Tag Archives: Geoff Wilbur

Album Review: George Lynch & Jeff Pilson – Heavy Hitters II

Posted on by
George Lynch & Jeff Pilson – Heavy Hitters II

image courtesy of Glass Onyon PR

Album Review of George Lynch & Jeff Pilson: Heavy Hitters II (Deadline Music)

The long-awaited follow up to Heavy Hitters has finally arrived. On Heavy Hitters II, George Lynch and Jeff Pilson add their inimitable melodic metal personalities and zeal to a whole new set of already well-known songs. The original versions of these songs spanned several genres, but in the hands of Lynch and Pilson, they have been transformed into power rockers.

For this latest endeavor, the reprise, George and Jeff are again joined by Brian Tichy on drums, while Bernard Fowler provides lead vocals for the entire album, with guest vocals from Corey Glover on one track (“Smokestack Lightning”).

As I noted in my review of the first Heavy Hitters album, I really dig it when popular songs are transformed to new genres; well, when they’re done well, of course. And George and Jeff pick up where they left off, delivering a new batch of reimagined classics. The arrangements, the performances, the production – and, of course, the talent – are all top-shelf.

Peter Gabriel is the first to get the Lynch/Pilson treatment this time, as this band cranks up the volume and the crunch with its rendition of “Sledgehammer.” George’s axework is so at-home here, I can barely remember the pop version of the song. A funky, hard rockin’ update of Crosby, Stills, Nash & Young’s “Carry On” follows, featuring plenty of Lynch’s guitar noodling and some ’70s-ish rock harmonies atop a noisy rhythm sound bed.

George Lynch & Jeff Pilson – Heavy Hitters II

image courtesy of Glass Onyon PR

I can always get behind a redux of “The Stroke.” The ever-underestimated Billy Squier’s always-unique rhythm is maintained from the original, but the heavy rock quotient is amped up a couple levels. “The Stroke” was already a banger even before getting the Heavy Hitters treatment, but this rendition really kicks ass.

Next up is “Radioactive,” which was the album’s first single. Again, the Imagine Dragons original was pretty rockin’, but Lynch and Pilson have accelerated the tempo and added a lot more guitars, and Fowler’s vocals add a rough-hewn hard rock edge to the song, almost turning it into an all-new, unique creation.

The band puts a heavy rock rhythmic steamroller behind Howlin’ Wolf’s “Smokestack Lightning,” and if you like a wall-of-noise backdrop framing your heavy rock, it’ll be one of your favorite songs.

However, it’s the next song that really stands out for me as quite probably my favorite song on Heavy Hitters II. It’s a funky melodic metal rendition of Sam & Dave’s R&B classic “Hold On (I’m Coming).” The song doesn’t flow in a straight line, despite the overwhelming recurring rhythmic hook. The chorus (essentially, the song title) is unfailingly sing/screamalong-worthy. There are some nifty little guitar flourishes to add color. And Fowler’s vocals simultaneously fan the flames and rein in the energy of the frenetic tempo. I know I always preach listening to an album beginning to end, especially when a lot of thought seems to have been given to song order, but sometimes I repeat this song a couple times before continuing.

The next song is no slouch, either. It’s a hard rock version of Sam Smith’s “Stay With Me,” one of those songs you just knew, when hearing the original, would sound good with crunchy guitar and hard rock vocal delivery. It’s followed by “Shout”; the ’80s Tears for Fears hit is sped up a bit, causing the drums to be more obviously prominent. Of course, Lynch’s guitar is omnipresent, but even at the faster tempo, the song is left surprisingly, refreshingly airy, with plenty of open space. And Fowler’s anguished vocals on lyrics such as “jump for joy” and “tell the tale” are an edgily effective treat.

For the next offering, Lynch & Pilson stay in the ’80s, rearranging another of that decade’s big pop-rock hits, amping up INXS’s “New Sensation.” They don’t touch the song’s classic, identifiable hook, but a faster tempo and a slightly revamped, prominent, funky-thumping bass line give the song a whole new feel.

An energetic cover of the Rolling Stones’ “Jumpin’ Jack Flash” is next, followed by a powerful reimagination of Sly and the Family Stone’s “Thank You (Falettinme Be Mice Elf Agin).”

The album closes with “It’s a Wonderful Life,” a crunchy yet light-and-soaring hard rockin’ Christmas song that I’m pretty sure every Lynch/Pilson fan is gonna really like.

If I had to choose my favorite songs from the dozen, I’d select “Hold On (I’m Coming)” and “Stay With Me,” though “The Stroke” and “Radioactive” would be close behind. And maybe the disc-ending Xmas track. But there’s something in every hard rock fan’s lane here, so you’ll have your own favorites. And the whole collection makes a great beginning-to-end album listen.

You know, I was psyched when I heard Lynch and Pilson would be releasing a second Heavy Hitters disc, and Heavy Hitters II didn’t disappoint… so much so, that I’m hoping they’ll make a habit of these collections. Two or three years from know, it’ll be cool if there’s a Heavy Hitters III.

Looking Ahead

George Lynch has some upcoming tour dates – solo, with his band Lynch Mob, and a November 17th guest appearance with Dokken – per the “tour” section of his website. You can currently catch Jeff Pilson on the road as Foreigner’s bass player. Brian Tichy is also currently on the road, drumming for The Dead Daisies. And you can keep up with Bernard Fowler via his Facebook and Instagram accounts.

Album Review: Ricki Erik – GenReality

Posted on by
Ricki Erik

photo courtesy of Realm Music Group

Album Review of Ricki Erik: GenReality

Ricki Erik paints with a diverse musical palate, spanning dance, pop, R&B, Latin, blues, hip-hop, and more. Ricki’s new album GenReality is a very cool collection of songs that showcase his broad and varied vocal talents while providing an engaging album-listening experience.

Ricki Erik – GenReality

image courtesy of Realm Music Group

Ricki kicks the album off with a couple of energetic dance tracks. First up, “Party Tonight,” on which he teams with Deja Vu Boston, is a good-time funky pop dance number, stylistically somewhat recalling Kool & the Gang but, of course, with Ricki’s identifiable voice cutting sharply and emphatically through the fun musical romp. “Love Hurts (Freestyle Remix)” follows, exploring a very different groove, with a full wall of sound backing a rhythmic beat in support of Ricki’s entreaty “baby, love hur-hur-hurts.”

Ricki pivots to Latin-style music on “Como Te Llamas,” a catchy song that’s all beat and rhythm and will be one of your quick favorites after just a listen or two. This song is well-structured, bouncing just enough to keep things peppy while allowing Ricki to showcase the sincere, earnest side of his smooth vocal delivery.

Ricki Erik

photo courtesy of Realm Music Group

Ricki slips comfortably into the blues on “Here I Come Baby.” His voice doesn’t get particularly deep on this track, but he shows off a growl with a hint of gravel that hadn’t even been hinted at on previous tracks. I mean, it’s clearly still Ricki Erik on this song, but man, this dude’s got range, and we’re only four songs in! As the disc continues, he wields even more of the weapons in his vocal arsenal, and they make for an enjoyable album stacked with variety.

Next up is “Bad Girl,” featuring Zambo Buchanan. This song is Ricki’s hip-hop reimagining of Hall & Oates’ “Maneater.” It’s an exceptionally fun listen.

“Can’t Get Enough” is promoted as a wedding song, and it’s a really heartfelt love song, with Ricki’s voice cracking and quavering to maximize emotional impact.

“Wait a Minute” is a tempo-changing, head-bobbing dance-pop number. The beat is disjointed enough it might not be particularly easy to dance to, but it’s a very cool listen.

“Friend” recalls Rockwell’s “Somebody’s Watching Me” with its semi-haunting electronic musical sound, yet Ricki’s smooth voice somehow still showcases itself and portrays emotional pain despite the electronification of the vocals.

Ricki Erik

photo courtesy of Realm Music Group

“Flower”… well, lyrically and topically, you have to wonder if Friends character Monica Geller, as her younger self in the show’s flashback scenes, had a hand in the songwriting. Musically, there’s some neat keyboard melody that helps navigate the otherwise electronic, rhythmic beat serving as a music bed. Ricki’s vocals dash in and out, adding the finishing flourishes to this funky pop number.

“Beautiful Liar” is an engaging song, residing in an expressive, rhythmically somewhat disjointed lane of R&B. The song doesn’t flow smoothly at all; rather, the phrase “you’re such a beautiful liar” is sung disruptively, continually drawing attention from the rhythm, then suggesting a return to smoothness with “you are, you are, you are.” Don’t believe the suggestion. Instead, Ricki’s vocals don’t release the listener or the song; it’s a very cool approach.

Now, “Whisper,” on the other hand, is smooth. Well, mostly. It’s the album’s strongest ballad, deftly utilizing Sherl Burke‘s supporting background vocals throughout, with strings helping Ricki’s voice soar in spots before returning to the song’s rhythmically disruptive chorus, creating a bit of tension each time before releasing into Ricki’s smooth delivery of “that’s how they whisper.” It’s the little nuances in “Whisper” that make this a memorable song, so much so that I’ve caught myself singing days after my last listen.

Ricki Erik

photo courtesy of Realm Music Group

“Feelings,” on which Ricki is again joined by Zambo Buchanan, closes the collection with warmth and humanity; it has an engaging rhythm and an ending fade-out that wrap this album up neatly.

Beginning to end, GenReality is a cool journey, a record I enjoyed listening to beginning-to-end each time I reached it in my to-be-reviewed queue for the last several months. If you give it a listen, you’ll discover that, even when it doesn’t get you completely up out of your seat, Ricki’s songs will have your toe tapping, your head bobbing, or your body swaying side to side. And, though I’d advise a full listen of this disc, if you want to sample individual songs, Ricki’s Soundcloud page includes each of these songs, with most noting a genre in the song title (“R&B,” “Hip Hop,” “Pop,” “Blues,” etc. ), so you can more easily choose where to start your journey of discovery based on your musical taste.

This release was Ricki Erik’s first album in 15 years; let’s hope the next one comes around much sooner.

More Recently

Ricki Erik was nominated for a New England Music Award in the Soul/R&B Act of the Year category. Voting has concluded, and NEMA winners will announced during a ceremony at the Six String Bar & Grille in Foxborough, MA on November 12th.

Album Review: Hurricane – Reconnected

Posted on by
Hurricane – Reconnected

image courtesy of Glass Onyon PR

Album Review of Hurricane: Reconnected (Deko Entertainment)

“Na na-na na na na, I’m on to you!” Back in the late ’80s, if you heard that lyric, you were rockin’ to Hurricane! Reconnected is the band’s first new album since 2001, just its second since 1990. Hard rock fans, especially fans of ’80s-influenced, guitar-heavy melodic hard rock, are in for a treat! But this is hardly a throwback album. Despite a couple of nods to the past on the disc (the band’s own past and Queen’s, but I’m getting ahead of myself), the music is fresh, modern… and kicks ass!

Original Hurricane guitarist Robert Sarzo and bassist Tony Cavazo are joined on Reconnected by drummer Mike Hansen, who joined Hurricane in 2010, and new vocalist Dan Schumann, who joined the band in 2021. None of these four played on Hurricane’s 2001 release Liqifury; in fact, this is the first time in more than 30 years that either Sarzo or Cavazzo recorded as Hurricane. So this album was a long time coming and, as you might have surmised from the opening paragraph, does not disappoint.

The album kicks off with frenetic energy, fast-paced drums, shredding, distorted guitars, and an insistent high-pitched ’80s-era melodic hard rock vocal. And the initial song, “Rock Star Cheater,” isn’t just a hard-driving level-setter for Reconnected. No, indeed, it’s one of the best songs on the album, with guitar hooks, a nicely-placed guitar solo, and a neat little tempo/tone-changing lead-in to the chorus.

Hurricane

photo courtesy of Glass Onyon PR

Not to be outdone, “You and I” follows with a more open, engagingly repetitive rhythm. It’s a hard rocker with a somewhat less heart-pounding pace than the opening track. There’s a bit more nuance, but the tune is no less catchy, containing perhaps an even hookier guitar hook. (Yes, a hookier hook. I said it.) By now, it’s clear that Hurricane’s new release contains a bit of variety, just as the band’s fans would have expected. And beyond simply foreshadowing the disc’s variety, these are great songs – two of my favorite new Hurricane originals – that get things off to an excellent start.

Track three really showcases the variety on Reconnected, serving up the greatest departure from among the albums eleven tracks… or, at least, the from first ten. Indeed, it’s a rockin’ version of Queen’s “Under Pressure.” The song is significantly less heavy than its album-mates, but a nice interlude. I mean, you can never go wrong with a Queen song, if you’re up to the task. Hurricane is, and it’s a fantastic showcase for Schumann’s vocal range; he adeptly provides the crisp, precise vocals the song requires. (Why did I not already know Schumann’s name? The voice on this guy! Wow!)

Next, Hurricane seems to almost be channeling Y&T in “Behind Your Shadow,” with heavy power guitar fronting a foreboding, almost theatrical blanket of song, supporting a Meniketti-like, elongated, slow-paced power vocal.

“Innocent Girl” is a classic, rockin’ ’80s fourth or fifth single release, pleasant to listen to, with the hook a little less obvious and, therefore, requiring a listenership willing to devote a few listens before really getting to know the song. It has great vocal variance and a hard-rockin’ tempo; it’ll be a fanbase favorite.

“Don’t Change Your Love” is another of my personal favorites on this disc, with a sidewinding guitar hook and memorable vocal phrasing, particularly in the chorus.

Song seven is one everyone will recognize. The new Hurricane lineup takes the opportunity to record a slightly harder-rocking version of the band’s biggest hit, “I’m on to You.” You know, I had forgotten about the kickass 40-second guitar lead-in before the first lyric. And there’s a cool axe bridge mid-song, plus I think they’ve cleaned up a little muddiness in the vocals when compared to the original. In any case, I bet you’ll dig the updated version of “I’m on to You.”

“Hand of Souls” mixes some laid-back ’70s rock elements with some very ’80s vocal and guitar gymnastics to produce an excellent slower-tempo jam track.

“Disconnected” is a twisted, somewhat haunted slow number that suggests a Pink Floyd influence but one that’s run through an ’80s rock music filter, with some twangy guitarwork bubbling just under the surface to provide the song with an interesting and slightly uneasy essence.

Next up, “Blind Love” is straight-ahead hard rock but with breaks and bridges that detour the song and give it character. There’s a passage with the phrase “blind love will always hurt you” that recalls Journey’s “Separate Ways” just briefly, but I’m not sure if it’s really reminiscent of Journey’s hit or if it just reminds me of Journey’s “if he ever hurts you” lyric.

Hurricane closes the disc by reveling in its soft side with the soft, floating, almost dream-like electric-acoustic “Wishing Well.” Like any old-school melodic hard rock band, these guys can shift gears to the soft and mellow when they want to. And ending the album with a song like this is a great way to ease the listener back to the less pumped-up world of not-hard-rock. An exit ramp back to daily life, if you want it. Or you can set the album on repeat and just start all over again.

You know, I dug Hurricane back in the ’80s/’90s, but I wasn’t a big fan. Well, I’m a huge fan of this album, Reconnected. If you’re into guitars, power-rock, and melody, packaged in a varied song mix to keep things interesting, you’ve gotta check out this album.

 

Single Review: Jennifer Tefft – “Love and War”

Posted on by
Jennifer Tefft and The Strange

Jennifer Tefft and The Strange; photo courtesy of Jennifer Tefft

Single Review of Jennifer Tefft: “Love and War”

“Love and War” is Jennifer Tefft‘s current single, a full-on, full-band rock ‘n roll assault teasing the upcoming release of an album with her band, Jennifer Tefft & The Strange.

The song opens with one of those guitar lines that’s eerie like Chris Isaak’s “Wicked Game” and twangy like the bridge guitar solo in Tom Petty and the Heartbreakers’ “You Got Lucky.” Yeah, that’ll get your attention.

Jennifer Tefft – "Love & War"

image courtesy of Jennifer Tefft

After that brain-grabbing opening, the song unleashes an aggressive, rhythmic thumping in support of Jennifer’s vocals, revealing a song that’s equal parts Chrissie Hynde and Pat Benatar. In fact, Jenn’s vocals are simultaneously badass and soaring throughout “Love and War,” supported by some cool guitarwork that explores a variety of riffs, using a hint of psychedelia, a dash of rough-hewn static, and a driving forcefulness to – with the help of unrelenting, crashing, rhythmic drumming – create tension. Finally, the song ends with a quick little twang, like the bell that rings when entering or leaving a shop or a café, in this case relieving the tension and allowing the listener to exit the song unencumbered.

Much like “A Little More,” Jennifer’s 2021 single I reviewed earlier this year, “Love and War” is a must-hear. And if you’re any kind of rocker, it’s a must-have for your collection.

Looking Ahead

Obviously, first keep an eye and an ear – or, better yet, both ears – out for the expected full-length album release from Jennifer Tefft & The Strange. And, though no shows are currently listed, periodically check out the “Shows” page on Jennifer’s website for upcoming performances.

Album Review: Jann Klose – Surrender

Posted on by
Jann Klose – Surrender

cover photo by Mikiodo digital; image courtesy of Leighton Media

Album Review of Jann Klose: Surrender (Honey Rose Records)

Jann Klose has one of those timeless, classic pop-rock voices – smooth and precise, yet with a distinctive tone that sets him apart from the “pretenders,” just as others in the solo mid-tempo rock lane, from Gavin DeGraw to Billy Joel to George Michael, have voices that are simultaneously comfortably familiar and singularly unique. As with those more-famous artists, Jann’s music is mid-tempo pop-friendly rock ‘n roll, able to comfortably slip into mainstream radio playlists and well-suited to soundtrack roles.

Jann’s albums are dependably great listens, mixing in a variety of sounds, styles, and influences, collections of songs orbiting a glossy, peppy, soft pop-rock center. And he’s been rewarded for his bankably consistent quality standard with a solid career, more successful than many independent artists (his YouTube releases faithfully reach hundreds of thousands of views), but just shy of that big breakthrough hit that launches him into the broader public consciousness (so far).

Several songs on Surrender stand out. First, the album-opening title track, which kicks things off cheerfully with Jann’s expressive vocals and a tempo the repeatedly starts slow then builds to a release of power, like a walk through the woods opening into a clearing or gray clouds sliding aside to reveal bright sunshine.

Also noteworthy is Jann’s first single from Surrender, “Sugar My,” released a year ago in advance of the album release. “Sugar My” is bright but with a rhythmic tension, releasing itself in the chorus, with Jann tagging the words “sugar my” with some of the higher vocal notes in the song.

“Pilot Light,” released as a single three years ago, is also included on Surrender, a treat for those who didn’t snag the song when it dropped as a single. It features some of the long, extended vocal phrasing that Jann does so well.

The next song is the most obvious potentially huge hit from the album. In fact, it already performed well upon its release. “Love You the Most,” a soaring love ballad duet with Alicia Madison that was released as a single in 2019, has exceeded 1.4 million YouTube views, in part due to its inclusion on the Married Young soundtrack. With so many great songs on Surrender, choosing a favorite is nearly impossible, but this song is probably mine.

“Do You Want to Be Lonely” mixes in a little beat-pop syncopation and a coolly prominent rhythm that’s sure to cause some listeners to head-bob and toe-tap. Next up, rich string orchestration, prominent background drumbeats, and an extreme build of tension feature prominently in “Flesh and Blood.”

“All the Way Down” suggests folk-rock influence, which means it’ll likely to translate nearly as-recorded to one of Jann’s acoustic performances (like the house concerts I covered here at the Blog in 2016 and in 2018 – wow, has it really been five years already!). In fact, after writing that sentence, when looking for a link, I discovered there’s an official acoustic music video for the song. It’s almost as if I knew. (I swear, I had no idea!)

“Here in My Heart,” next, reminds me a bit of rockin’ folk luminary Billy Crockett. It’s a swaying, strumming, and cheerful number with cool, uplifting lyrics like “Every hour, every minute, I got love beyond the limit, here in my heart.”

Musically, “Stay the Same” is nearly a lullaby, populated with lyrics that are introspectively intense and thoughtful. It’s followed by “Even If It Takes a Lifetime,” an energetic, uptempo number that will immediately snap the listener out of any lullaby-induced slumber with a driving beat and the sort of build-to-chorus that Jann again utilizes exceedingly well.

The last two of the twelve tracks are bonus renditions of “Love You the Most” – first an acoustic version, then a Spanish-language version, “Te Amare Mas.”

Beginning to end Surrender is – no surprise, here – an outstanding album from one of rock’s best mid-tempo singer-songwriters. It’s definitely a great place for those new to Jann Klose’s music to begin their journey of discovery.

Looking Ahead

Visit the “Shows” page of Jann’s website to learn about upcoming shows. Currently, it lists his scheduled appearance at the Concert for Bangladesh Revisited in Westbury, NY on November 24th and 25th and concerts in Hamburg, Germany and Barmstedt, Germany on January 5th and 6th, respectively, plus a January 7th live performance on Dutch National Radio NPO 2’s Leo Blokhuis Show in Hilversum, Netherlands. Again, check out Jann’s website for more details and new dates, as they’re added.

Single Review: Metalite – “New Generation”

Posted on by
Metalite

photo by Mats Vassfjord; photo courtesy of BJF Media

Single Review of Metalite: “New Generation” (AFM Records)

“New Generation” is the third single released by Swedish melodic power metal act Metalite from the band’s upcoming album Expedition One, which is slated to drop on January 19th.

Metalite – "New Generation"

image courtesy of BJF Media

It’s as heavy as the album’s first two singles, “Disciples of the Stars” and “Blazing Skies,” but “New Generation” is a little airier, with a tunefully soaring aesthetic and a less frantic tempo, suggesting that it’s likely to appeal to a broader audience than the song’s two also-kickass predecessors – or, at least, provide a more comfortable entry point to a broader range of potential new fans. “New Generation” also features a memorable, singalongable chorus: “We are the new generation. And the future’s in our hands. For the world, for the sky. We are the new generation. Our voices will be heard. We won’t break or drop out.” (Trust me, you’ll sing along, at least to the “we are the new generation” parts.)

Musically, “New Generation” builds tension before releasing it into soaring vocals on more than one occasion. Lyrically, “New Generation” is a tribute to the younger generation, its ideals, and its motivation to act upon those ideals. Since Expedition One will be a fictitious rock opera about the world in 2055, it’s a little unclear if the song’s “new generation” has yet been born, but that’s nitpicking, as the sentiment is clearly meant to work overtime, referencing the world’s current cohort of young idealists, as well.

Metalite

photo by Mats Vassfjord; photo courtesy of BJF Media

Looking Back

I noted that “New Generation” is the third single from Metalite’s upcoming album. Looking back at the first two singles, I think some of the blistering axework late in “Blazing Skies” is one of the coolest, shredding guitar solo bridges I’ve heard in a while. If you start your journey of discovery of Metalite’s music with “New Generation,” prepare yourself for the more frantic tempo of “Blazing Skies,” especially the frenetic initial 45 seconds, and then enjoy how the tempo eases as the track settles in, particularly keeping an ear out for that late-song shredding. Next, backtrack to first single “Disciples of the Stars,” which comfortably slides stylistically in-between singles two and three. At this point, you’ll join me in anxiously awaiting Expedition One‘s January release.

But still, man, as much as I enjoy the first two singles, “New Generation” is really something special! So, yeah, if you’re just discovering Metalite’s music, definitely start here!

Looking Ahead

While you await the release of Expedition One, check the “Shows” page of the Metalite’s website. There are currently no upcoming dates, but watch for some to be added. Also keep up with the band’s TikTok, Instagram, and Facebook pages.

Single Review: Slowlight Quartet – “Full Beam, Alan”

Posted on by
Slowlight Quartet

photo courtesy of Slowlight Quartet

Single Review of Slowlight Quartet: “Full Beam, Alan” (Jazz Sound Records)

The Slowlight Quartet is Tom Quilliam (saxophone), Paul Loraine (piano), Ian Paterson (bass), and John Hirst (drums). “Full Beam, Alan,” released last September, was the band’s first single release in seven years.

Slowlight Quartet

image courtesy of Slowlight Quartet

A synth opening, which recurs throughout, simply adds texture to what is an at-times mellow, at-times disruptively chaotic jazz number. Personally, I enjoy some of the more traditional pianowork, notably offering respite from some of the more aggressive elements in the song. It also works well combined with saxophone during the song’s final 40 seconds or so, raising the energy to a comfortable yet relaxed level to close things out.

Overall, it’s a pleasant song – with brief, interspersed periods of chaotic noise to keep it interesting. An enjoyable tune well worth hearing.

More Recently

Since the release of “Full Beam, Alan,” the Slowlight Quartet has released five songs across four singles, the most recent being a two-song single, “Superbia”/”Eveliina,” with guitarist Athol Cassidy and vocalist YVA lending their talents to the foursome for the recording. All of the Slowlight Quartet’s recordings can be found on the Jazz Sound Records bandcamp page.

Looking Ahead

Keep up with the latest Slowlight Quartet news and information via the band’s linktree and its Facebook and Instagram pages.

Album Review: 8084 – Live 4play

Posted on by
8084

photo courtesy of 8084

The Backstory

My first 8084 concert was in 1990, in my role as a “Lost in the Midwest” columnist for the east coast-based hard rock magazine Tough Tracks magazine. It was an assignment that allowed me to continue churning out reviews while I was away from Boston, during a summer internship in Grand Rapids, Michigan. Vermont-based 8084 was one of the top touring bands on the hard rock club circuit; I covered their performances at the local stop on that circuit, Paolo’s.

Well, after achieving a bit of success during their genre’s heyday, 8084’s legend continued to grow, most recently with occasional concerts around Vermont, drawing huge crowds for special evenings of the band’s original, old-fashioned, guitar-driven melodic hard rock music, headlined by musicians who hadn’t lost a step since their younger days. Well, if they’ve lost a step, it doesn’t show up in their music, at least.

The band actually got its start years before my first 8084 concert, in 1982, with the current line-up of Randy Smith (lead vocals and acoustic guitar), Andre Maquera (guitar and vocals), Frank Barnes (bass and vocals), and Gary Spaulding (drums and percussion), plus the late Charlie Hawthorne.

Album Review of 8084: Live 4play

8084 – live 4play

image courtesy of 8084

Live 4play is a classic live album, channeling all the energy of the band’s live performances. Yet, despite the live aesthetic, 8084 went to great lengths to ensure that the recording quality was exceptional, suitable to be interspersed with studio recordings on a radio or personal playlist. That’s something I’d posit isn’t the case for a lot of live albums, including some very famous ones. 8084 recorded several concerts to ensure they could select album-worthy versions of every song, and it’s apparent. Of course, there’s still that live feel, with the occasional crowd noise, particularly at the beginning and end of some songs, and there’s a little clever between-song banter at the beginning of a few tracks. But perhaps most importantly for a live album, Live 4play captures that live-show energy level that’s hard to duplicate in a studio.

Sonically, 8084 most easily recalls ’80s rock ‘n roll, that era of energetic live performances, soaring vocals, crunching guitars, and melodic tunefulness. Randy Smith’s vocals do, indeed, soar – and man, can he ever hit the high notes! – mixing well with guitar-heavy songs and more spacious melodic rock songs alike. When the songs soar, I could place 8084’s songs back-to-back with Giuffria. On other tracks, the Vermont rockers sound a bit more like the Dokken-to-Warrant melodic hard rock cohort. Throughout, though, there’s a timeless, classic rock flavor that’s gritty and grounded in decades-spanning rock tradition, recalling rock bands that used significantly less AquaNet than the aforementioned outfits. My point is that, despite the temptation to make the obvious, easy, lazy comparison to ’80s rock bands, 8084’s music is really more timeless arena rock than poppy ’80s hard rock.

8084

photo courtesy of 8084

Studio versions of most – but not all – of the songs on Live 4play can be found on one of 8084’s first three studio albums, spanning 1986-1991, all currently just available for digital download at the 8084 website: the band’s self-titled debut album from 1986, the 1989 release Love & War, or the 1991 EP Satisfaction Guaranteed. (A Satisfaction Guaranteed CD is part of my personal collection.) The remaining songs can be found by exploring 8084’s music on Spotify, either from the band’s 2005 digital album The Last Great Train or via its more recent Spotify singles.

Live 4play – a hefty 15-track disc, so I won’t be going strictly song-by-song with this review – begins with a 35-second hype-tape styled countdown “Intro” before launching into the lo-fi, distorted crunchy guitar opening of terrific, thumping disc-opener “Learning 2 Live.”

“Hold On” is an uptempo vox and axe-driven number with an energy and tone that reminds me of an amazing yet somehow criminally underappreciated melodic hard rock band, Danger Danger.

The opening chord of “Badman” reminds me just a bit of the main riff from Rick Springfield’s “I’ve Done Everything For You” before veering off into its own identity. After the opening, 8084 utilizes an attention-grabbing voice-only opening verse, then provides catchy, high-energy musical support with ample whammy and a memorable rhythm that makes this one of my personal favorites on the disc.

8084

photo courtesy of 8084

Sticking to the “whammy” theme, “Lonely at the Top” actually begins with some whammy-focused between-song banter before the music starts. The song itself is a soft, airy ballad with guitarwork akin to what you might find in a similarly-paced Dokken ballad and vocal harmonies in the chorus. The cool thing about a hard rock slow song from a talented band like 8084 is that the guitarwork is so interestingly textured.

Next up is another of my favorites on the album, “She Comes to Me,” one of the most hook-laden tunes on Live 4play, and the one song that prominently features a Bon Jovi-esque talk box, used in all its “wah-wah” glory to artistic perfection. Aside from being unavoidably catchy, “She Comes to Me” is just so damn fun!

“Alright” is a somewhat more straightforward rock song that utilizes a hint of vocal gravel more often than it soars, as the music and vocals express sensitivity that suitably accompanies the lyrics. “When I Think of You” keeps the tone soft, even moreso than “Alright” but paced and styled more like a melodic hard rock ballad.

The energy level immediately jumps back to 11 with “Rosita,” as lively vocals combine memorably with recurring guitar squiggles – not exactly a hook, but it serves the same purpose – resulting in a memorable song that strikes me as a likely crowd favorite.

8084

photo courtesy of 8084

“I Can’t Feel You,” one of the band’s more recently-penned songs, released as a single in 2018, is flavored a little differently from the older songs in the collection. It’s more modern, clearly showing that the band has remained musically up-to-date, writing rock songs with updated sonic sensibilities in a way that will still appeal to longtime fans. While great music is timeless, it’s songs like this one that’ll be more likely to gain traction on forward-looking playlists.

In the same vein, I get the same more modern vibe from the cooler, ’50s/’60s rock-influenced strummer “Yesterday,” on which the vocals are crooning in nature, voicing heavy lyrics worth listening to. This particular song is also more recent, a 2009 release from Randy Smith’s solo Bittersweet album, which also spawned this 2011 YouTube video.

The jangly opening of “Hideaway” brings the energy level – and the guitar intensity – back up to arena filling levels.

Live 4play closes with “Surrender,” a solid, stylistically familiar guitar rock ballad with crunchy guitars, a soaring voice, and rhythmic noodling in the guitar bridges that ranges from standard hard rock act riffs to fast-paced fingerwork to some eerie, hauntingly-tinged stretches, always, of course, finding a comfortable path back to the chorus. The song is a fitting ending to a long-form album like this, setting the listener down gently and pleasantly. Aside from the fact that you’ve just listened to 65 minutes of music and probably need a bio break, “Surrender” returns your musical mindset back to a good place to “rewind” and listen to the album all over again.

More Recently

8084 actually just dropped a new single – “Vegas” – to Spotify and YouTube on October 15th.

8084 was also nominated for a New England Music Award in the Rock Act of the Year category. Voting has concluded, and NEMA winners will announced during a ceremony in Foxborough, MA on November 12th.

Looking Ahead

8084 live performances tend to be events, so they’re well worth making an effort to attend. Right now, the “Live Dates” page of the band’s website lists a single date: Saturday, November 4th at the Higher Ground Ballroom in South Burlington, Vermont. Obviously, check back periodically for new concert dates to be added.

Single Review: Gary Gleason – “Why Don’t We Dance”

Posted on by
Gary Gleason

photo by Jessie Glockner; photo courtesy of Gary Gleason

Single Review of Gary Gleason: “Why Don’t We Dance”

Singer-songwriter-guitarist Gary Gleason splits his time between Virginia, New England and Nashville, meaning there are three locations that can lay claim to this talented musician as one of their own. His most recent single, “Why Don’t We Dance,” showcases his steady voice, his engaging song-performance skills, and his adept songwriting skills, with an attention to every detail, via an enjoyable, memorable song you’ll quickly welcome as a favorite entry on your playlist.

The song itself, from beginning to end, makes me picture a big dancehall with a stage up front, a big dancefloor, and tables around the edge. From the first notes, you know it’ll be a classic slow song, and when Gary’s vocals begin, you discover you’re in for a ballad of the ’70s pop country-sensible, smooth crooning variety.

It’s reminiscent of Garth Brooks’ “The Dance” with the richness of the vocals and flowing nature, but there are more upfront guitar strums to catch your attention from time to time, as well. The song itself flows smoothly, as if it could be closely related to Lee Ann Womack’s “I Hope You Dance.” I also hear a little of Kenny Rogers’ “Through the Years” in the song’s style. And, finally, I think “Why Don’t We Dance” would be an ideal vehicle for a rich voice along the lines of George Strait’s.

Of course, for “Why Don’t We Dance,” Gary’s voice just the right mix of rich and smooth, and after a several listens, I can’t imagine anyone else singing it. I’m sure you’ll feel the same way.

More About the Song

Gary Gleason co-wrote “Why Don’t We Dance” with Monty Lane Allen (Alan Jackson and Grand Ole Opry) and Robert Arthur (Brad Paisley’s team).

Looking Ahead

Keep an eye on the “Events” page of Gary’s website for upcoming performances. And consider following Gary’s YouTube page to remain abreast of the new videos he releases from time to time.

Album Review: Tokyo Tramps – Fearless Heart

Posted on by

Tokyo Tramps – Fearless Heart album coverAlbum Review of Tokyo Tramps: Fearless Heart

Tokyo Tramps are Boston blues/blues-rock mainstays. Guitarist/vocalist Satoru Nakagawa and bassist/vocalist Yukiko Fujii have spent twenty-plus years as Boston-based blues rockers, and they’re still among the city’s best. I delved more deeply into Tokyo Tramps’ background in my review of the band’s I’m a Tiger EP, so you can read that review for more detail; here, I’ll just focus on the band’s new album, Fearless Heart.

Tokyo Tramps’ music could be equally described as blues rock or rockin’ blues, but since the former can be used to describe a broad swath of rock ‘n roll, the latter – or the fact that the band’s songs straddle the two terms – is probably more informative. The bluesier portions of the album have a raucous barroom nature, while the rock ‘n roll component hints at the band’s classic ’60s and ’70s blues-based rock influences. Mostly, I hear an amalgam of influences buried in the band’s sound, but on one or two of the songs, you can quite specifically hear the Tramps “try sometimes” and “get what (they) need.”

From the very first spin you’ll enjoy the unique blues rock sound that makes Tokyo Tramps music quickly identifiable, but I’d recommend giving this album multiple listens; each listen, especially after the first few, reveals more subtleties. The hooks are rather sneaky, and there are suddenly significantly more “wow” moments upon the tenth or fifteenth journey through the album than there were initially. Before you know it, your two initial favorite songs have miraculously become eight.

The album kicks off with the jangly blues-based rock guitar lead-in to “Sweet Melody,” a rough-edged funky symphony of unity that’s held together by hypnotizingly melodious guitarwork and a sweet groove.

Bluesy classic rock guitar crunch motors “Mississippi and New Orleans,” another song that’ll leave listeners jamming to the axework, eyes closed, especially when enjoyed with headphones on.

“Where Did You Hide Your Love?” is next, with a little more psychedelic vibe, followed by “Blues Leave Me Alone,” whose hauntingly jangly, low-fi distorted axework supports the mild anguish in the vocals.

The band revealed a desire to incorporate ’70s rock sounds into this particular album, mentioning both the Stones and Derek and the Dominos. And, in fact, next track “Open the Door” is the song on which I most hear some “Layla”-esque elements mixing with the Tramps’ trademark rockin’ blues sound.

This marks the halfway mark of Fearless Heart. A lot of albums begin to fade on the “B side,” but as strong as the first 5 songs of Fearless Heart are, this album just keeps finding next ways to top itself on the back half.

“Can’t Find My Way Home” is a bit of a country blues swayer-and-twanger, and I really dig the vocal interplay between the bandleaders on this track.

Next up, “Loneliness is a Social Disease” has the pep and playfulness of a ’50s rocker, almost, and it’s definitely a rockin’ good time. “Heart of Life” follows, with an earnest vocal delivery and a steady rhythm supporting the song; its rhythmic blues rock tempo hints at a jazzy meander throughout, but that’s a head-fake, as the song’s tempo remains consistent.

“I Don’t See My Star Tonight” slows things down, a blues dirge with some soft guitar noodling that adds just enough liveliness to make for an interesting journey.

And the album closes with what’s probably my favorite song on Fearless Heart, “Young Lion.” The interplay of Satoru’s and Yukiko’s vocals on this song are fun, effective, and catchy. (You’ll sing along with one or the other of them, probably not always the same from one listen to the next.) And the guitars navigate a blues-rock journey. It’s a lively, fitting close to the Tokyo Tramps’ newest album.

More Recently

The Tokyo Tramps have been nominated for two major music awards this year. They are finalists in the Blues Act of the Year category by the New England Music Awards. NEMA voting has concluded, and the winners will be announced at the awards ceremony on Sunday, November 12th. They are also on the final ballot in the Boston Music Awards‘ Blues Artist of the Year category. BMA voting continues until November 17th, with the awards ceremony scheduled for December 20th.

Looking Ahead

Check the “Live Schedule” page of the Tokyo Tramps’ website for upcoming performances. You can catch the band live tomorrow, Sunday, October 15th, starting at 11:00 AM at the Sunday Blues Brunch at the Hard Rock Cafe Foxwoods in Ledyard, CT. Be sure to check the band’s website periodically as new dates are added.