Tag Archives: Single Review

Single Reviews: Erin Gibney – “Kryptonite” and “By June”

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Erin Gibney seated in front of a piano

photo by Margaret Anna Media; photo courtesy of Skye Media

Single Reviews of Erin Gibney: “Kryptonite” and “by june”

You’ve read about Erin Gibney here before. I reviewed her single “You Made Your Bed” in 2023. Well, don’t sleep on Erin; this is a singer-songwriter with big-time chops!

Erin Gibney – "Kryptonite" album cover

image courtesy of Skye Media

Within the past year, Gibney has released a few singles. This review focuses on a pair of Erin’s 2024 releases, the singles “Kryptonite” and “By June.” The songs are varied enough to show a bit of range – something always cool to notice – and solidify my impression of her songwriting prowess, helping prove she didn’t “peak” with the song that first earned my attention, “You Made Your Bed.”

“Kryptonite,” a spring 2024 release with cover art that looks like ’60s pop art a la Lichtenstein but without the dots, is a memorable song with a lightly pleasant vibe and the singalongable line “you’re my kryptonite,” a lyric that summarizes the storyline of this well-written, sweetly emotional, relatable soft-pop tune.

Erin Gibney – "By June" cover art

image courtesy of Skye Media

Fall release “by june” gives away its melancholy immediately with a rich, sad, sweeping sound bed befitting Gibney’s wistful vocals and clever lyrics, “By August I’ll quit calling just to hear you say my name. December I won’t remember the way your hands felt on my waist. And by March it won’t be so hard to picture me with someone new. And if they’re right on the timeline I’ll be over you by June.” Heavy! And the words ring true.

Gibney’s delivery is engaging in a way that suggests future singing success. And her songwriting is insightful and clever enough to guarantee a future as a songwriter, even if the stars don’t align for singing stardom. I’m hoping, though, that they do.

Erin Gibney standing on the beach with a small wave crashing behind her

photo by Vincent Pecoraro; photo courtesy of Skye Media

More Recently

Just as I was wrapping up my first draft of this review last week, Gibney dropped another single, the countryesque crooner “Leave the Pieces,” replete with twangy, swiftly strummed guitarwork. I’ve only given this new song a couple listens, so I won’t do an in-depth review, but, um, Erin can write and sing country music, too. It just isn’t fair to the other singer-songwriters out there, is it?

Single Review: Alison Brown & Steve Martin – “Bluegrass Radio”

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photo of Alison Brown & Steve Martin

Alison Brown & Steve Martin; photo courtesy of Compass Records

Single Review of Alison Brown & Steve Martin: “Bluegrass Radio” (Compass Records)

Alison Brown and Steve Martin previously collaborated on the Emmy Award-winning instrumental “Foggy Morning Breaking,” a song from Brown’s On Banjo album. Well, last year the banjoists teamed up again for a new single, “Bluegrass Radio.”

Alison Brown & Steve Martin – "Bluegrass Radio" cover art

image courtesy of Compass Records

On this record, the pair are joined by top bluegrass musicians Sam Bush (mandolin), Stuart Duncan (fiddle), Trey Hensley (guitar), and Todd Phillips (bass), ensuring tip-top musicianship on the track.

The song is an energetic, fun romp. The fast-tempoed ditty doesn’t dawdle, clocking in just a hair over three minutes, but the song is like an English muffin, sporting plenty of nooks and crannies for the band members to show off a little. Lyrically, it’s playful and a little silly, perfectly suited to Martin’s emotive vocalization, featuring lyrics like “Number three in California, five in Arizona, didn’t seem to mean a thing to you, but I got number one in Texas, and now you fix me breakfast because I am a hit on bluegrass radio.” Just trust me, with Martin’s tone and phrasing, it’s downright mischievous.

photo of Alison Brown holding a banjo

Alison Brown; photo courtesy of Compass Records

Whether you’re typically a bluegrass fan or not, this light, tightly-performed fare is likely to put a smile on your face. Of course, if you’re not a bluegrass fan, then this just might be your favorite Steve Martin song since “King Tut,” and it’ll serve as a great introduction to banjo luminary Alison Brown.

More Recently

Last fall, Brown and Martin teamed up again, this time bringing in Vince Gill for a featured role, on “Wall Guitar (Since You Said Goodbye).”

In addition, last summer Brown dropped a remixed and remastered version of her 1990 Simple Pleasures record, which landed her a Grammy nomination following its initial release. That record also earned Brown recognition from the International Bluegrass Music Association as Banjo Player of the Year, the first time that honor went to a woman.

photo of Steve Martin standing, holding a banjo

Steve Martin; photo courtesy of Compass Records

In February, Brown also teamed with Kristin Scott Benson and Gena Britt on the single “Ralph’s Banjo Special.”

Of course, we all know what Martin has been up to lately on the acting front, starring in the critically acclaimed series Only Murders in the Building. Also, if you were previously unaware of Martin’s banjo aficionado-ness, it’s worth noting that, in 2010, Martin founded The Steve Martin Banjo Prize, which has been awarded to numerous recipients in the years since its inception.

Looking Ahead

Brown has tour dates scheduled in as far north, south, east, and west as Maine, North Carolina, Arkansas, and Wisconsin, plus many, many points in-between. Be sure to check the tour listing on her website to see if she’ll be performing near you.

Single Reviews: Michelle Forziati – “Stranger” and “Strings”

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Michelle Forziati – "Stranger" single cover

cover design by Michelle Forziati; image courtesy of Knyvet

Single Reviews of Michelle Forziati: “Stranger” and “Strings”

Michelle Forziati‘s biggest claim to fame so far is as an actor, appearing in the 2017 film Stronger. Songs like “Stranger” aim to change that. This cool, slow-groove, R&B-based pop song shows off her emotional vocal chops. The song is soft and slow, with a lot of empty space around the pianowork and an echoey vibe that’s consistent with some of the mellower work of pop singers like Nick Jonas, who would be one of many headliners for whom Forziati would be an apt opening act. “Stranger” is an addictively engaging song, likely to become a staple of your personal playlist after a few listens.

Michelle Forziati – "Strings" cover art

cover design by Michelle Forziati; image courtesy of Knyvet

Shortly after the release of “Stranger,” Forziati dropped another single, “Strings.” “Strings” is a slightly more uptempo number, though still a slow song, featuring syncopated rhythms and displaying some vocal variety with choppier diction in spots where it’s appropriate. It’s a nice companion piece to “Stranger,” forming an enjoyable one-two punch as back-to-back listens.

What’s Next?

There aren’t any recent posts on Forziati’s Facebook page or at her Instagram or her TikTok accounts, but it’s worth following them to find out when she announces her next move.

Single Review: Jen Kearney – “Long Division”

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by Eric Harabadian, Contributing Blogger

Single Review of Jen Kearney: “Long Division”

Jen Kearney is a singer-songwriter from Boston, Massachusetts that represents the very best of what that job description signifies. She’s got a vocal style that’s full-bodied and steeped in character. And her storytelling chops and facile lyrics are off the charts.

Jen Kearney
photo by Caroline Alden; photo courtesy of Jen Kearney

The jazzy, soul-influenced chanteuse has a series of independent releases under her belt. She has also opened for some of the biggest names in rock, pop, blues and R&B, including Daryl Hall, Maceo Parker, Los Lobos, John Mayall & The Bluesbreakers, and The Derek Trucks Band.

Her latest single is a sly and perceptive treatise on the state of our country and its place in the world. “Long Division” hits you immediately with questions about the have and have-nots, with: “Who gets the water, who gets the sky? I see you calculating, tapping into everyone’s well until they’re all dry.” With each verse, the stakes rise higher as she delves into areas of left and right wing views, Middle East conflicts, and even a jab at the current pseudo American president Elon Musk. But, amid all the past and present social chaos Kearney so aptly describes, there is power in her resolute phrase: “Maybe we’re on to you!”

The song’s strong socio-political stance is wrapped nicely in a blanket of funky conga-fueled rhythms, horns and ambient guitar. Kearney delivers her cogent and essential message, with all the gravitas and style of a Nina Simone, Diana Krall, or Amy Winehouse.

Keep Jen Kearney on your radar, as she is a sparkly jewel and a musical north star.

Publisher’s Note: Jen’s single, “Long Division,” will be released on March 21st. Click here and follow the link to pre-save on Spotify. Also, for those of you in the Boston area, Jen will be performing at The Burren in Somerville on March 21st, as well. Tickets to that single release event can be purchased here.

Single Reviews: Smitt E. Smitty & The Fezztones – “Bye Bye Sunday Afternoon” and “#1 Most Likely”

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Smitt E. Smitty & The Fezztones

photo courtesy of Smitt E. Smitty & The Fezztones via Knyvet

Single Reviews of Smitt E. Smitty & The Fezztones: “Bye Bye Sunday Afternoon” and “#1 Most Likely” (Rock Garden Records)

Smitt E. Smitty & The Fezztones released “Bye Bye Sunday Afternoon” last spring. It was the group’s first release for Rock Garden Records, an excellent selection and an outstanding introduction to the band, an eight-piece Boston outfit comprised of Subtle (JoEllen Saunders Yannis, vocals), Serious (Linda Bean Pardee, vocals), Smitt E. Smitty (vocals, drums, harmonica, keyboards, percussion), James Melanson (guitar), “Crazy” Eddie Nowik (guitar), Andrew Padua (bass), Jonathan LaMaster (violin), and John Sestito (drums).

Smitt E. Smitty & The Fezztones – "Bye Bye Sunday Afternoon" single cover

image courtesy of Smitt E. Smitty & The Fezztones via Knyvet

Now, I’ve been racking my brain to figure out what Smitt E. Smitty & The Fezztones’ “Bye Bye Sunday Afternoon” reminds me of. It’s a kickin’, medium-fast tempo number with a completely fun vibe and clearly enunciated lyrics despite a seemingly somewhat raucous musical backdrop. There’s a timeless, somewhat old-fashioned feel to the music, which is best dubbed simply rock ‘n roll. But it took my probably too long to realize that the underlying musical vibe was very B-52s-ish. I could seriously picture the B-52s performing this. Not exactly, of course. Smitty & The Fezztones have a unique sound all their own, but “Bye Bye Sunday Afternoon” will absolutely appeal to fans of that light-hearted, vibey rock music style. Or, of course, rock fans in general. It’s a fun song that I’ve been digging for months now, and it never gets old.

Smitt E. Smitty & The Fezztones – "#1 Most Likely" cover art

image courtesy of Smitt E. Smitty & The Fezztones via Knyvet

More recently – just a week ago, in fact, on Valentine’s Day – the band released its new single, “#1 Most Likely,” sporting the very Valentinesy lyrics “You’re #1 most likely to break my heart.” The song sports an old-school mainstream alt-rock feel – I could almost hear Simple Minds singing this song, though not quite with Smitt E. Smitty & the Fezztones’ pizzazz. Still, this song would fit well on a John Hughes movie soundtrack. Sound interesting? Unlike “Bye Bye Sunday Afternoon,” which was an immediate favorite, “#1 Most Likely” actually took a few listens to grow on me, but now it’s stuck in my brain. I can’t necessarily explain why; it’s a great tune. See what you think!

Single Review: Pat Smillie – “Lovers & the Leavers”

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Pat Smillie – Lovers & the Leavers album cover

image courtesy of Pat Smillie

by Eric Harabadian, Contributing Blogger

Single Review of Pat Smillie: “Lovers & the Leavers”

“Lovers & the Leavers” is the first in a series of singles Detroit-born and raised singer-songwriter Pat Smillie is releasing through Fat Bank Music. And the song fits comfortably in Smillie’s wheelhouse of blues and soul-infused rock. The veteran raspy-voiced soul man belts out an acoustic-based ballad that speaks to his rich observations on love and the games people play.

The track is co-written and produced by Smillie’s main man, guitarist Josh Ford. Also on board are Johnny Rhoades (acoustic guitar/electric guitar), Dale Grisa (keyboards), Rocco Popielarski (bass), Todd Glass (drums), Tina Howell (backing vocals), and Ashley Stevenson (backing vocals). This is, primarily, the studio group that Smillie has been using the past few years, and they certainly have risen to the occasion here.

Perhaps the first thing you glean, a few notes in, is Smillie’s sincerity and innate ability to spin a yarn. He’s a master storyteller and will stop you in your tracks with his authentic points of view. It’s a tight, radio-ready single that harkens back to the days of AM radio superstations like Windsor-Detroit’s CKLW. Smillie has all the vocal command and bluster of Bob Seger, Rod Stewart, and Frankie Miller combined. And the sweet sustained sounds of Ford’s slide work blended with Grisa’s Floyd Cramer-like piano trills set all the emotions of Smillie’s lyrics ablaze.

Pat Smillie and company are the future of Detroit music and carry the torch led by all those classic Motown artists, past and present, that have come before.

Single Review: Rokita – “Just Wanna Be With You”

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Rokita – "Just Wanna Be With You" single cover

image courtesy of Mighty Achilles

by Eric Harabadian, Contributing Blogger

Single Review of Rokita: “Just Wanna Be With You”

Chris Rokita is a Frankenmuth, Michigan singer-songwriter with a spirited and heartfelt song dedicated to his late mother Marian. It’s a big bombastic love letter to his past and how his mother served as mentor, muse and inspiration.

Rokita press photo

photo by Yazmin Rokita; photo courtesy of Mighty Achilles

Here’s a sample verse: “You were my life; always there for me. Never going back now, just the way it has to be. Nothing’s the same; there’s no one to blame. Fate played its game. Wishing you were here with me.” Rokita sings all the vocals and plays guitars and bass, accompanied by the ubiquitous legend Kenny Aronoff on drums.

Melodic layered guitars are arpeggiated and strummed during the intro, with Rokita’s distinctive tenor voice taking command. But when Aronoff’s unmistakable drums kick in, the song goes into overdrive.

frame from Rokita's "Just Wanna Be With You" music video

photo courtesy of Mighty Achilles

Essentially, the tune has that Midwestern, early John “Cougar” Mellencamp vibe, with a drive and bravado that is honest and forthright. The combination of Rokita’s emotive voice and melodic sense also conjures up big ‘80s hit makers like The Outfield or Big Country.

“Just Wanna Be With You” is a cool and uplifting anthem that finds solace in the sadness. And we could all use something like that right about now.

Single Review: We Demand Parachutes – “Cheerful Coping”

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We Demand Parachutes live performance photo

photo by Mickey Renger; photo courtesy of Knyvet

Single Review of We Demand Parachutes: “Cheerful Coping”

If you’re a fan of bands like Good Charlotte, Simple Plan, and New Found Glory, you’re likely to really dig We Demand Parachutes‘ pop-punk banger “Cheerful Coping.” Guitarist/vocalist Kevin McCord is joined by Ben Shumaker (drums/percussion) and Seth Richardson (bass and programming) to deliver an infectious, memorable, resolute rocker.

We Demand Parachutes – "Cheerful Coping" single cover

image courtesy of Knyvet

The guitars jangle, and even though the tempo is relatively slow, the guitars and drums pick up the pace, making the song seem faster than it really is. The distorted, muddy music bed provides a buzzy backdrop of crackling energy. And the beat, particularly leading into the chorus provide a modest pogoing vigor.

The band has produced two versions of “Cheerful Coping,” and, while the radio edit’s “bloodshot” is actually a much more clever lyric, the original version is more fun to sing along with.

We Demand Parachutes live performance photo

photo by Internal Vision; photo courtesy of Knyvet

I’m not entirely sure which version of this catchy tune I’m going to save to my phone, since it will eventually pop up on one of my #PhoneOnShuffle playlists. I often listen in coffeeshops and diners, so I’d need to be able to resist accidentally singing along with the NSFW version, but I’m not sure I can. But that’s my problem, not yours. You need to hear this song because it’s catchy af and a great energy release.

“Cheerful Coping” was We Demand Parachutes’ first single and title track from the band’s 6-song EP, Cheerful Coping.

 

Single Review: The Lilac Hour – “Feeling Again”

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The Lilac Hour – "Feeling Again" single cover

image courtesy of BJF Media

Single Review of The Lilac Hour: “Feeling Again”

The Lilac Hour – Jake McCollum (lead singer, rhythm guitar), Matt Davies-Saunders (lead guitar), James Katz (bass), and Matt Volpato (drums) – is a London-based indie/alt-rock band whose style is laid-back but with a certain type of energy – in other words, laid-back but not lazy, songs with direction, music that’s going somewhere.

The band’s overall broad-appeal alt-rock sound is timeless and draws upon apparent influences spanning several decades. “Feeling Again” would be my recommended introduction to The Lilac Hour for fans of ’80s British pop/new wave bands like Tears for Fears or The Human League. Not the faster songs. “Feeling Again” has a slower pace with a flowing sound and some big, round, fat moments in Jake McCollum’s vocals.

The Lilac Hour

photo courtesy of BJF Media

For a more modern reference, it’s worth noting that “Feeling Again” was recorded at Kempston Street Studios in Liverpool, where Blossoms and Coldplay recording many of their earlier songs like “Charlamagne” and “Yellow,” respectively, and you can hear a bit of a similar sonic vibe in “Feeling Again,” particularly compared with “Charlamagne.”

In any case, “Feeling Again” is a cool song that fans of modern alt-rock and older Britpop alike are likely to enjoy. Or, as in my case, those who simply like well-written songs. If any of that describes you, check out “Feeling Again.”

More Recently

Since the release of “Feeling Again,” The Lilac Hour has dropped two more singles – “Everyone But You” and “Strawberry Lemonade.”

Single Review: Derek Smith and the Cosmic Vultures – “White Spade Symphony”

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Derek Smith and the Cosmic Vultures – "White Spade Symphony" single cover

image courtesy of Knyvet

Single Review of Derek Smith and the Cosmic Vultures: “White Spade Symphony”

“White Spade Symphony” from Derek Smith and the Cosmic Vultures is the best brand-new ’70s-style psychedelic classic rock song you’ll have heard in quite some time.

Derek Smith and the Cosmic Vultures band photo

photo courtesy of Knyvet

The song clocks in at under 4 minutes, but it feels longer, as would be expected from a true ’70s psychedelic rocker. There’s a long instrumental section in the middle of the song that showcases screaming classing rock axework, giving it the feeling of one of those 5-to-7 minute AOR opuses from the seventies. (Note the foreshadowing there, kids.) There are segments of the song that remind me of Buffalo Springfield’s “For What It’s Worth (Stop, Hey What’s That Sound),” though the classic rock reference is meant more generally, based on the tone of the guitars and the thin, distant seventies rock sound of Derek’s vocals.

In any case, “White Spade Symphony” is memorable and so well-done that it will soon become a favorite if you’re a fan of guitar-based classic rock in general, not just the ’70s psychedelic subcategory.

More Recently

Since the release of “White Spade Symphony,” the band has released two more singles – “Tomorrow Morning” and “Songbird” – and a full-length album, Opus, which contains both of those two singles but not “White Spade Symphony.”