Tag: Blues

DAN FARRELL – Album Review: “Colliding Planets”

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Dan Farrell Album

Dan Farrell is a singer/songwriter based in London, UK. A multi-instrumentalist who plays guitar, bass and keyboards, as well as produces all of his tracks in his own home studio, he refers to himself as a “one man band.” That said, in his bio he explains “My main instrument is guitar which I play left handed – but with the strings strung for a right handed person. Consequently all the chords I play are upside down. Strange, but true.” It sounds complicated to me, but Dan manages to coax some pretty phenomenal sounds from his six-string.

He welcomed 2018 by releasing his third album Colliding Planets, an ambitious work featuring 15 tracks that dropped on January 12. Collectively, the songs on the album draw from a myriad of influences and genres, including rock, jazz, blues, country and pop, and a few tracks seem to include them all! Dan cites the Beatles, Rolling Stones, Tom Petty, Queen, the Bee Gees and Amy Winehouse as some of his favorites, whose influences can clearly be heard on several tracks.

Dan Farrell

He kicks things off with “Salt of the Earth,” a rousing, foot-stomping country rock track. I like the aggressive drum beat, and Dan’s spirited guitar work make for an incredibly upbeat song. “She’s Still Drivin‘” keeps the energy flowing with a lively rock’n’roll tempo and Dan’s jangly guitars. After hearing just these two tracks, it’s clear he’s a skilled axe man. The sounds of a racing engine are a nice touch.

Tom Petty’s influence is evident on “Dreams of a Dreamer.” It’s a great song, with heavily strummed guitar set to a slow drumbeat. I love the added keyboards and guitar riffs. Dan sings about a woman he desires, but circumstances prevent anything from ever happening:

You’re thinking about me, it brings on a sigh
I’m wishin’ for something that we can never try
The dreams of a dreamer are making you sweat
Are making your heart beat a little faster

One of my favorite tracks is “Revealed in a Kiss,” a languid, jazzy affair with gentle guitars and sensuous horns that conjure up images of a romantic slow dance extending late into the evening. Dan’s smooth vocals are wonderful. “Don’t Blame Me” is a bouncy pop-rock track with jangly guitars and lush keyboards. Piano and keyboards take prominence on the lovely ballad “Get Inside Their Soul, and the bittersweet “The Blue Bar” has a country rock feel, and reminds me a bit of Bob Dylan’s “Knocking On Heaven’s Door.” Dan sings of the passage of time and how some achieve their dreams, while others watch theirs turn to dust: “I used to share the same dreams that made us all survive. I used to have the same hopes that kept us all alive. / Then the revolution took it all away.”

“Another great track is “One Like You,” a fun rock’n’roll song about wanting to stay home with the object of his affection rather than go to work: “Well you know I got to go and earn a buck or two. But I’d rather spend my time with one like you.” Like all of Dan’s songs, it has terrific guitar work, and the lively trumpet and keyboards make for a really upbeat number. Dan turns introspective on the country rock track “Let It Go,” a song about letting go of the dream of being with someone he can never have and just moving on.

“Just Because” is a mellow, upbeat song about not feeling guilty about indulging in the simple pleasures in life: “There doesn’t have to be an explanation for everything we do, every sensation. Sometimes it’s nice to do a lot a nothing. It’s good to go and treat yourself sometimes.” On the beautiful, uplifting ballad “I Tried,” Dan sings about believing in someone and encouraging them to take the right path in life. “I’ll always wish you well ’cause I believe in you. The road we choose is up to us, and sometimes life can make a fuss.”

“One in a Million” has a sophisticated vibe with jangly guitars, soulful keyboards and jazzy horns. Dan wistfully sings about how things in life don’t always turn out the way you’d hoped: “The higher you climb the further you fall. You think you’re doing well standing tall. But then your best-laid plans they come crashing down. That youthful innocence you had is on the ground. One in a million has that perfect sound. Went and lifted my feet right off the ground.”

The catchy “The Man I Want to Be” serves up bouncy riffs, and in his gravelly vocals, Dan sings about how’s he matured into a better man. “Leave My Mark” is a rousing guitar-driven rock song, with a riff that channels the Rolling Stones’ hard-rocking “Start Me Up.”  Keeping with a Stones theme, album closer “You Only Know When You See” has a bit of a “You Can’t Always Get What You Want” vibe.

Colliding Planets is a fine, well-crafted album that showcases Dan’s exceptional guitar work and skill for writing catchy melodies and intelligent lyrics about life that we can all relate to.

To learn more about Dan, check out his Website and connect with him on Twitter
Stream his music on Spotify / Reverbnation / Soundcloud / Apple Music
Purchase on cdbaby / Bandcamp / iTunes / Amazon

ANNA MITCHELL – Album Review: “Anna Mitchell”

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Anna Mitchell album-cover

Anna Mitchell is a singer/songwriter based in Cork, Ireland, and she’s released an astonishingly beautiful album. Her self-titled Anna Mitchell dropped in January, and it’s as close to perfection as any recent album I’ve heard. This is Anna’s second studio album, which follows her 2015 debut effort Down to the Bone. With a lot of albums, it can take a couple of listens for the music to grow on me, but with Anna Mitchell I was blown away the moment I heard it. Each new track was a revelation, leading me to quickly recognize that here was an exceptional work of musical art.

Anna Mitchell

Drawing inspiration from some of the best singers and songwriters in music – including  Joni Mitchell, Emmylou Harris, Bonnie Raitt, Linda Ronstadt, Ray LaMontagne, Stevie Nicks, Tim O’ Brien, Bob Dylan, Shawn Colvin and Gillian Welch – Anna melds folk, country, Americana, rock’n’roll, pop and blues influences to create exquisite songs that speak to oft-covered subjects of love and relationships, and the joy and pain they bring. Her strong, clear vocals could easily go toe to toe with many of the aforementioned singers. The album was recorded independently, with musical assistance from well known Irish musicians Davie Ryan on drums, Brian Hassett on bass and Alan Comerford on guitar. It was engineered and co-produced by Brendan Fennessy.

Anna Mitchell opens with the gorgeous ballad “All These Things.” Anna immediately casts us under her spell with captivating vocals that seem to float and soar above layers of stunning, richly-textured guitars and a humming bass line. Davie Ryan provides just the right amount of percussion, and the lush horns add a jazzy flourish later in the track. The song’s unusual video is extraordinary:

Anna dials up the tempo on “It Pours,” a great pop-rock song with the kind of strong driving beat that I love. The bluesy guitars are terrific, and Anna’s sultry vocals turn passionate as she admonishes one to stop whining and start living: “Hold your tongue, hold your tongue, I’m not listening. You’re not the only one with sadness or sin. I feel the weight of the world creepin’ in. And if you don’t start kicking you won’t stop sinking. It pours outta you, outta you.” The trippy video shows blacklit images of faces painted with phosphorescent colors in the dark.

“Radio Waves” is a lovely but bittersweet Country-rock song with slide guitar, piano and organ as the primary instruments. Anna earnestly sings of escaping from life’s troubles through music: “Radio waves, audio slave, turn me up ’cause I’m down.” On “Never Learn,” Anna’s smooth vocals are accompanied by a bewitching piano melody as she tells someone their broken relationship is beyond repair: “You can waste your time, but keep your hands off mine. Past the point of no return.” Staying with that theme, on the Country-rock track “Get Out” Anna tells a man in no uncertain terms that she’s through with him: “It would be nice to stop and chat, but I don’t like you. Well they say that you’re a really good catch, but I don’t want you / Do you just feel like a man when you shout? Oh, get out! Just get out!”

One of my favorite songs is the rousing foot-stomper “Dog Track.” Thanks to heavy, distorted electric guitar, buzzing bass and pounding drum beat, the track’s harder and edgier than the others. And like the music, Anna’s echoed vocals are more aggressive as she snarls the lyrics about a guy she finds attractive who’s also bad news: “Is that a wolf howlin’ or is it just the wind? Well I met him down at the dog track. He was walking around like he was on the attack.”

Here’s an electrifying live performance of “Dog Track” with the Cork Opera House Concert Orchestra.

Anna’s impressive songwriting talents are showcased on the melodically complex “Better Life.” The mysterious and powerful song features a strong bass line overlain with tremolo-heavy guitars and an array of instruments, including piano, slide guitar, organ, violin, and drums. “Slice of the Pie” is a call for respect for the working class in  their struggle to make a living: “You don’t judge a man, just by the way he found to feed his children. Everybody wants a slice of the pie. They’re just like you and I, trying to get by.” The album closes with Anna acknowledging she was wrong, asking her man to “Come Home.” She teases: “I like your bedside manner / Come home, when you coming back to me?”

Anna Mitchell is a phenomenal album that needs to be heard by as many ears as possible. I’m so glad Anna reached out to me, and I’m thrilled to do what I can help promote her and her incredible music.

Those of you in Ireland can see Anna and her band at one of these upcoming shows:

Saturday, February 10      Levi’s Corner House, Ballydehob  8 PM
Friday, February 16       Whelan’s, Dublin  8 PM
Sunday, February 18      John Cleer’s Bar & Theatre, Kilkenny  8 PM

Connect with Anna:  Website / Facebook / Twitter / Instagram
Stream her music on Spotify / Soundcloud / Apple Music
Purchase on Bandcamp or iTunes

RICH EVANS BAND – Album Review: “B Sides and Outtakes”

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I’ve always liked songs that tell a story, and what genre does it better than Americana/Country? One such artist who’s extremely skilled at weaving compelling stories is Rich Evans, a singer/songwriter based in London, UK. He’s a prolific songwriter, and has recorded music in several genres, including rock, blues, and punk, but his greatest love is Americana. He’s been involved in a number of music projects and bands for more than 20 years, including The Mariachis (who toured with Joe Cocker, Bill Wyman and Jimmy Cliff) and the Americana band Roosevelt Bandwagon, as well as recording music for labels in Chicago and Nashville. He formed the Rich Evans Band to record and perform his solo material, an astonishing output of songs! As Rich Evans Band, he’s released several albums and songs over the past decade or so, which he’s been re-issuing over the past year through his label Baby Dylan Records (named after his son Dylan).

Rich Evans

One of those albums is B Sides and Outtakes, a collection of seven wonderful tracks that address common themes of life, love, relationships and the struggles of being a musician through honest, deeply-moving lyrics. A talented multi-instrumentalist, Evans plays many of the instruments on his songs with help from his backup band. But guitar, mandolin and harmonica seem to be his specialties, and are beautifully featured on the opening track Roll on Mississippi. Evans’ vocals sound raspy yet soothing on this sweet Country ballad, and backed by a lovely chorus of female vocals.

As good as Evans is on his guitar and harmonica, it’s his skill at writing tender, heartfelt lyrics where he really shines. On the poignant Old Midnight Special he sings about an aging musician unable to accept his growing irrelevance in the music business:

Guess the talent that he’s got has worn a little thin
Time was when he played they’d line up outside the door
Still plays the same bars, but they don’t come round no more
They’ve all grown up, got old and settled down
Guess he still fools himself he’s the new kid in town

These days the kids call out for songs that he don’t know
They don’t care unless they’re ones they play on the radio
He can’t reconcile himself that his better days are gone
Guess he’s still in the same place while the world keeps movin’ on
He still got the ticket stubs, pictures in frames
Of him up on the billboard when people knew his name

One of my favorite tracks is Bad Turns, where an upbeat, bass-driven tempo belies the bittersweet story line about a son inheriting his father’s penchant for making poor life choices:

Must have been about five or six
When Momma set me down and she told me this
Don’t go doin’ like your daddy done
I don’t believe it’s gotta be like father like son
Left us before you turned one
Yeah, the son of a bitch been a long time gone
He’s been making bad turns for so long
I can’t put my finger on what went wrong

Thought history wouldn’t happen again
They wouldn’t do to me what they done to him
But the devil come a knockin’ in the middle of the night
I was good and drunk there was a barroom fight
Swear I never touched that guy
Told me later that he’d up and died
Judge sentenced me to death just to help clear up the mess
I been making bad turns for so long
I can’t put my finger on what went wrong

Evans sings about a life compromised by a lifetime of alcoholism on the melancholy Blues Are Gonna Get You. And on the song about a hardscrabble life in Bakersfield, he touches on other California locales such as the Kern River, Bakersfield’s oil-producing neighbor Oildale, Los Angeles, Santa Cruz and Highway 99, as well as Illinois – all places I know well. I’m impressed that a musician from Britain would have such a good working knowledge of California geography.

He turns romantic on the sensual Irresistible, pleading with a woman he still loves to leave her new boyfriend and come back to him. “Have to steal your love away from him. Have to steal your love right back again.” The bluesy guitars and bass line on the track are particularly good. The album ends on a high note with the bouncy rock’n’roll track Midnight Creeper. Evans tells the object of his desire that nothing’s gonna stop him from winning her love: “I don’t care if your Momma won’t let you. Honey I’m gonna come and get you. I’m the midnight creeper, gonna slide right through your door. It’s a good metaphor to describe how, through his music, Evans slides right into our hearts and minds with his catchy melodies and relatable lyrics. Good stuff!

Connect with Rich Evans Band on  Twitter and Facebook
To hear more of his music, go to Spotify or Apple Music and purchase it on iTunes

VERITY WHITE – Album Review: “Breaking Out”

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Verity White Album

Verity White is a singer/songwriter from Cheltenham, UK, and can this woman rock! She plays a bluesy style of alternative rock which, combined with the ferocity of her sultry vocal styling that at times reminds me of Pat Benatar and Joan Jett, makes for a hell of an exciting listen. Verity has been a backing vocalist with the UK band Pendragon, and performed with them on their European tour in 2017. Last November, she released her debut full-length album Breaking Out, which serves as a bold metaphor for this evolutionary next step in her career. With assistance from her husband Alex on guitars and production, Breaking Out delivers 10 stellar tracks.

Verity White

The album kicks off with the audaciously sexy title track “Breaking Out.” Gritty, blues-infused guitars engage in a seductive dance with the steamy bass line and drum beat. The tinkling piano keys in the bridge accentuate Verity’s sultry vocals as she defiantly declares her independence: “I’m worth more than you know. I’m stronger than you know, and I’m better on my own.” Indeed she is, and who are we to argue!

Verity’s amazing vocal range is showcased on “Zeroes and Ones,” where she really seems to channel Pat Benatar. It’s one of the album’s standout tracks, with fantastic instrumentals that complement her powerful vocals that go from soothing to raw.  The dark “Demons in Your Head” offers up fuzzy synths and a heavy buzzing bass line set to a thumping beat. The song’s lyrics speak to personal struggles with emotional issues: “Pop another pill into your mouth. Crumbling because you can’t let it out. Every day’s a constant struggle with the demons in your head. Trying to control you, so you just go back to bed instead.”

Verity let’s her rock goddess alter ego loose on the rousing “I Don’t Care.” With raw energy in her vocals, she sings about not giving a damn and casting aside all self-control on a night of partying: “Gonna drink ’til I can’t remember my name. Gonna drink ’til I can’t be the one to blame.”

“See Through” features Alex’s beautiful intricate guitars, mesmerizing synths and Verity’s beguiling vocals, all set to a melodic dance beat. It’s a great song, and one of my favorite tracks on the album. The synth-heavy “Face It” is another gem, and Alex really shines as he lays down lots of gritty riffs. The duo pull out all the stops on the raw, melodically complex “Exhale.” Damn if this isn’t another standout track! Mysterious sweeping synths, snarling guitars, loads of crashing cymbals and a pulse-pounding bass line work in tandem to create a speaker-blowing soundscape. Add generous amounts of Verity’s passionate soaring vocals and you’ve got all the ingredients to raise goosebumps.

“Your Darkest Secret” is a hard-driving rocker, with more of Alex’s shredded guitars and Verity’s saucy vocals, while the bluesy “Slow Fall” brings a hypnotic piano riff backed by fuzzy guitars and thumping drums. Album closer “Overcome” is a terrific rock song with awesome multi-layered guitar work. With her raw and sultry vocals on full display, Verity sings “Let the feeling overcome you. Til they’re right into the core. Changing all our dark perceptions. As you ask again for more. Why can’t I feel this way without you?”

Breaking Out is a superb debut for Verity White, showcasing not only her mind-blowing vocal abilities, but also her skill for writing songs with compelling lyrics and outstanding melodies. She’s set the bar quite high with this album, but I’m confident she has what it takes to come back with more great music in the future. For now, she’s been touring the UK to promote Breaking Out, and you can catch her next at Mr Wolfs in Bristol, England on January 18th.

Connect with Verity:  Website / Facebook / Twitter / Instagram
Stream her music:  Spotify / Apple Music / Soundcloud
Purchase:  Bandcamp / iTunes

YOU’RE AMONG FRIENDS – EP Review: “One Day You’ll Look Back”

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YAF EP Art

You’re Among Friends is a Cleveland, Ohio-based band who play a laid back style of funky, blues-infused folk rock that just makes you feel good. Following up on their wonderful album As We Watch the Years Go… (which they released in July 2016 and I reviewed last year), they dropped a new EP One Day You’ll Look Back at the end of November 2017. It’s a short EP, containing four tracks totaling only ten minutes in length, but it delivers the kind of honest, relatable songs about life and relationships the band does so very well. Making the music are Anthony Doran (lead vocals and guitars), Kevin Trask (bass, keyboards and backing vocals) and drummer Frank Mirabelli, a recent addition to, and sixth drummer for, the band.

The first track “I’m Happier Now” is a pleasant, upbeat tune about the happiness and joy a loved one brings to his life: “I can barely remember what life was like before you arrived. So I know I’m happier now. All I know is that I’m happier now. It’s true.” Anthony’s jangly guitar nicely complements Kevin’s humming bass line, while Frank bangs out the mellow beat on the drums.

The guys get philosophical on the funky “Back to Work Tomorrow,” speaking to the soul-crushing routine of a dead-end job, and advising against letting it define your life. I love the rather cynical lyrics to this song, as I think a lot of us can relate to them:

Work your fingers down to the bone
But in the end what do you have to show for it?
Except a few dollars that you’ve already spent
Because the money rolls out faster than it comes in
Well it’s an uphill battle towards a long decline
If you let your work define your life
If you worry about it you will lose your mind
It’s not like you get paid to think
Time flies, even when you’re not having fun
One day you’ll look back and half your life will be gone
Well that’s all time that you’ll never get back
I hope it was worth it working so hard for the man

“You Lost Interest First” has a country vibe with an infectious bouncy guitar riff and toe-tapping beat. The song’s about a couple who’ve both lost the feelings for each other that initially drew them together. A catchy, uptempo beat belies the somewhat negative sentiments of “Not My Thing.” With a hint of resignation in his voice, Anthony sings:

It’s hard to make me smile
You can try your best but it probably won’t work
It’s not that I’m depressed
I don’t try to be dark, I’m not a jerk
It’s just that smiling is not my thing
Don’t like the sunshine I like the rain

All in all, One Day You’ll Look Back is a nice little EP featuring songs with simple melodies and compelling lyrics that make for a highly pleasurable listen.

Connect with You’re Among Friends:  Blog / Facebook / Twitter
Stream their music:  Spotify / Napster / Google Play / YouTube
Purchase:  Bandcamp / iTunes / Amazon

PHILIP MORGAN LEWIS – Album Review: “Grief Harbour”

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Grief Harbour

I’ve written about quite a few excellent albums in recent weeks, and I’m pleased to feature yet another outstanding one, this time from UK singer/songwriter and producer Philip Morgan Lewis. The London East Ender just released Grief Harbour, an ambitious undertaking with 13 stellar tracks. Melding alternative rock, blues, garage rock and folk influences, Lewis has created an exciting, bluesy rock sound that complements his unique, raspy vocal style.

Lewis released his debut EP Karma Comedown in 2013 to rave reviews, and received extensive radio support in the UK and US. With Grief Harbour he firmly establishes himself as an extraordinary musician with a lot to say. A talented multi-instrumentalist, he writes and produces his songs and plays most of the instruments, including guitars, banjitar, bass, piano, and percussion. For the album, which was released through Moonalizer Records, he received assistance from Vick E and Little A (his daughter), who supplied backing vocals, as well as Jon Harris on drums, Nick Miles (Neek) as drum session engineer, Rob Updegraff, Charles Slevin and Gavin Bowers (Elêphant) on additional guitar work, Clive Smart on slide guitar, and Ben Jones on bass.

Philip Morgan Lewis

The hard-hitting title track “Grief Harbour” kicks off the album in a big way, with an aggressive pounding drumbeat blasting through the airwaves, letting us know right away that we’re in for a wild sonic ride. A barrage of gritty guitars ensue, along with some down and dirty bass and Lewis’ emotionally-charged, gravelly vocals that grab hold and shake us out of our complacency. Mysterious backing vocals combine with a distorted riff, adding a hint of danger to the track.

Grief harbour population one is a spit on the map at the end of the line
Welcome to desolation lane take a walk down the pier to the Laidback hotel 
Grief Harbour Six Feet avenue get a pint at the Fox and just settle your dues

I wanna burn like a thousand suns and set this town on fire if only for one night
I wanna rise like a dying star and set this world alight if only for one night

It’s a fantastic song, and the mesmerizing black and white video shows a shadowy image of Lewis dancing rather seductively in front of the album cover art (which was painted by his father). Not only is he an amazing musician and songwriter, he’s also a pretty good dancer!

And speaking of dance, you can’t help but move when listening to the sultry “Seven Deadly,” or “Six Foot Tambourine,” with its irresistibly catchy driving beat that aims straight for the hips. Layers of gritty guitars and a heavy buzzing bass line are driven by a thumping drumbeat as Lewis implores the lyrics that speak of a recurring nightmare:

A Six foot tambourine came down crashing on me
As I lay down in the tube somebody’s loading me
My feet are cold I can’t breathe but now I see
Though the nurse is kinky I’d rather she would let me be
Stay out of my head. I’d rather be dead
Stay out of my head, ain’t already dead

It’s one of my favorite tracks on the album. Lewis has produced interesting and provocative videos for a number of songs on Grief Harbour, and posted them on YouTube just prior to the album’s release. Here’s the one for “Six Foot Tambourine”:

“Swing By Your House” is an emotional plea to a friend who’s thinking of killing themself, followed by the gorgeous and haunting “Foxes On Red Leaves,” a standout track and my absolute favorite on the album. The powerful, bluesy track soars with layers of jaw-dropping guitar work that goes from shredded to chiming to jangly to wailing, bringing chills from start to finish. Lewis captivates us with beautiful piano work and impassioned vocals about trying to hold it together and not lose your mind, seeking relief by self medicating with drugs:

Am I losing it babe. Just got a lot on my mind
Foxes on red leaves sink their jaws in my veins
As they go for the kill and I can feel no pain
Foxes on red leaves keep on calling for more
As I roll up my sleeve I shall fear them no more

A break from the heavy subject matter arrives with “Laidback Hotel, ” a delightful, bouncy track with honky tonk piano, lively guitars and snappy drums. Next up is the rousing ear worm “Karma Comedown 2.0,” a reworking of a track from the Karma Comedown EP.  The blues-infused rock song has an infectious foot-stomping dance beat guaranteed to have you on your feet and swaying your hips.

“Phantom Pain” is a bluesy folk anthem with hard rock overtones. Buzzing bass and assertive percussion, replete with an abundance of crashing cymbals, provide a sturdy backdrop for layers of acoustic and electric guitar and some fine piano keys. Another favorite is “GYB (Got You Babe),” a sexy head-banger of a tune with a pulse-pounding beat and incredible bluesy guitar work that’s so good it brings goosebumps. I love songs like this with a powerful driving beat. The fantastic video features Lewis playing guitar and stomping his feet all over London, with his little daughter making a few appearances.

“Whistleblower” delivers more foot-stomping goodness and bluesy guitars, with powerful lyrics urging us to rise up and speak out against tyranny:

Would you talk would you tell it all
Would you face the nation and be the whistleblower
When dirt hits the fan there’s a place and a time for you to rise
There’s no rest for the wicked and the whistleblower

The bluesy gospel-sounding “Sinner” serves up some tasty distorted guitar work, while “Don’t Care if You Don’t Mind” is a pleasing, romantic folk ballad. Closing out the album is “Bring Down Heaven,” a powerful five-minute-long anthem. Lewis employs all kinds of instrumentation – piano, shredded and screaming guitars, heavy bass, synths, and aggressive percussion, not to mention the sound of a thundershower – creating a melodically complex hard rock song with a gospel vibe. That takes some skill, something he has in abundance.

Grief Harbour is a brilliant, meticulously-crafted album, and one that Lewis should be very proud of. His heavy, blues-infused style of rock is among the finest I’ve heard, and a testament to his incredible musicianship.

Connect with Philip: Website / Facebook / Twitter / Instagram
Stream his music: Spotify / YouTube / Google Play
Purchase:  iTunes / Amazon / Deezer

JOHN PAGANO BAND – Album Review: “One More Round”

On By EclecticMusicLoverIn Reviews3 Comments

One More Round Cover

Though I sometimes feel overwhelmed by all the requests I get from artists and bands wanting me to review or feature their music on this blog, it’s always a treat discovering loads of great new music. Such was the case when I was contacted by Tony Hossri, bassist for The John Pagano Band, about their new album One More Round. The album dropped August 1, and I love it! Every single track is fantastic, and I’ve had it on replay the last several days.

Based in Atlanta, Georgia, The John Pagano Band consists of front man John Pagano on guitar and lead vocals, Tony Hossri on bass and backing vocals, and Shiloh Bloodworth on drums. All are accomplished musicians who excel at playing an exciting blues-infused style of rock that’s soulful, seductive and addictive.

First a bit of background on the band. Pagano, originally from New York, formed a band JPBlues in 2008 while still in his teens, along with bassist John Young and drummer Pat Adkins. They recorded two albums Die Happy and I Will Not Go Quietly. In 2011, John left New York for Georgia, where he met Bloodworth, and in 2013 they were hired to back Australian artist Anni Piper on her first US tour. They reformed JPBlues, and set out to record their first album Make Room at the Table, but had problems finding a compatible bassist until Hossri came to the rescue. He proved to be a perfect fit for the band, and their lineup was now complete. They finished the album, and set out on a tour of the East Coast. In 2015, they released Live at Darwin’s.

More recently, wanting to expand their sound, they changed their name from JPBlues to The John Pagano Band. In an interview with Making a Scene!, which you can read here, Pagano said the new band name “better reflects our music and direction, and does not restrict us to a single genre fan base.” One More Round represents that new direction, which retains their signature blues roots while incorporating more rock’n’roll, pop and even a bit of funk into the mix.

John Pagano Band performing
Photo by Michael Valentine

OK, let’s dive into One More Round and see what’s so great about it. The guys get right down to business with the rousing “Bottoms Up,” an infectious country-rock song about just saying ‘fuck it all’ to your problems and going out, getting drunk and having fun with friends who have your back.

Been a long day. Keep my mind awake
But I’m going out now, gonna lose this frown
I’m gonna get drunk somehow
Gonna visit my friends, call them Jack and Jim
Well they listen real good when I’m in a bad mood
And make me forget what I knew
And bottoms up, I ain’t hit the floor
Fill ‘er up, I want more, more, more

The official video they made for “Bottoms Up” is great, and a lot of fun to watch. I always like seeing a band play their songs, and this video of a terrific Balcony TV live performance of the same song in Atlanta really captures the guys’ energy and charisma. Pagano deftly works his slide guitar, while Hossri – curly hair flying – is a wildman on bass, and Bloodworth drives the powerful beat home with a muscular attack of his drums. How can you not love these guys after seeing this performance?

They turn up the blues on the next several tracks, where their incredible musicianship is on full display. The soulful “Lost In You” features some terrific riffs, and “Trouble in Heels” is pure bliss. This sexy rock’n’roll track aims straight for the hips, leaving you no choice but to get up and dance. Pagano seduces with his lusty vocals, and his guitar solo in the bridge is so damn good. The sultry “Ain’t Mine” is wonderful too. Pagano pleads for relief from a woman he can’t have who’s cast a spell over him: “Baby please, baby please got a hold on me. I said oh no, oh no here comes trouble. Let’s go. You ain’t mine, no no.”

“Rise Up” has a bit of a gospel quality, with gritty, bluesy guitars and humming bass. Speaking of which, Hossri injects some funk into his bass on the superb “Ain’t Gonna Lose You,” the first single and one of my favorites from One More Round. With his soulful vocals, Pagano sings about having to leave town, but promising to return to his woman and take her away. “Gonna take you one day away from here. I ain’t gonna lose you yet.” Great guitar work, great vocals, great song.

The guys keep delivering the blues with “99 Problems,” a reworking of an older song from the JPBlues repertoire that was featured on Live at Darwin’s. It’s one of their most popular songs, and it’s clear why because it’s freaking awesome. Nearly six minutes of bluesy rock heaven set to a captivating beat. Pagano’s jaw-dropping guitar work, Hossri’s buzzing bass, and Bloodworth’s nimble percussion are all perfection.

They show their tender side on “On My Mind,” a lovely but bittersweet song about missing someone after a break-up and hoping they’re thinking about you too. The track starts off like a gentle ballad, then gradually builds in emotional intensity, and really showcases Pagano’s incredible vocal abilities.

But don’t get too relaxed, ’cause the guys dial it all the way up with the sexy “Make You Shout.” It’s an exuberant, bluesy foot-stomping gem, with a powerful driving beat that not only makes you shout, it also forces you to get moving. It’s another one of my favorites, and I’d love to see them play this on stage. They keep the high energy flowing with the hard-hitting rock’n’roll tracks “Bad Habit” and “Catch That Train.” The guitar riffs are killer, and the bass and percussion on-point. And, as always, Pagano’s powerful vocals are phenomenal.

The John Pagano Band have created an outstanding, perfectly-crafted album that’s one of the best I’ve heard this year. As I stated at the beginning, every track is superb, with no filler or throw-away songs, making for a really pleasurable listening experience.

Connect with the John Pagano Band: Website / Facebook / Twitter / Instagram

Stream their music: Spotify / Soundcloud / Reverbnation

Purchase:  iTunes / Amazon

RADIO GALAKSY – Album Review: “Free Ride”

On By EclecticMusicLoverIn Reviews3 Comments

Free Ride

Radio Galaksy is a music collaborative originally founded by Danish composer, drummer and producer Søren Jensen in 2015. Jensen calls Radio Galaksy a “music constellation,” and after listening to their album Free Ride I would say that’s a perfect descriptor. As he explains: “Based on themes such as outer space, coincidences, film scores, time, and everyday life, the album Free Ride places itself as a concept album that allows things to happen just when they do.” The album was released at the end of November 2016.

Soren Jensen
Søren Jensen

Inspired by classic acts such as Pink Floyd, Bill Frisell, Kraftwerk, Ennio Morricone, Ry Cooder and Air, Radio Galaksy skillfully combines elements of alternative rock, jazz, blues, funk, reggae and electronica to create a distinctive and captivating sound. Jensen composed all six tracks in his own music lab, then enlisted the talents of several accomplished musicians, including bassist Viktor Krauss (who’s also played bass for Bill Frisell), guitarist Aske Jacoby, and keyboardist Christoffer Jespersen. Guest appearances were made by Jakob Dahn and Sara Broberg on vocals, Lis Wessberg on the trombone, Mikkel Schnettler on percussion and Dennis Flacheberg on guitar. Additional recordings were made by Marcus Toft at Moremax Studios.

Viktor Krauss
Viktor Krauss

Aske Jacoby
Aske Jacoby

Christoffer Jespersen
Christoffer Jespersen

Jazz and blues influences are strong on album opener “The Lottery.” With Jensen’s crisp, gentle percussion keeping time, Jacoby creates a sultry mood with his nimble, bluesy guitar work as he playfully flirts with the sublime tones of Jespersen’s keyboard and organ. Quirky jungle sounds employed in the bridge add a touch of mystery to the track.

The melodically complex “Elephant Swing” is a gorgeous composition, and one of my favorite tracks. While continuing with a jazzy theme, the track starts out with a strong hypnotic tempo that almost gives it an R&B feel, but with Jespersen’s lovely keyboards delivering an ethereal soundscape to the proceedings. Funky guitars float above a subtle bass line as all the elements come together to create an exceptionally pleasing sound. Spacey keyboards added later in the track create an otherworldly vibe, punctuated by funky, swirling guitar as the hypnotic beat continues.

The track immediately segues into “The Bike,” a languid, nine-minute-long track that feels like an extended chill jam session. Wessberg’s seductive trombone has a starring role here, complemented by perfectly executed instrumentals. As always, the guitar work is outstanding, as are the percussion, keyboards and bass.

Radio Galaksy channels Ennio Morricone (the famed and prolific composer of scores of film soundtracks such as The Good, the Bad and the Ugly, Cinema Paradiso and The Untouchables) on “Pangæa.” Named after the super continent from half a billion years ago, the track features a subtle reggae rhythm injected into a mellow beat, replete with beguiling piano keys, peppy organ and electric guitar strums in the deeper chords. The result is a mesmerizing tune that carries you away to another time and space – to Pangæa perhaps?

“Alone on Planet Earth” conjures up images of intergalactic travel with a mystical soundscape of dreamy keyboards, gentle percussion and a rather melancholy trombone. A layered mix of delicate and gritty guitar riffs add a discordant complexity to the track, as echoed spoken male and female vocals, provided by Jakob Dahn and Sara Broberg, add an extraterrestrial aura to the track: “You threw away the garbage from your past. You pack your bags, the darkness in your eyes expanded, and filled it with something vast. You wish that I would come along. I let go of gravity and second sons. And I don’t wanna run.”

The guys get deep into their groove on the fun and funky album closer “The Lottery Appendix.” The intricate guitar work is freaking amazing, nicely melding with the jazzy keyboards and deft percussion to create an infectious track that’s just too cool for words. Radio Galaksy are phenomenal musicians, and with Free Ride have crafted a brilliant album that keeps getting better with every listen.

To learn more about Radio Galaksy, check out their Website and follow on Facebook & Twitter

Stream their music:  Spotify / Soundcloud

Purchase it on iTunes

YOU’RE AMONG FRIENDS – Album Review: “As We Watch the Years Go…”

On By EclecticMusicLoverIn Reviews3 Comments

Cleveland, Ohio band You’re Among Friends wants their fans – and everyone else for that matter – to feel welcome and comfortable when hearing their music or watching them perform. Comprised of Anthony Doran (lead vocals and guitars), Kevin Trask (bass, keyboards and backing vocals) and Chris Szuch (drums), You’re Among Friends play a laid-back style of funky, blues-infused folk rock that just makes you feel good while being entertained.

You're Among Friends

You’re Among Friends was born in 2007 when Anthony and Kevin, who’d both played in another band, rechristened it with the new name and began reworking songs from the previous band’s repertoire, all of which had been written by Anthony. When I asked him about how they came up with their band name, he explained:

“Kevin was the one who first suggested ‘You’re Among Friends’ while we were kicking around some ideas for a band name.  Around the time we started playing together, Kevin had a roommate who played guitar in a band called ‘Wisconsin.’  At one point, [the state of] Wisconsin was using ‘You’re Among Friends’ as a tourism slogan on their bumper stickers and stuff.  So I guess Kevin’s initial idea for our band name was meant to be a subtle nod to his roommate’s band, but I think it was us wanting to be welcoming to listeners and fans that ultimately won me over.“

The band’s had five drummers over the past ten years, and Anthony and Kevin have been through many life changes during that time period as well.  Anthony described the bonds that have kept them together as a band:

“Kevin and I have been through a lot together over the years.  We’ve watched each other get married, start careers, buy houses, have children, etc.  Sadly, we also both had younger brothers who passed away suddenly and unexpectedly.  Over the decade that this band has been around, Kevin and I have gone from being carefree kids in our early twenties to being in our thirties with all sorts of adult concerns, regrets and responsibilities.  Oddly enough, we seem more committed than ever to our friendship and making this band work.

Our outlook on playing in this band has changed drastically over the years.  We used to take a lot of things very seriously and get all bent out of shape when things didn’t work out exactly the way we planned it.  We’ve learned to take it easy and go with the flow, especially when the situation at hand is out of our control.  We appreciate all of the opportunities that come our way to be able to share our music with people.  We also just thoroughly enjoy playing together.  Some groups of guys go bowling or go to ball games together. We go out, drink a few beers and play our songs for people.  This isn’t a bad way to hang out with your friends if you can pull it off.  Sometimes we even get paid for it!”

Based on the kindness and gratitude Anthony has shown me in our conversations by email, I would definitely like to hang out with him and the band over a few beers.

You’re Among Friends released their debut self-titled album in 2007, a solid effort featuring 11 songs. They followed a year later with a six-track EP In Due Time, then dropped a double-sided single Enjoy Life & Half a Thought in 2010.  You can check out these earlier releases on Spotify or Bandcamp.  The band took a hiatus in the early 2010s and didn’t play for four years. As Doran explained to Scene Magazine: “There wasn’t a falling out; it just happened. We started to have kids and had a lot going on at that time.”

Kevin & Anthony

Once they reconnected in 2015, they began working on a new album As We Watch the Years Go…  Seven of the ten songs on the album had previously been written by Anthony and three – “A Way to Get Away,” “Calling Anyone” and “Dreaming of the Past” – were co-written by Anthony and Kevin. As evidenced by its title, the album explores life and the passage of time, and how it’s affected friendships, relationships, and the band itself. Anthony stated that “being able to record those songs for this album in 2016 seemed like we were finally wrapping up unfinished business.” The album’s cover – a photo of a baseball field – is a tribute to their brothers, who both liked the sport, and the album is dedicated to them.

As We Watch the Years Go… was released at the end of July 2016. The band’s previous drummer Adrian Higgins played drums on all the album tracks. Chris Szuch joined the band as the new drummer in July 2016, just in time to play his first show at the band’s CD release party.  The band’s music features nimble guitar riffs, anchored by sturdy bass lines and just the right amount of percussion to keep everything moving along smoothly. I hear touches of Steely Dan, Elvis Costello and The Grateful Dead in their sound, and Anthony’s vocals really channel Randy Newman at times.

The album kicks off with “Years Go,” which serves as the title track and really sets the tone for the album. Lively guitar riffs, accompanied by a bluesy bass line and gentle percussion, make for a mellow rock and roll song. The lyrics are upbeat yet nostalgic, addressing the inevitable passage of time that seems to move ever faster as we age:  “Remember when we were younger, and the summer seemed to last for years. Now the years are passing, summer moves so fast now. All those days disappear. June turns into July, July turns into August. Soon there is the fall, as pumpkins go to harvest. Then comes the snow, where did the year go? Now I’m an age I never thought I would be. It’s not so bad growing older, because you’re here with me.“

Kevin’s funky bass has a starring role on “Any Day Now,” a song about staying optimistic in the face of life’s adversities, both big and small. Anthony lays down some tasty riffs on this track. Being an irresponsible, immature screw-up is the theme of “Building Bridges to Burn,” while “Dumb Complaints” is an honest admission of a chronic whiner (a song I can identify with, being a whiny-ass complainer myself). Anthony plaintively sings: “I can hear you loud and clear babe, you’re sick of all my complaints./ I complain no matter what’s going on. Reach for the moment, and it’s gone. ‘Cause I wasted it on dumb complaints.”

One of my favorite tracks is the funky “A Way to Get Away,” an ode to the preference for personal freedom rather than romantic entanglements. “Sneak attack, you’re trying to back me against the wall. You got me under siege, but you’ll never get to watch me fall./ I need a way to get away. I’m looking for a way to get away.’ The terrific distorted guitar solo at the end of the song is pure ear candy.

The guys play the blues on “Sour Grapes,” with some nifty Southern blues-rock guitar riffs over Kevin’s buzzing bass line. And the intricate, layered guitar work on “Calling Anyone” is awesome.

Another of my favorite tracks is “Dreaming of the Past,” a melodic ballad that’s a bit of a departure in sound for the guys. The song begins with lovely synth chords that continue throughout the song, overlain by Anthony’s skillful handling of his guitar, proving without a doubt that he’s quite the axeman.

The album closer “Rope” speaks to ridding your life of toxic people who’ve used you and brought you down.  “Give them enough rope, maybe they’ll hang themselves. You won’t have to blame yourself anymore. Don’t make another excuse for the way you’ve been used, by all of your so-called friends.” I really like the jangly strummed guitars on this track. But then, I love the guitar and bass on all their songs!

As We Watch the Years Go… is a fun and mellow album that makes you think a little bit about life in all its craziness as you’re enjoying the music.

Follow You’re Among Friends: Website/Blog /  Facebook /  Twitter

Stream their music:  Spotify /  Napster /  Google Play /  YouTube

Purhase it:   Bandcamp /  iTunes /  Amazon

Song Review: THE OCCASIONAL ANGELS – “It’s Only Love”

On By EclecticMusicLoverIn Reviews2 Comments

Before leaving Ottawa, Canada behind, where I just featured The Elegant Devils, I must make a second visit with The Occasional Angels, whose amazing single “Fool For Love” I reviewed last month (which you can read here). The trio, consisting of David Hart, Scott Paterson and vocalist Cris Ruggiero, have dropped a new single “It’s Only Love,” and it’s another fantastic tune. The song was written by Hart and arranged, mixed and produced by Paterson, who also plays all instruments.

Occasional Angels2

Though slower in tempo than “Fool For Love,” it’s even more soulful, and Ruggiero’s bluesy vocals shine once again. “It’s Only Love” evokes images of dancing at a quiet little piano bar like the one imagined in the beautiful video, or spending a romantic evening by the fire with a loved one. Paterson’s lovely piano, gentle percussion and guitar set a warm instrumental backdrop for Ruggiero’s sultry, beguiling vocals. Even though I adore rock music (the harder the better), it’s also incredibly heartening for a middle-aged guy like me to hear great new music like this being made today. Check it out:

Check out their website, and connect with them on  Twitter and  Facebook.

Purchase their music at  https://theoccasionalangels.bandzoogle.com/music.