Tag Archives: Single Review

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.

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.

Single Review: Ben Davis Jr. – “Winding Binding Road”

Posted on by
Ben Davis Jr.

photo courtesy of Broken Jukebox Media

Single Review of Ben Davis Jr.: “Winding Binding Road”

I first heard Ben Davis Jr.‘s amazing talent when I listened to his 2019 Suthernahia album, an awesome mix of lyrical, musical, and vocal originality that somehow got lost in my CD pile until it was kind of old. Seriously, go check out songs like “I Think You Should,” “I Can’t Get Enough,” “Sunday Morning”… well, OK, the whole disc, showcasing Ben’s amazing bluesy Americana, with an original “Suthernahia” small-town spin I guarantee you’ve not heard before. This dude is truly one of a kind, absolutely something special.

Ben Davis Jr. – "Winding Binding Road"

image courtesy of Broken Jukebox Media

And that brings us to his newest release, the single “Winding Binding Road,” which is what I’m officially reviewing tonight. Hip, country-rock guitarwork kicks things off energetically, soon joined by Ben Davis Jr.’s inimitable, easily identifiable, twangily smooth, relatably earnest voice. The tempo stays up all the way, driven by a dancing guitar line and a steady, pulsing beat, buoyed by a mid-song key change, even maintaining its pace through a lighter fret-picking bridge late in the song.

A fun, danceable number, “Winding Binding Road” will leave you panting, out of breath if you remain on the dancefloor for the entire song. Panting and grinning. It’s a terrific introduction to the exceptional talent of Ben Davis Jr.

Having said that, while you’re checking out this song, like I said earlier, do yourself a favor and explore more of his music catalog. You will thank me later.

Looking Ahead

The “Tour Dates” page on Ben’s website currently lists for upcoming shows, all in October: Tomorrow, Saturday, October 14th at Club Vinton in McArthur, Ohio; Friday, October 20th at Loose Rail Brewing in Canal Winchester, Ohio; Saturday, October 21st at Market Street Listening Room & House Concerts in Waverly, Kentucky; and Saturday, October 28th at Twisted Vine Family Vineyard in Patriot, Ohio. Be sure to check Ben’s website regularly to see more upcoming performances when they’re added.

Single Review: Jason LaPierre & Kelsey Blackstone – “When I’m With You”

Posted on by
Jason LaPierre & Kelsey Blackstone

photo courtesy of Kelsey Blackstone’s management

Single Review of Jason LaPierre & Kelsey Blackstone: “When I’m With You”

Soulful pop vocalist Kelsey Blackstone and jazz-trained guitarist Jason LaPierre team up to deliver “When I’m With You,” a memorably catchy, timeless single that harkens back to the jazz-infused pop hits of the seventies. At first listen, I immediately thought – stylistically – of Little River Band’s “Reminiscing.” Of course, the differences are obvious. “When I’m With You” sports a rich, modern sound bed, for example, and you’ll find soaring background vocal howls, via studio magic, in place of some of those seventies harmonies. Beginning to end, Kelsey’s voice features a smooth soulfulness that rounds the edges of this lively song, but do keep an ear out for the hint of a growl where appropriate.

Jason LaPierre & Kelsey Blackstone – "When I'm With You"

image courtesy of Kelsey Blackstone’s management

This tune will have a place on my permanent personal playlist, and if you give it a listen, it’ll probably find a spot on yours, too. While you are likely to find “When I’m With You” on several year-end “song of the year” lists this year, the accompanying cool, playful music video has, at least, landed “When I’m With You” a 2023 New England Music Awards “Video of the Year” nomination. (Voting ended on October 1st; we’ll learn how Jason and Kelsey fared when the results are announced in November.)

Jason LaPierre & Kelsey Blackstone

photo courtesy of Kelsey Blackstone’s management

Looking Ahead

Of course, the results of NEMA “Video of the Year” voting will be announced on November 12th at the New England Music Awards ceremony/concert in Foxboro.

Also, Jason and Kelsey each have linktrees (Jason’s here and Kelsey’s here) to direct you to their social media accounts and help you stay current with their release and performance schedules. Per Kelsey’s Bandsintown listing, you can catch her October 12th at the Rockwood Music Hall in Boston, October 19th at Skidmore College in Saratoga Springs, NY, and October 28th at the Midway Cafe in Boston. I don’t see any live performances listed anywhere for Jason, but his Spotify artist page does show he has collaborated on three more singles since the spring release of “When I’m With You,” so he has been keeping busy.

Single Reviews: Brian Muratori – “Jagged Edge” and “Endless Summer”

Posted on by
Brian Muratori

image courtesy of Brian Muratori

Single Reviews: Brian Muratori – “Jagged Edge” and “Endless Summer”

The Backstory

I’ve known Brian Muratori for decades. When we were both “under 21” we used to hang out at the same all-ages dance clubs in West Michigan. Of course, back then, he wasn’t a professional singer, and I wasn’t a music journalist. His first professionally-recorded album, The Italian Rocker, was released a couple years before I started writing reviews. (The dude’s younger than I am; he just got an early start.) I did eventually get a chance to review one of his recordings, his “Starting Over” cassingle, for Geoff Wilbur’s Renegade Newsletter in the mid-’90s. (I’m pretty sure it’s been decades since I last typed the word “cassingle.”) Well, the cool thing is that Brian and I are both still at it, continuing to ply our respective trades in the music business.

Brian Muratori

image courtesy of Brian Muratori

The Review

Stylistically, Brian’s voice is that of a top-flight lounge crooner, a performer with a firm grasp of all the pop, soft rock, and pop-rock vocal stylings necessary to make an evening of music into a fun, memorable event. Brian has released several singles over the past year. I’ve chosen to review two that are representative of his skills – one from Brian’s At the Hollywood Party collection and the other his most recent, post-Party single. The first, “Jagged Edge,” was released in late 2022 and is included on Brian’s At the Hollywood Party album on Spotify. The other single, “Endless Summer,” is Brian’s most recent release; it dropped – fittingly for a “summer” song – late in the summer, just a few weeks ago.

“Jagged Edge,” kicks off with light, classic soft pop-rock power-synth and a pleasant rhythm, and it’ll soon have you bopping along as well-placed oohs and ohs complement Brian’s groovy delivery, with his insistent vocal build-up leading into smooth choruses.

Brian Muratori

photo courtesy of Brian Muratori

“Endless Summer,” meanwhile, begins with a beach-pop chorus of “oohs,” leading to soft adult contemporary verses and chorus, with occasional dancing guitar riffs adding color and flavor. This cool summer number is an updated, groovy throwback tune that harkens back to soft rock’s heyday.

“Jagged Edge” and “Endless Summer” are fun songs, and Brian’s voice can carry them well, mustering up all the storytelling nuance necessary to deliver a great final product. They’re convincing proof that “an evening with Brian Muratori” would be a fun live event. While I picture an upscale night of dinner an crooning, his style would also play well in an intimate theater or smoky barroom setting, if smoky barrooms were still a thing. These tunes would also be well-placed in Hallmark movies, likely with some crisper, less jagged production to help them blend more easily into the soundtrack.

In the end, these singles – and Brian’s other songs, some of which you’ll find on Spotify – paint a picture of a talented, modern-day crooner, and I’m pleased to hear Brian carrying on that fine musical tradition. Stylistically, Brian’s music is well-timed to take advantage of the existence of the yacht rock genre, into which his music fits easily.

Beyond These Songs

If you dug the two songs I reviewed, other standouts I’d recommend to yacht rock fans include Brian’s 2022 single “You Had to Go and Change on Me” and, from At the Hollywood Party, “Alligator Drive” and “Ooh Baby I Think You’re Driving Me Crazy.”

Looking Ahead

Brian Muratori’s Facebook page would be a good place to start if you want to remain abreast of new single releases and other artist news. You can also find new songs, as they’re released, on Brian’s Spotify and Bandcamp pages.

Single Review: Tomás Doncker – “Red Cross Store”

Posted on by
Tomás Doncker – "Red Cross Store"

image courtesy of Frank Roszak Promotions

Single Review of Tomás Doncker: “Red Cross Store” (True Groove)

If you read my review of Wherever You Go, then you all know how much we dig Tomás Doncker here at the Blog. The man does not disappoint. Well, a couple years ago, he released his rendition of Mississippi Fred McDowell’s “Red Cross Store.” Tomás updates the song, delivering it with more electric power, boosting it with both his guitar and his vocals. The song churns along, with the vocals giving voice to the justifiable anger and frustration in the lyrics. Tomás does this old blues classic justice with his powerful interpretation.

I guarantee you’ll dig Tomás updated, modernized version of “Red Cross Store,” but if you haven’t heard it before, I’d also suggest you give Mississippi Fred McDowell’s original recording a listen.

More Recently

Since the release of “Red Cross Store,” Tomás has released the single “All Together Now” (with Amp Fiddler) and the album Born to Be, plus several releases with Tomás Doncker & The True Groove All-Stars.

Looking Ahead

This Facebook post lists a UK tour for Tomás Doncker & the True Groove All-Stars, starting on October 19th in London and ending October 28th in Oakham. Check the aforementioned Facebook post or this Instagram post for details.

 

Single Review: Walter Sickert & the Army of Broken Toys – “Goth Beach”

Posted on by
Walter Sickert & the Army of Broken Toys

photo courtesy of Walter Sickert & the Army of Broken Toys

Single Review of Walter Sickert & the Army of Broken Toys: “Goth Beach”

I received a copy of this song early last summer, and what a perfect summer song it would have been, if I had been up-to-date with my reviews at the time! But I’m not sure “Goth Beach” even has to be a season – what would be more Goth than a winter beach weekend, after all? – so crank this up and enjoy what may soon be your favorite new beach song.

Walter Sicker & the Army of Broken Toys – "Goth Beach"

cover art by Walter Alice Sickert; image courtesy of Walter Sickert & the Army of Broken Toys

Walter Sickert & the Army of Broken Toys list themselves as rock, goth, and steampunk, among other things. Well, yeah, I’ll second that.

This single, “Goth Beach,” is creatively fun and playful, with an energetic beat that’ll soon have you bouncing along. The raw, raucous rough-edged performance style is meticulously cultivated by the way the rhythm section pops. Even Walter’s vocals are simultaneously jagged and smoothly powerful, hinting at the versatility of this theatrical pop ensemble.

And if you begin to tire from the energy of goth-rocking along to “Goth Beach,” you can sit back, chill, and take notice the lyrical mentions of Robert Smith, Siouxsie Sioux, Elvira, and Vincent Price, among others. In the end, whether you typically like this style of music or not (and I defy you to define this song’s style), you’ll enjoy “Goth Beach”; it’s a fun “beach” song for any season… or any year.

Walter Sickert & the Army of Broken Toys

photo courtesy of Walter Sickert & the Army of Broken Toys

More Recently

In February, Walter Sickert & the Army of Broken Toys released the 10-track (steam?)punk-infused album Ghost Parade. Then, this summer in July, the band released a version the song “Keep My Head” with bigger, fuller, richer production than the version released a few months earlier on Ghost Parade.

Looking Ahead

I don’t see any upcoming shows listed on the events tab of the band’s Facebook page, but there are some recent past shows listed there, so check back for updates. You’ll perhaps have better luck following the band on Instagram, as this recent post notes that Walter Sickert & the Army of Broken Toys will be back at the Museum of Science for its Halloween Happening on October 26th.

You can also support the band on Patreon.

Single Reviews: Animal Logic – “Can You Tell Me” and “Ordinary”

Posted on by
Animal Logic

photo courtesy of Glass Onyon PR

Single Reviews of Animal Logic: “Can You Tell Me” and “Ordinary”

You may recall Animal Logic from more than 30 years ago. In 1989, the combination of jazz bassist Stanley Clarke, ex-Police drummer Stewart Copeland, and singer-songwriter Deborah Holland released their first album, the self-titled Animal Logic. Animal Logic II followed in 1991 before the trio split. Fast-forward to late 2022 and the group released two new singles, “Can You Tell Me” and “Ordinary,” which were the culmination of collaboration, idea-sharing, and file-sharing that began back in in 2013.

Animal Logic – "Can You Tell Me"

image courtesy of Glass Onyon PR

Not to bias you from the outset, but the first of these two singles, “Can You Tell Me,” is my clear personal favorite. (OK, yes, I did mean to bias you.) “Can You Tell Me” is exactly the sort of song you’d expect to hear in a speakeasy. It’s a song that would fit perfectly on the Gentlemen’s Anti-Temperance League’s album, Masquerade, that I reviewed here six years ago. A smoothly-plucked jazz bassline, stylistically appropriate, groovy accompanying skinswork, and some well-placed wind from guest harmonica player Howard Levy (from Béla Fleck and the Flecktones) supports Deborah Holland’s timeless, well-enunciated crooning to channel the vibes of a cozy, smoky jazz joint.

Animal Logic – "Ordinary"

image courtesy of Glass Onyon PR

From the opening notes of “Ordinary,” you can tell that these two singles, while simultaneously released, share little sonically. “Ordinary” is more of a folky pop number, with a listing of crises that’s uncomfortably reminiscent of “We Didn’t Start the Fire.” Granted, “Ordinary” focuses on current situations, but the phrasing – and seeming need to fit just one too many events into the lyrics, especially early on – comes off as a little too self-congratulatory in the “oh, aren’t we so aware of the issues” sort of way. Songs that contain these sorts of lists need to walk a fine line, and “Ordinary” comes off on the self-indulgent side of that line. Musically, it bops along with nifty flourishes, well-coordinated builds to simultaneous musical and lyrical climaxes, and the neat juxtaposition of a cheerful melody with a depressing topic. Ordinarily, I’d really dig all those details, but man, I’d love a rewrite to make the onslaught of referenced tragedies a little less dense. I’ll give ’em an “A” for effort, and given the A-list talent involved, definitely decide for yourself – my only complaint with this otherwise-exceptional song may be more of a pet peeve than a universal truth.

Of course, if you only listen to one of the songs, I’d recommend “Can You Tell Me.” It’s really cool. And I’m psyched to have some new Animal Logic music to listen to, more than three decades after Animal Logic II. Here’s hoping this trio will be inspired to collaborate even more in the not-too-distant future.

 

Single Review: Simon Scardanelli – “Fish Out of Water”

Posted on by
Simon Scardanelli – Fish Out of Water

cover artwork by Bettina Rombout; image courtesy of Simon Scardanelli

Single Review of Simon Scardanelli: “Fish Out of Water”

Multi-talented singer-songwriter Simon Scardanelli recently released “Fish Out of Water,” an eclectic, storytelling-styled, sea shanty-rhythmed romp. I picture the coast of Ireland, a troubadour dressed like a sea captain in an ill-fitting costume, with a scruffy beard, regaling a small dockside audience that sways along to the song’s rises and falls. Then again, I can also picture the song being performed in front of a swaying bunch of drunks at a neighborhood tavern, so this mostly just proves that I have an odd and vivid imagination.

Lyrically, the song is a master class in discouragement, full of clever turns of phrase, something you can dependably expect from a Simon Scardanelli release.

Simon Scardanelli

photo by David Myers; photo courtesy of Simon Scardanelli

Liner Notes

The song was originally penned by Scardanelli from his Lower East Side apartment in New York City in 1993. An acoustic version of the song was released in 2005 on Simon’s HOBOHEMIA album. A 2011 recording of the song failed to meet with Simon’s approval and was never released. However, Simon recently returned to that 2011 version, added flute, violin, and accordion, and with those addition, this fully-instrumented version was released late last year.

Looking Ahead

Simon has a few upcoming live performances currently scheduled. If you’re in France, you can catch him on Friday, September 29 at Maman Poule in Trélevern, on Saturday, October 14 at l’île-aux-oiseaux in Guern, and Saturday, November 18 Ty Gavroche in Saint-Brieuc. For more information on these shows and future gigs, as they’re added, visit the “Concerts” page of Simon’s website.