Tag Archives: Single Review

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.”

Single Reviews: Twisted Rose – “Broken Glass” and “Coming Back”

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Twisted Rose band photo

photo courtesy of Twisted Rose

Single Reviews: Twisted Rose – “Broken Glass” and “Coming Back” (7Hard)

Twisted Rose has released several singles in advance of the planned February 28 release of its upcoming album Escape. Two of my favorites are “Broken Glass” and “Coming Back.”

Twisted Rose – "Broken Glass" single cover

image courtesy of Twisted Rose

You may recall that I reviewed Twisted Rose’s Cherry Tales album about a year ago. I’ve been excited to hear the band’s new singles and am looking forward to hearing the upcoming full-length album.

“Broken Glass” is one of Twisted Rose’s signature relatively-fast-paced, energetic, hard rockers. It starts with a steady, plodding heavy rock rhythm, but that’s just the long intro. When the song starts its first verse, the tempo picks up, and by the time the chorus comes around, “Broken Glass” has kicked into fast-speed asskicking mode, driven by Chris Bones’ screaming axework and Caro’s classic buzzsaw hard rock vocals. Mad props, too, to a late-song bridge that brings the volume down a bit, allowing band and listeners to catch their breath before launching back into full-on power rock mode for the song’s ending.

Twisted Rose – "Coming Back" single cover

image courtesy of Twisted Rose

“Coming Back,” meanwhile, is one of Twisted Rose’s signature-style ballads. The soft guitar support provides the ideal backdrop for Caro’s emotional vocals, smooth but with an edge, just as hard rock ballads’ vocals ought to be. The lyrics are emotional, and the song’s arrangement is ideal for drawing the listener in, resulting in a beautiful ballad that’ll leave a lump in your throat before the song is through as lyrics and vocals combine effectively. In the end, the lyrics conclude that “home” is a person, not a place.

Twisted Rose has released six songs on Spotify since Cherry Tales. Presumably, those will form some of what’ll be released on the Escape album in a few weeks, so you can look there for a preview. Personally, I’d suggest starting with the two songs I just reviewed – a kickass rocker and a ballad – to get your first taste of Twisted Rose’s new music.

Single Review: Hairpin – “Coyote”

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Single Review of Hairpin: “Coyote”

NYC-based indie rockers Hairpin have released an infectious, hooky, jangly rock earworm in “Coyote,” with frantic-yet-smoothly-delivered vocals that sit atop an soundbed that moves steadily, relentlessly forward. Distorted, echoey guitarwork adds a cool dive-bar flavor infusion throughout, including what can best be described as a buzzy guitar solo during both a mid-song bridge and the late-song chaotic outro, which includes some serious drum-bashing, as well. The surf guitar-inspired intro – a rhythm that carries on more or less throughout the song – adds another layer to the music, most likely the secret hook that makes “Coyote” so infectious.

Throughout, aside from the dissonance of the distorted guitar work that dashes in and out of the song, much of this song’s style revolves around a sort of floating pop-rock vibe reminiscent of The Palms’ single “Ready or Not” that I reviewed last year. You know, probably not a bad “next” tune for your playlist if you’re looking for something to play back-to-back with “Coyote.”

In any case, this is a very cool song. If you’re a listener of garage rock, alt-rock, college rock, or really any kind of rock ‘n roll song with a catchy hook, you’ll dig Hairpin’s “Coyote.”

Single Reviews: Orianthi – “First Time Blues” feat. Joe Bonamassa and “Some Kind of Feeling”

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image courtesy of Frank Roszak Promotions

Single Reviews of Orianthi: “First Time Blues” feat. Joe Bonamassa and “Some Kind of Feeling” (Woodward Avenue Records)

You may know Orianthi best as Alice Cooper’s guitarist from 2011 to 2014 (at least, I did), before she resigned and was replaced by Nina Strauss. Or you may know her for her collaborations, performances, and tours with any number of other A-listers, an extensive list that includes Carrie Underwood, Richie Sambora, Dave Stewart, Michael Bolton, and many others. And, obviously, Joe Bonamassa. Or perhaps you know her from her solo career. Whether you know her already or not, you should. So read on (and then check out these songs).

photo courtesy of Frank Roszak Promotions

In February 2024, Orianthi released “First Time Blues,” and it’s infectiously cool, likely to quickly become one of your favorite songs, delivering a powerful, sidewinding blues rock guitar punch. Orianthi’s vocals match the power of the axework, too, while the beat is heavy and prominent, at least to the extent possible behind the varied, fully-engaging guitarwork.

“Some Kind of Feeling” is a bit of a cooler number, showing some of Orianthi’s range, as it is a slower-paced, funky-bluesy number. This song, likely, will appeal to a broader audience. It’s still cool enough for guitar fans, but it’s really more of a power pop-rocker and sports the sorts of sentiments expressed by lyrics like “baby, you give me some kind of feeling,” song topics that are of interest to a more mainstream audience than the concept of gettin’ the blues.

Combined, these two singles are songs you oughta hear. You’ll have a favorite, just like I do, but you’ll probably dig ’em both… just like I do.

image courtesy of Frank Roszak Promotions

Looking Ahead

Alice Cooper fans will get a chance to see Orianthi back in the band for a few weeks, as she’ll be filling in for Nita Strauss in Alice’s band for his January 31-February 16 gigs in Georgia, North Carolina, Alabama, and Florida.

According to the “tour” page on Orianthi’s website, her current Australian tour ends on January 12th. Her website also lists a couple Oakland, California gigs in mid-April, a European tour in July, and an Illinois gig in October. I’m sure she’ll be adding more concerts this year, so you’ll want to check her website for new dates as they’re added.

Single Review: Captains of Industry – “The In Between”

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Captains of Industry Group Photo

photo courtesy of Captains of Industry

Single Review of Captains of Industry – “The In Between”

Captains of Industry is comprised of four veterans of the Boston music scene: Daniel Rodriguez (vocals, guitar), Aaron Kammerer (vocals, bass), Jason Fidler (vocals, guitar), and Drew Spangler (drums). The band calls itself an Americana/indie band (at least on its Facebook page). It’s always tough to adequately label bands in this particular corner of the rock ‘n roll spectrum, but that’ll do for starters.

image of the Captains of Industry – "The In Between" single cover

image courtesy of Captains of Industry

This single, “The In Between,” is a slow song. If a rock band performed a folk song relatively true-to-intent but it ended still sounding as if a rock band was performing it, it might sound like this. There’s a big booming drum strike or two on the track that are pretty cool, too. Technically, I suppose it’s a ballad in that you could slow-dance to it if you wanted to. But more specifically, it’s a richly-textured song about internal conflict, uncertainty, and… “it’s the in between that sees me through and brings me back to you.” As with any good lyric, apply that to your own circumstance however you see fit.

Captains of Industry live performance photo

photo courtesy of Captains of Industry

More Recently

Since the release of “The In Between” in February 2024, Captains of Industry have released a couple more singles – the peppy “Sunshine” in June and “Get Along Fine,” kind of a mellow, melancholy-ish song with maybe the slightest hint of Tom Petty, in November.