and White to bed.

And that’s it. Another dependably good album from a few of Boston’s mainstay musicians. Very good music from creative people you can count on, as it were. Beach Day in Black and White is a well-written collection of songs that’ll embed themselves easily into the memory of music fans, particularly those who favor the Americana genre.

Sado-Domestics

photo by Jenny Jarad; photo courtesy of Sado-Domestics

Looking Ahead

If you want to catch a Sado-Domestics gig, they currently have three upcoming shows listed on the “Shows” page of their website: Sunday, February 25th at Sally O’Brien’s in Somerville, MA and two gigs – Sunday, April 7th and Sunday, May 5th – at The Square Root in Roslindale, MA. Be sure to check the page periodically for updates as more shows are added.

Single Review: Travellin’ Blue Kings – “It’s Better”

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Travellin' Blue Kings – "It's Better"

image courtesy of Naked/Big D Bookings

Single Review of Travellin’ Blue Kings: “It’s Better” (Naked)

Travellin’ Blue Kings are a Belgian blues band. It’s been almost three years since I reviewed the band’s single “Live Your Life.” Since then, the Kings relehttps://travellinbluekings.lnk.to/ItsBetterased a few more singles, a full-length album (Bending the Rules), and then some more singles, culminating in “It’s Better.”

“It’s Better” is a straightforward smoky blues-joint recalling number that chugs along with a classic, rowdy-but-midtempo blues rhythm. Expressive lead vocals are supported by a well-placed deep support vocal. Horns, guitar-picking, and keyboardwork highlight both a bridge and a nifty musical outro, leading to a hard-stop end to the song. If you’re a fan of the blues, you’ll dig the latest song from this talented group of bluesmen.

Looking Ahead

I don’t see any future shows on the “Events” tab of the band’s Facebook page, but that’ll be the page to watch for upcoming dates.

 

EP Review: Viruette – Waylaid in Aspic

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Viruette

photo by Jimmy Del Ponte; photo courtesy of Viruette

EP Review of Viruette: Waylaid in Aspic

Viruette‘s Waylaid in Aspic can best be described as long form, loosely structured, tunefully-sung musical poetry with an edge. Viruette’s music is a form of progressive alt-rock, with songs that are lyric-heavy and musically engaging. The style reminds me a bit of the energetic alt-rock I heard occasionally while getting my music journalism start in Boston many, many years ago, with twists and turns that keep things interesting. And all those words – as a singer, I’d have to devote weeks of study to them if I wanted to remember more than half of them! – serve as another instrument, with an unexpected vocal cadence providing a slightly off-balance aspect to the tunes on …Aspic.

Viruette – Waylaid in Aspic

cover artwork by Adam Kane; image courtesy of Viruette

Waylaid in Aspic‘s five tracks each offer something appealing. If I had to pick a favorite, I’m partial to EP-opener “Sick Hominid,” with its tempo changes, variety of vocal stylings, and somewhat haunting vibe.

“Superanima,” though, is sometimes my preferred track, as it plugs along at a fun pace, has a singalongable “doo-doo, doo-doo” part, and has lyrics like “Superior mama needs a man with a real superanima, a madonna-fied interior. That lab rat’s kissing cats, and now I’m so alone. I want to drag you down…” No, I don’t know what it all means. But man, I take my hat off to the creative wordsmithing.

“Pollyanna (You’re My Billboard),” the song from whose lyrics the EP title is nabbed, is a little milder musically than the first two tracks but sports an off-kilter carnival midway sound that adds variety to this cohesively offbeat, exceptionally engaging EP.

Viruette

photo by Jimmy Del Ponte; photo courtesy of Viruette

“She Dreams in Green Screen” offers an exit ramp from the carnival via a funhouse mirror vibe before the collection closes with the fun, energetic “The Water Beckons,” probably the most broadly-accessible track in the group, its pop-friendly finesse rooted in a timely pop-rock vibe but with a slightly punk edge. The whole EP is a great listening experience, but if you need to introduce a non-artistic friend to Viruette, perhaps start with “The Water Beckons.”

While the band’s earlier single releases of “Viruette,” “Call Me Annabel,” and “Maimed” offered an interesting glimpse into Viruette’s sound, the longer-form canvas of a five-song EP, the ensemble’s first multi-song release, provided a chance to take listeners on a journey, a goal the guys accomplished with aplomb. I can’t wait to hear Viruette’s next creation.

Looking Ahead

I’ve not yet heard Viruette perform live, but I fully expect this music to translate into a raucous evening of ear-ringing fun. I don’t see any mention of upcoming gigs, but there’s an events tab on the band’s Facebook page you should check periodically. And I see the band occasionally promotes its gigs via Instagram, as well.

Album Review: Twisted Rose – Cherry Tales

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Twisted Rose

photo by Max Hertwig; photo courtesy of Twisted Rose

Twisted Rose is a German classic rock outfit whose music is hard-driving at times, hard-rock-styled mellower at others, but always an engaging, catchy blend of rockin’ guitars and vocals, clever songwriting, tight musicianship, and a bit of a showman’s flair for flamboyant delivery, when necessary. Ich habe vier Jahre lang Deutsch studiert, aber ich spreche nur ein bisschen; fortunately, everything’s in English, so I have no worries. The foursome on Twisted Rose’s newest album, Cherry Tales, is comprised of singer Caro, guitarist Chris Bones, bass player Tino (who was recently replaced by Alfred, per this December Facebook post and as noted on the band’s website), and drummer Luggy.

Album Review of Twisted Rose: Cherry Tales (7Us/7Hard)

Twisted Rose – Cherry Tales

image courtesy of Twisted Rose

Boom! Right off the bat, Twisted Rose grabs your attention with the crunchy guitar riffs of “Greed4Speed,” followed by intense vocals that echo the need for – no, the greed for – speed, at least musically. Lyrics like “I’m back, I’m back, I’m a damn hell on wheels. Eat my dust while I pass.” Yeah! I usually desire some tempo variance within a song, but “Greed4Speed” is a three-minute, full-speed-ahead adrenaline rush that, if anything, doesn’t last long enough. It totally rocks!

Next up, though, Twisted Rose showcases the ability to slow down. Thankfully. A reprieve, a chance to rest. Well, not exactly. I mean, they’re still a hard rock band, so the sound is heavy, and it even kicks off with some interesting guitar noodling before settling into the beat. Still, the slower tempo of “Wanted” is a nice reprieve. Though as the tempo slows, the heavy beat and power firmly insist “we are a metal band.” “Wanted,” though, isn’t just a soaring mid-tempo power rocker. Mid-song, a key change ratchets things up, providing variety within this mid-paced, powerful headbanger. Oh, and the closing “feel my pain” lyric followed by maniacal laughter? A priceless pièce de résistance. Or a cherry on top, to keep with the album title’s theme.

Twisted Rose

photo by Max Hertwig; photo courtesy of Twisted Rose

“Bring Back Those Days” leans into a blues influence, making it apparent from the guitar-only opening. The song plods along – metally, not boringly, but from a tempo perspective, it plods – but the song structure affords vocalist Caro an opportunity to include some inventive vocal runs, worth the price of admission.

The energy picks up again on “Say Hello.” The tempo isn’t necessarily as fast as it seems, but it is quite a ride. There are an off-beat “fast, make it fast” background vocal and a guitar line that curls back on itself that push the song forward, plus some aggressive drumming in spots, all seemingly tugging the song to move faster, providing an invisible tension that propels the track to a much quicker end than even the short 2:30 runtime might suggest.

Twisted Rose

photo by Max Hertwig; photo courtesy of Twisted Rose

“Crossing the Line,” a true power ballad, follows, with piano accompaniment and a Scorpions-esque nearly-spoken/sung balladic intro before guitars and a booming rhythm section join. Cracking vocals and lyrics like “I see now I was crossing the line; I feel now the seed of remorse” deliver this as a potential slow-dance favorite that becomes a much more curious romantic song choice when the lyrics are considered (in the vein of Warrant’s “Sometimes She Cries,” for example).

“Back to the Old Days” opens with a fifties rock-style guitar riff. Perhaps inspired by Marty McFly’s “Johnny B. Goode” but, of course, updated. Regardless, the axe stylings as the riffs roll strike a nostalgic tone, as do the vocals, which approach shouted-singing when such energy is required (while the backing vocals are, in fact, shouted). The tempo here is nearly as aggressive and non-stop as on the disc-opener, to the extent that, while the influencing decade is different, it’s another pure adrenaline-rush number.

Twisted Rose

photo by Max Hertwig; photo courtesy of Twisted Rose

“Friday Night Blues,” next, is a purely hard-rockin’ blues lament with the requisite blue axe riff declaring the album’s stylistic musical shift from the get-go. On this particular number, be sure to enjoy the axe solo. You can’t miss it, even as the primary lyric in the song is “you’re gonna miss me.”

Straightforward classic hard rock returns, serving up “Party Time.” For sure, you’ll find yourself singing along with the playful “oh-oh-oh” and “hey-hey-eyy” lyrics. The tempo on this song isn’t especially fast, but it is relentless. “Rock You Away,” next, is similarly styled and tempoed, but the singalong phrase is “wo-oh.”

“Skull” feels like a travelling song, a road trip song. More drivealong than singalong, if there is such a thing. But there’s also an uplifting, soaring feeling to the track. It’s a little harder rock than your typical gettin’-things-done movie montage music, but it would otherwise fit such a role.

“We Can’t Get Enough” kicks off with the recurring guitar hook that ties the song together and makes it one of the album’s memorable songs. That and the catchily repeated “more, more, more.” The desire for fame and success espoused by the lyrics also serves as the theme for the song’s clever music video. Oh, and hard rockers have gotta dig the explosion sound at the end. Because, you know, rock ‘n roll.

Twisted Rose

photo by Max Hertwig; photo courtesy of Twisted Rose

Twisted Rose closes Cherry Tales with the melancholic ballad “World is Burning.” It’s a heartfelt, emotional, powerful song that’s most obviously anti-war, with the proceeds from the song earmarked to help those affected by the war in Ukraine, but it also includes some broader pro-earth sentiment in the lyrics. If you don’t get a lump in your throat listening to this ballad, you’re probably not human.

Yeah, yeah, kind of a downer ending to an energetic, fun album, though you do get a sense of “people power” and solidarity from it, so that’s not a bad thing. Plus, it’s a worthwhile endeavor for art – even when that art is rock ‘n roll – to make you stop, think, and feel. Plus, you can always re-start the album if you have a need (or greed) for speed.

In total, Twisted Rose’s Cherry Tales is one of the best rock albums I’ve heard in the last year. Stylistically, this would have been a must-have release about 35 years ago, a big hit rock album with some chartable singles. Even today, with a nod to its classic rock roots, Cherry Tales is a fresh-sounding, modern hard rock album that’ll connect with young and old (sorry, not “old”; I mean, “classic”) rockers alike.

Twisted Rose

photo by Max Hertwig; photo courtesy of Twisted Rose

Looking Ahead

If you want to catch Twisted Rose live, be sure to check the “Tour” page on the band’s website every so often. The website currently lists a few dates in Germany from April through June and teases an October performance in Barcelona “to be announced.” Also, this November 28, 2023 Instagram post says Twisted Rose is back in the studio, so hopefully there’ve been some new future-favorites recorded that they’ll be sharing with us all in the not-too-distant future.

Single Review: Carissa Johnson – “Congratulations”

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Carissa Johnson

photo by Alex Bartole; photo courtesy of Carissa Johnson

Single Review of Carissa Johnson: “Congratulations”

Carissa Johnson is a highly-acclaimed, award-winning singer songwriter-slash-asskicking rock singer. Among Carissa’s more notable awards, she earned a Boston Music Award for Best New Artist in 2017, and she won Rock Act of the Year at the 2019 New England Music Awards. I’m pleased to get a chance to review Carissa’s latest single, “Congratulations,” which showcases her many, varied talents – songwriting, forceful yet tuneful vocal delivery, and, in this case, an engaging sarcastic rock ‘n roll tone: “Congratulations, you lost me good… Now you’ve got what you wanted.” Those lyrics, bookending the chorus, absolutely drip and are delivered exquisitely.

Carissa Johnson – "Congratulations"

Carissa Johnson

On “Congratulations,” Carissa serves up an “I Hate Myself For Loving You” (Joan Jett) edge with the opening guitar riffs, a hint of an Avril Lavigne smirk in the delivery, an insistent tempo reminiscent of Jimmy Eat World, and a strength and power that’s sort of alt-rock meets pop-friendly rock with a punk attitude. All the while, Carissa’s voice serves up a tone that’s all her own, identifying this song as quite specifically a Carissa Johnson number. And that’s what you want as a musician, for people to be able to recognize you within just a few notes. (I mean, yikes, her tone on the lyric “don’t you look behi-i-ind.” Shivers!) It’s helpful from the perspective of a music fan, too, because once you recognize her voice, you know the song’s gonna rock.

Among recent reviews I’ve written, I’d pair Carissa’s music most closely with Phil Jamieson’s, though she’d slip in easily alongside any rock band from alt-rock to classic rock. Among Boston-area rockers, she’d be the hard-edged pop alt-rock equivalent of more straight-ahead rocker Jennifer Tefft.

If the above has piqued your interest, check out “Congratulations” on YouTube (the song starts 48 seconds in, but it’s an amusingly, creatively cool video!), Spotify, bandcamp, or wherever else you consume music.

Carissa Johnson

photo by Alex Bartole; photo courtesy of Carissa Johnson

Looking Ahead

There are currently two dates listed in the “Tour” section of Carissa’s website: Saturday, January 13th with Shy Husky at The Middle East in Cambridge, MA and Friday, January 26th at the Two Bridges Luncheonette in New York, NY. Check back periodically for additional shows, as they’re added. And be sure to follow Carissa on your favorite social media – you can find those and other links on her linktree.

EP Review: Axminster – Bada Boom!

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Axminster

photo courtesy of Axminster

EP Review of Axminster: Bada Boom!

Bada Boom! is the new EP from Boston-area classic hard rock stalwarts Axminster. It might be recency bias talking, and it probably is, but this pumped-up, hard-rockin’, high-energy four-song EP levels up from the already-high bar set by the band’s previous EP, Tightrope, which I reviewed a few months ago. Rather than repeat the band’s background info from that review, I’ll dive straight into the music. (If this is your first encounter with Axminster, please do read the Tightrope review, too.)

Bada Boom! kicks things off at 11 with fast-moving speedster “Don’t Wind Me Up.” Pouty ’80s-style melodic hard rock vocals couple with guitar crashes, funky hard rock rhythms, and a fast-picking rip-roaring guitar solo on this track. Even though, upon closer examination, the tempo isn’t quite as fast as the song’s frenetic nature makes it seem, “Don’t Wind Me Up” is definitely an energetic pleasure trip for any classic hard rocker.

Axminster – Bada Boom!

image courtesy of Axminster

“Thick N’ Thin” follows with a little more of a sidewinding rhythm, with a vibe akin to Ratt’s “Way Cool Jr.” but a classic rocking vocal and guitar edge that might fit just as well with that era’s Aerosmith tunes. “Thick N’ Thin” is chock-full of rough-edged vocals and guided by a steady rhythm section with a hooky rhythm. In several places, the music peters out a little before recoiling and bursting forth with renewed power to very cool effect.

“Backfire” is a drum-heavy hard rocker with a crunchy bass line and some really cool kamikaze lead guitar runs, all steadied around iconic yet uniquely identifiable ’80s hard rock-styled vocals, always pushing the edge of the vocal envelope.

The EP closes with the punchy rhythm of “White Lie Fever.” The band sounds nothing like Mötley Crüe, but I’d sandwich this song between “Girls Girls Girls” and “Kickstart My Heart” as a nifty fit in a classic hard rock playlist.

Axminster

photo courtesy of Axminster

I could spin this EP over and over. (I have!) It’s an energy-filled four-song collection reminiscent of the very best classic hard rock songs of old but with an energy and enthusiasm that makes it timeless. Simply put, this is a great new collection of axe-driven rock ‘n roll from one of the best foursomes out there plying their trade. Those of us in the Boston area are lucky to have Axminster in our midst, still churning out brand new original classic rock favorites in the band’s inimitable style.

You know, I don’t see any upcoming live dates mentioned on the band’s website or Facebook page, but as kickass as these songs are in a recording, I’m betting they’d be even kickassier live, so I’m hoping there are some gigs in Axminster’s future this year.

Liner Notes

As a cool side note, Bada Boom! includes the work of a pedigreed production team. The EP was mixed by Bob St. John (Extreme, Collective Soul, Duran Duran, Dokken) and mastered by Adam Matza (Steven Tyler, Extreme, Dweezil Zappa, Mary J. Blige).