A long-time favorite artist of mine is The Frontier, the music project of singer-songwriter and multi-instrumentalist Jake Mimikos. Based in northern Virginia, he’s an enormously talented and gracious guy with a sense of humor to match, and I’m quite fond of him both as an artist and human. Skillfully blending elements of folk, pop, indie rock and electronica, his music is incredibly melodic, flawlessly crafted and always catchy, without sounding overly pop or formula. He produces and records all aspects of his music in his home studio. As with many singer-songwriters, Jake’s songs are often inspired by personal experiences, touching on relatable topics like love, relationships and loss, which are expressed through lyrics that are honest and straightforward, and delivered with his warm, pleasing vocals.
The Frontier has released an impressive amount of music since 2015, including several recent remixes of his songs by other artists, and I’ve written about him numerous times on this blog since 2016. This review constitutes the 10th. (You can find a few of those reviews under the ‘Related’ links at the end of this post.) I’ve loved all his songs, and four of them – “Dark Places” (2019), “Can We Go Back” (2021), “Closer” (2022) and “Walk Through the Fire” (2023) – have gone all the way to #1 on my Weekly Top 30 chart, while “Sleep” (2020) reached #2. Now he’s back with his latest single “Like You Do“, delivering more of the catchy and melodic goodness we’ve come to love and expect from him.
The song opens with a throbbing synth line accompanied by a gentle drumbeat as Jake begins to sing. Soon, the music expands with a mix of acoustic and electric guitars, colorful layered synths and skittering programmed drumbeats, creating a lush backdrop for Jake’s heartfelt vocals. One of the things I like about his songs is how they sound better and better with repeated listens. As I’ve noted in previous reviews, The Frontier is quite adept at programming synths to create captivating soundscapes that quickly draw us in, then hold us in rapt attention all the way to the finish. With “Like You Do”, a careful listen reveals so many wonderful instrumental textures, like the beautiful acoustic and jangly guitar notes, fuzzy bassline, and complex synths that sound haunting in spots, and almost cinematic in others.
The bittersweet lyrics are directed toward a former romantic partner who the singer desperately longs for, and wishes would come back into his life. Jake has a terrific singing voice, along with a talent for reaching deep in his core to summon a well of emotions that come to the surface with an honest and sincere vulnerability in an expression of heartache and anguish that tugs at our heartstrings.
Feels like I'm running out of time Can't get this feeling off my mind I still see you in my dreams Wonder if you ever dream of me I just want you in my life Want it to be right Figured out who's worth the light Figured out who's worth the fight
Every song sounds the same, every road leads to waste The stars, they don't shine without you All the heartache I felt, all the doubt in myself Nothing takes that away like you do Yeah, nothing takes that away like you do
Feels like there's something in the way Maybe it was something that I didn't have to say I always thought that I would change Who am I to tell you what to think of me anyway? I just want you in my life Want it to be right Figured out who's worth the light Figured out who's worth the fight
Every song sounds the same, every road leads to waste The stars, they don't shine without you All the heartache I felt, all the doubt in myself Nothing takes that away like you do Yeah, nothing takes that away like you do
If the moment is gone, we can find a way to hold on Every song sounds the same, every road leads to waste The stars, they don't shine without you All the heartache I felt, all the doubt in myself Nothing takes that away like you do Yeah, nothing takes that away like you do
Today I’m pleased to present American singer-songwriter and actress Jill Jones, who’s had a storied and challenging life and career. Born in Ohio, she relocated in her early teens to Los Angeles with her mother, who married Fuller Gordy, the brother of Motown head Berry Gordy. Her mother came to manage soul/R&B singer-songwriter Teena Marie, who was signed with Motown Records at the time. When Jill was 15, Teena asked if she’d be interested in singing backing vocals for her, which led Jill to begin her professional career as a backup singer. Three years later, in 1980 when she was 18, Jill met Prince when Teena became the opening act for his Dirty Mind Tour.
Prince loved her voice, and eventually asked her to become one of his backup singers. He invited Jill to the Sunset Sound recording studios in 1982 to sing backing vocals for several tracks on his album 1999, where she was credited under just her initials J.J. She also was featured in the music videos for “1999” and “Little Red Corvette”, then joined the tour for 1999 as a backup singer with Prince’s side project Vanity 6. After the tour, she moved to Minneapolis and became Prince’s on-and-off again girlfriend. He even wrote about her in a song “She’s Always in My Hair”, the B-side of his 1985 single “Raspberry Beret”. From 1983 to 1987, she recorded backing vocals for Prince-produced albums by Sheila E., The Time, Apollonia 6 and Mazarati. (Wikipedia) Jill also had a bit part as a waitress in the 1984 film Purple Rain, as well as in the 1990 sequel Graffiti Bridge.
In 1987, Jill released her debut self-titled album Jill Jones via Prince’s Paisley Park Records label, featuring songs written by Prince. The lead single “Mia Bocca” became a top 10 hit in Italy, and though the album received positive reviews from critics and was generally well-received in Europe, it was not a commercial success in America. In early 1989, she went to London to record demos for what was to be her second solo album on Prince’s Paisley Park label, but she and Prince disagreed on the direction of the album, and it was eventually shelved. By that time, their relationship had deteriorated; in recent interviews, Jill has stated that Prince had suggested she get a boob job and plastic surgery to make herself look more like Danish actress Brigitte Nielsen, which needless to say, really pissed her off.
Though she remained under contract with Paisley Park Records until April 1993, Jill worked on other projects with such artists as Ryuichi Sakamoto, Ronny Jordan, Todd Terry, Chic and Sinead O’Connor. She later released more solo material under her own name, including two more albums, Two (with musician Chris Bruce) in 2001 and I AM in 2016.
Fast forward to the present where Jill, along with the help of Scottish musician Neil Billinness, have resurrected those demos recorded back in 1989 and bundled them into her fourth and latest album The London Sessions, released on April 15th via Neil’s NERO record label. While Jill had long wanted to get her long-lost songs out into the world, it wasn’t until Neil contacted a friend of his in London who happened to be working in the studio where Jill recorded her demos, and managed to procure a cassette of the tracks. He says “This is an absolute passion project for me, and a dream come true to be making this project happen.”
For her part, Jill had a lot to say about the project: “Releasing old demos from nearly 35 years ago has been a poignant journey into the past for myself. Its a reflection on the evolution of my artistic identity. These unreleased recordings capture a pivotal moment in my life and career, showcasing the determination to carve out a distinct persona separate from the influences of collaborators like Prince. The music from this era serves as a time capsule, offering a glimpse into my musical headspace at that time, my creative process, and the emotional landscape that fueled the work.
These demos are a unique and intimate manifestation of Chris Bruce and I’s initial sketches of my musical vision for my second album on Paisley Park Records. In our collaborations, the process of crafting these demos took on a special significance. Chris’s impact on our collaborative work cannot be overstated. His dedication to the craft, coupled with a humility that is rare in the spotlight-driven music world, is a testament to his character and the depth of his artistry. Together, we forged a musical partnership that goes beyond the surface, creating songs that resonate with a profound honesty and authenticity. Chris’s influence is woven into the very fabric of our compositions, making him an integral part of the creative alchemy that defines our collaborative efforts.
After a fire in my home, my manager Roger Davies flew me to London and arranged for several musicians to work on production for the demos Chris and I had created in California. One notable departure from the Prince-produced sound is evident in tracks like “White Dogs,” a song that bears the weight of a personal and harrowing experience. The haunting melody and gothic undertones encapsulate the pain and anguish I felt when returning home to the aftermath of a devastating fire. The ruins and ash served as a stark backdrop to the heart-wrenching discovery of my beloved white dogs amidst the rubble. This traumatic event became the catalyst for a new artistic direction, as these demos (The London Sessions) came on the heels of this crushing experience.
I am providing a musical journey but also a narrative of resilience, independence and transformation. It’s an exploration of my attempt to navigate through personal tragedy and channel those emotions into a distinctive and evocative sound. As listeners delve into these archival recordings, I hope to give the listener a unique opportunity to connect with me on a deeper level, to take the listener back to the genesis of a musical rebirth born from the ashes of personal devastation.
Neil has been an unwavering pillar of support throughout my career, a steadfast ally who played a pivotal role in breathing life back into my stalled artistic journey. His unyielding belief in my work and his ability to see beyond the shadows that surrounded me were instrumental in revitalizing my creative spirit. In moments when the industry had cast doubt on my potential, Neil emerged as a beacon of light, offering encouragement and unwavering support.
The depth of Neil’s support became particularly evident when he spearheaded the resurrection of the London Sessions. Understanding the struggles and challenges that had plagued my career, he took it upon himself to champion this project, infusing it with renewed energy and purpose. His dedication to bringing my music to a wider audience and his commitment to revitalizing my artistic voice were nothing short of transformative.
There have been times in my journey where music, once a steadfast companion, felt like the ultimate betrayer. The music business, with its intricacies and demands, has a way of testing one’s resolve, and I discovered, perhaps painfully, that I just didn’t have the stomach for it. The industry’s pressures, the compromises demanded, and the constant struggle for visibility often left me feeling disillusioned and disheartened.
Music, the creative process, once a sacred space where emotions and melodies intertwined, became overshadowed by the harsh realities of the business side. The paradox between artistry and industry created a dissonance that echoed through my soul, leaving me questioning my place in a world that seemed more focused on charts and sales than the emotional resonance of the music itself.
Discovering that I didn’t have the stomach for the music business was a profound realization, one that forced me to reevaluate my relationship with my craft. Ultimately, I had to acknowledge that my passion for creating music could not surpass my intolerance for the industry’s pitfalls and people I simply couldn’t stand. In this realization, there was a sense of liberation, a reclaiming of the authentic essence of my artistry without the burden of conforming to external expectations. Neil helped me to have a bit of fun again, without the burden of recording labels, jesters, sycophants and strawmen.”
OK, let’s get to the album. It opens with “Unattainable Love“, a sleek, joyously upbeat dance-pop song that would feel at home on Janet Jackson’s Rhythm Nation 1814. The lyrics speak to Jill’s penchant for becoming romantically involved with guys who were exciting but not right for her, or else couldn’t commit to a long-term relationship (been there, done that!): “Oh, you and I are the same kind. We run from those who try to tame the fires. It’s either hit or miss, I find it hard to remiss. Unattainable love.”
On the more introspective “Living Legend“, Jill touches on how the desire for fame drives a lot of people – in her case she’s referring to the music industry, but it also applies to other areas of the arts, sports, business and politics – to do things that aren’t always so savory or admirable, not to mention also being shallow and phony. “I want to live forever. I want to be a living legend. You know what that means.” The song has a cool, almost jazzy vibe with even a touch of progressive that makes for an intriguing listen, and Jill’s colorful vocals remind me a lot of Teena Marie’s here, as well as on some other tracks – a good thing, as I loved the late artist.
“Long Time” touches on the disappointment she felt when discovering that men she cared deeply for didn’t support her in return. Jill said in an interview that the song was inspired by Joni Mitchell’s song “Man To Man”. Over a head-bopping yet breezy synth bass groove, she croons “Ooh I tried to keep this love alive, but you treat me like a fan./ I need to find a man who understands my body.”
The dark and sonically fascinating “White Dogs” helped Jill come to terms with the heartache of losing her two beloved dogs in the house fire, and in a sense represented the end of her Prince era. The song has a more rock-oriented/techno vibe evocative of some of the great songs of the 1980s, with mysterious industrial synths, edgy psychedelia-tinged guitars and sharp percussion. Like the heavier instrumentation, her soulful vocals here are fantastic, packed with a raw, unbridled passion that elicits chills as she sings “Suicide or survival, I’m alone either way./ Oh I turn my back, and now you’re gone away. Some said I loved you too much. I guess I did.”
The influence of both Prince and Teena Marie can be heard on the lighthearted and funky “Some of Us“. I love the lively, skittering dance beat, super funky guitars and spirited piano keys, accompanied by Jill’s sassy vocals as she playfully croons “When kitty wants to roam, there’s no control. It’s irresistible.” “Red” is a solid rocker, featuring an aggressive stomping beat overlain with swirling orchestral synths and resonant guitar notes that I can’t properly describe, given my almost total lack of musical knowledge, other than to say they’re great. Jill says the lyrics speak to working through life’s challenges, and navigating the many minefields of the music industry and the duplicitous people in it: “Don’t know how much more can be tolerated. The threshold of pain has gotten to the limit. Why can’t you taste the venom on my tongue?/Red’s the color that I feel.”
Things end on an upbeat note with the delightful ear worm “Tango“. The song has a joyous Prince feel, with twinkling synths, jaunty guitars and exuberant horns layered over a sensual and funky bass groove. Jill’s lilting vocals are sexy and playful as she sings “Thought I heard a tango in the restaurant, baby. It was my favorite song. When we met the atmosphere was sexy, baby. Knew it wouldn’t be too long.” I think it just might be my favorite track on The London Sessions.
It’s a shame these songs haven’t seen the light of day until now, but as the old saw goes, better late than never. Thank you Neil and Jill for finally bringing them to life for our enjoyment, as The London Sessions delivers 25 minutes of auditory bliss.
It’s always a happy day when my favorite Welsh songstress Caitlin Lavagna returns with a new song to grace our eardrums, and today I’m pleased to share her electrifying new single “Gold“. Her fifth in an unbroken streak of outstanding singles that began in 2021 with her wonderful debut “How Not To Start A Fight”, “Gold” speaks to, in her own words, “Changing the narrative, owning your feelings, being brutal and upfront, not taking yourself seriously and not catching feelings.”
I adore Caitlin’s vibrant and sophisticated vocal style and honest, relatable lyrics drawn from personal experiences and heartache, and have liked every one of her songs. In addition to “How Not To Start A Fight”, I’ve also reviewed “Night Bus” and “We Lost Track” (You can read those reviews by clicking on the ‘Related’ links at the end of this post.) Both “How Not To Start A Fight” and “Night Bus” appeared on my personal Top 30 chart, the latter spending 20 weeks and peaking at #2, and also finishing at #28 on my 100 Best Songs of 2023 list.
Photo by Akta Photography
Born and raised in the picturesque Rhondda Valley of South Wales with familial roots in Gibraltar, the multi-talented and lovely singer-songwriter, musician and actress has had a life-long love for music and the arts, with a special passion for percussion and drums, as well as singing and dancing. Her music and vocal styles are heavily influenced by some of her favorite artists like Sting, Biffy Clyro, Stevie Nicks, Florence Welch, P!nk and Adele.
In addition to writing and recording music, Caitlin is also an accomplished actress who’s performed in numerous stage musicals. Over the past year, she’s performed in the Rock and Roll Panto at Theatr Clwyd in North Wales, was invited to sing on Radio Gibraltar, and nominated for Best Female Artist at the Radio Wigwam Awards in London. She also performed in Turning The Wheel, a new musical by Kieran Bailey, and will be starring in the UK tour of Operation Julie, a prog rock psychedelic musical set in the 1970s and based on the biggest LSD drug raid in British history.
“Gold” was co-written by Caitlin and Otto Aday, and produced by Joe Rodwell. Though she often plays drums on her songs, for “Gold” they were played by Harry Ariyoshi-Pope. Caitlin recently shared her thoughts behind the song on Instagram: “This is my fifth single I have released as a solo artist. I wanted it to represent changing the narrative from being heartbroken to making a decision not to catch feelings in the first place. It’s sassy, quirky, fun and powerful. Beneath that though, it’s about being confident in making decisions for yourself and being honest about them. I added some Spanish into this track to honour my Gibraltarian roots. The phrase means ‘Life is simple, don’t complicate it’ and I think that’s a message I am taking into my life and therefore songwriting. I’m extremely proud and excited by this track and hope listeners can bop along and look forward to the many other tracks I have planned for release this year.“
While the song could be generally classified as pop, the brilliant arrangement features exuberant funk, jazz and trip-hop elements that make for a thrilling listen. I really love those wobbly, funked-up guitar notes and Ariyoshi-Pope’s spirited drumming. With her winning combination of colorful theatricality and powerhouse vocals, Caitlin lets loose with a bold and brassy delivery that occupies a sweet spot between sultry and playful, exuding a strong sense of unrestrained confidence as she sings “Gold that tastes like silver on my tongue. When all is said and done, this is only fun.” “Gold” ends with a self-satisfied laugh from Caitlin, leaving us utterly satisfied and more.
Sam Rappaport is a talented and affable singer-songwriter and musician who was born and raised in Los Angeles and now living in the Bushwick neighborhood of Brooklyn, New York. (He’s also a terrific writer, and you can read some of his work here.) He began his music career in earnest as keyboardist and backing vocalist of indie pop-rock band Gooseberry, but in early 2021, he released his first single “Till the Morning Comes” as a solo artist. He amicably left Gooseberry in May 2022 to focus on his solo career, and has since released a number of outstanding singles, as well as his debut EP Get Me Away From Myself, in November 2022.
Sam’s mellow, understated music style draws from elements of adult contemporary pop, folk, rock, soul and jazz, and features thoughtful, relatable lyrics delivered by his smooth, pleasing vocals. I’m a big fan of his, and have previously featured him twice on this blog, first in November 2021 when I reviewed his wonderful single “Journeyman’s Ballet”, then in August 2022 when I reviewed “Easy to Love”. Thus far, two of his songs – “Journeyman’s Ballet” and “Dance for Me” – have appeared on my Weekly Top 30, with the latter ranking #68 on my 100 Best Songs of 2023 list.
Now he returns with a beautiful new single “Bicycle Away“, his first new music in over a year. The song was produced and engineered by his frequent collaborator Lorenzo Wolff, mixed by Rocky Gallo and mastered by Mike Kalajian. For the track’s recording, Sam played Wurlitzer electronic piano and sang vocals, Alwyn Robinson played drums, Spencer Zahn played bass, Mike Haldeman played guitar, Jake Sherman played keyboards and synths, and Lorenzo handled additional drum programming.
About the song, Sam says “‘Bicycle Away’ traces the volatile seesawing of a relationship struggling to arrive at equilibrium. The song’s narrator acknowledges and laments his need for emotional growth, while yearning for an escape route.” It’s a wonderful song, with hauntingly beautiful instrumentation that gradually builds as the song progresses. I love the clarity and nuance of each instrument, and how beautifully they all come together to create a harmonious and captivating soundscape. The deep but subtle bass, crisp percussion and Sam’s sublime Wurlitzer notes are marvelous, and those wailing guitar notes at the end add just the right amount of drama to the proceedings.
But for me, the song’s highlight is Sam’s warm, comforting vocals, which though low-key still manage to express a deep well of emotion. I love his voice, and could honestly listen to him sing the telephone book!
Let me go Stop chasing, you're way too close I'm breaking I know there's more Cuz I'm empty and I need to grow I know these words sound hollow as I've said them before
Cold water hits my eyelids I remember 17 Wide streets for my escape from being seen
I'll bicycle away I'll race against the sun as it cascades into the sea I'll move beyond today Stay close and promise when I push you away Be honest when you hear that I say I'm broken, tell me I need to grow I know these words are just lines that we've read before
Cold water hits my eyelids I remember 17 Wide streets for my escape from being seen
I'll bicycle away I'll race against the sun as it cascades into the sea I'll bicycle away I'll move beyond today
The arresting video was created by and stars Kathleen Dalton and Sonja Petermann, co-founders of “Molar Movement Projects”, an artist collective rooted in intimate reflection of shared experiences and deep emotional cross-examination. In the past year, Kathleen and Sonja completed residencies with Moulin/Belle in Périgord Vert, France, as well as with Swale NYC on Governors Island, New York. In the video, the two perform an interpretive dance filmed alternately in a spare room and outdoors in woods resplendent with fall foliage, artfully expressing the conflict between emotional connection and estrangement described in the lyrics.
The sweet cover photo for the single is a photo of Sam riding his bike as a toddler.
Connect with Sam on Instagramand learn more about him on his Website
Wild Horse is a talented, hard-working and charismatic indie pop-rock trio based in East Sussex, England, and comprised of brothers Henry and Jack Baldwin and Ed Barnes, their long-time friend since primary school. Now in their early 20s, the guys are seasoned musicians who’ve been writing and recording songs since forming in 2013, when they were barely teenagers. Both Henry and Jack are multi-instrumentalists who play guitar, bass and keyboards, as well as sing vocals, while Ed plays drums and percussion, sings backing vocals and plays guitar on a few tracks.
The Baldwin brothers are also prolific songwriters who’ve penned hundreds of songs over the years, and since 2017, Wild Horse has released five albums, three EPs and scores of singles. On the strength of their music and energetic live performances across England, they’ve built an ever-expanding fan base and garnered praise by music writers (including yours truly) and broadcasters, with their songs being regularly played on numerous FM & internet stations around the world, as well as mainstream radio programs BBC Introducing and BBC Sussex, Surrey & Kent. In June, they were even mentioned during a hearing in the British Parliament on funding to support struggling music venues.
I’ve been following them for over five years, and it’s been a pleasure watching them mature and grow as both musicians and gentlemen. I’ve reviewed two of their albums, DANCE!! Like An Animal, in 2019, and When the Pool Is Occupied, in late 2021, as well as their singles “Bitter” (which spent two months on my weekly top 30 in the fall of 2021) and “Cougar” this past January. Those two songs have been among a string of singles they’ve been dropping at the rate of roughly one every two months beginning in June 2022. Their seventh and latest single is “Do You Wanna Talk“, a song they describe as “a summer anthem about an on-off relationship and all that comes with it.”
Released through Animal Farm Songs, “Do You Wanna Talk” was written by Jack and produced by Mat Leppanen. Over a bouncy, toe-tapping groove, courtesy of Jack’s warm bassline and Ed’s thumping drumbeats, Jack layers beautiful jangly guitars, accompanied by his and Mat’s sparkling keyboard synths. It all serves as a sunny backdrop for Jack’s endearing vocals as he earnestly sings to a romantic partner with whom he has a precarious hot and cold relationship, neither of them wanting to fully commit nor break things off: “I don’t wanna see you no more, but stay by my side. And ooh, I don’t think about you, but my head shines you in a spotlight.Do you wanna talk? Do you wanna talk about it?/ I don’t wanna know, but I can’t stop thinking of it. I think we’re both as bad, we’re going round in circles.”
“Do You Wanna Talk” is another strong link in an unbroken chain of wonderful songs from this talented young band.
Hailing from Copenhagen, Denmark is Thomas Charlie Pedersen, a thoughtful and earnest singer-songwriter and multi-instrumentalist who calls his pleasing style of music “chamber folk”. It’s a fitting description, as his sound is characterized by intricate melodies, understated yet lush arrangements, beautiful instrumentation and comforting vocals.
Thomas has been making music for nearly 20 years (he must have started out when he was 13, as he still looks quite young!), both as a solo artist and as part of alt-rock band Vinyl Floor, which he formed in 2004 along with his brother Daniel and a third member who recently departed. Vinyl Floor has released five albums since 2009, whereas Thomas has released three under his own name, beginning with his debut album Second Hand War in 2016, followed four years later by Daylight Saving Hours. Now he returns with Employees Must Wash Hands, a lovely work featuring 15 tracks. The album is being released by Vinyl Floor’s own label Karmanian Records.
Thomas actually recorded two albums in 2021, this solo record as well as Funhouse Mirror with Vinyl Floor, which was released in September 2022. He explains how Employees Must Wash Hands came to be: “The Covid lockdown situation was a highly creative period for my brother Daniel & I. Alongside the Vinyl Floor tracks, I found I had written 15 more songs but I didn’t exactly know what to do with them. Daniel and I had been working on and off on band demos for quite some time, and when I suddenly was isolating at home I found myself writing even more stuff on my acoustic guitar & piano. I lived with these songs alone for a while, and late at night I could work on the lyrics for hours on end. At one point, our studio time with the band in Sweden got postponed – leaving us with 5 months of practically nothing to do but wait.
To keep ourselves on our toes, we decided to record almost the entire ‘Employees Must Wash Hands’ album and we wrapped up the additional recordings once we got back from band sessions in Sweden. What you have here is the other side of the ‘Funhouse Mirror’ sessions – a quieter and somewhat more introverted and reflective album, but also showcasing a more arranged and ‘band-like’ feel than my previous solo efforts. Some of these songs deal with man’s relationship with God and God ́s relationship with man. Who has abandoned who? And is there any faith or spirituality left? They also deal with isolation, self doubt, and all the other stuff on my mind during the strange time that was Covid lockdown.”
The album, whose title is a cheeky nod to that strange pandemic time, serves up 36 minutes of introspective indie folk-pop goodness. Most of its 15 tracks are less than three minutes long, making for a quick and very enjoyable listen. Thomas’s brother Daniel had a major hand in the album, helping out with everything from arranging the songs to recording, producing & mixing them. He also sang backing vocals and played instruments on most tracks.
It opens with “Yesterdays And Silly Ways“, a pleasant track with a buoyant melody but somewhat darker lyrics about hiding behind an upbeat façade that hides less happy truths: “You tried your best, it was not your fault. Don´t try to delay me, your concrete walls proceed to retain a lonesome feeling. Yesterdays and silly ways.” Keeping with a similar theme, “Oh Whatever” seems to be spoken from God’s perspective to people and their tendency to fall prey to greed and ignorance: “Oh, my children, the sky is painted blue, but all you do is lying and denying every clue. Oh, my lost children, where money and mistrust is king. It´s sad to be the relayer, since I brought you everything.”
On the melodic “Slow Passage” Thomas sings of finding a bit of rejuvenation for his soul: “I might opt for a peaceful retreat or a lone walk in the woods, ‘cause a break from the wilderness will surely do me good“, with a catchy toe-tapping beat and some great guitar noodling.
One of my favorite tracks is “Rains On Saturn“, a beautiful piano-driven song that seems to speak of people who search for something better, while not appreciating what they already have: “You may prevail in your zeal for new horizons, but the sky you had was clear and when it rained, it rained diamonds. Drought for forty days, for golden times you yearn, just like when it rains on Saturn.” I really like the song’s lovely piano melody, accompanied early on by subtle sounds of rockets shooting through the heavens, then later by stirring strings. Thomas’s pleasing vocals are backed by his and Daniel’s enchanting harmonies.
“Coarse Rasp of Yours” is a wonderful folk-pop song of remembrance and affection, with poetic lyrics containing the album title: “Employees must wash hands. It’s weird to feel oppressed by reality. A few emotional feeds, painted infinity. There are only a few things left which I truly still adore, a real blonde and that coarse rasp of yore.”
Several tracks have a strong classical sensibility: “Mass in D Minor” is a somber dirge-like song about being stuck in a state of depression and ennui: “I’ve become a regiment of drugs, booze and cigarettes. My smile’s just a cry in disguise. Life is just a sentiment, a motion of silhouettes. The sun is now a cloud in my eyes.” “Fiddler & the Travesty” is a hauntingly beautiful song with melancholy piano and hopeful strings, and Thomas and Daniel’s lovely harmonies as they lament “Fiddler and the travesty, can’t escape his destiny. Singing his heart out to no one. He must not sing forever.” And as it’s title suggests, “Organ Prayer (in E Flat)” is a church-like hymn with great lyrics calling out sanctimonious posers and phonies: “I´ve had enough of your dense accolades. Choose side or fall flat with the crowd. A prayer must lose some effect when it comes off too proud. Tell your lame friends to go screw themselves.”
One of the sweetest tracks is the poignant “You Can’t Have it Both Ways” a Beatles-esque song with lovely strummed acoustic guitar and a wonderful organ riff, accompanied by the guys’ sublime harmonies. “Sooner Than You Think” has more of a rock feel, with a driving beat and grungy guitars. The lyrics speak of trying to regain trust in a troubled relationship: “Recycled trust, we should aim for something new, but you long for the past and, honestly, I do too. I will gaze at your beauty without a nod or a blink.We may face the truth sooner than you think.”
I like how Thomas builds his songs around a particular instrument. Case in point is the lovely piano melody of “Tremble and Reel“, with what sounds like a recorder adding some nice touches, or “Beach in Vietnam“, a sweet 47-second-long love song consisting of a simple but impactful piano riff, accompanied by his heartfelt vocal. Strummed guitars form the basis of the beguiling love song “Night of Stars“, and the uplifting folk song “Worry Beads“, both of which also feature the guys’ delightful harmonies.
The album closes on a beautiful note with the stirring piano instrumental “Stagnant Pools of Sorrow“. The combination of gorgeous piano and orchestral strings gives the track a classical feel as well. It’s a fine finish to a truly wonderful collection of carefully-crafted songs. So just sit back in a comfortable chair, close your eyes, and let them wash over you.
Since bursting onto the British music scene at the beginning of 2021 with their wonderful debut single “BRB”, pop duo Barbara has built a loyal following with their pleasing retro brand of, in their own words, “soft, syrupy progressive fop pop”. The music project of Henry and John Tydeman, two charming brothers from Brighton and Hove, England, Barbara describes their sound as “a bit of 70s US AM radio, a dash of English music hall, the effortless catchiness of a Broadway musical, a sprinkling of sequined power pop, luscious Disney strings and glorious golden harmonies.” Listening to their feel-good music, I’d say that’s a perfect description I cannot improve upon.
They followed “BRB” with three more singles, including the delightful “Rainy Days in June” (which I reviewed last November), as well as their debut five-track EP Mildly Entertaining this past April. Now they’re back with a terrific new single “Waiting Outside Alone“, which drops today, November 9th. As with their other songs, John and Henry sang vocals, with keyboards played by Henry, guitar by Dean Llewelyn, bass by Jack Hosgood and drums by Lawrie Miller. The song features their signature sunny vibe, with a bouncy, toe-tapping 60s groove fueled by subtle bass, snappy drums, a colorful mix of chiming and gnarly guitars, and cheerful synths, punctuated by some tasty organ notes. But the highlight for me are John and Henry’s beautiful lilting harmonies, which are quite marvelous. I love how well their singing voices complement one another.
In sharp contrast to the song’s carefree, upbeat sound, the thoughtful lyrics touch on a darker, more serious subject. Barbara explains “The lyrics reflect an intense, youthful frustration; ‘Waiting Outside Alone’ both calls out the reactionary elements that have come to dominate British politics, and laments the sidelining of young people from the fractious national debate.” The same can be said about American politics. “Waiting Outside Alone” is song we need today, and I love it.
Everywhere we walk about, we stop to talk about people, and places and things,
It’s all we want to think, kick up a stink about people, that wait in the wings by the side of the stage, in the words on the page of the editorial, the dictatorial view,
Shouldn’t the commentator’s comment be true?
Where did the chancers, dreamers, blue eyed schemers,
Men in suits and window cleaners go?
Ooh, wo, ho, oh, oh
Coz I’m waiting outside alone,
And the rest of the world don’t know,
That it breaks me down, the way those clowns are treating me, keeping me, waiting outside alone
Everywhere she goes she says she’s making this country’s case and staking her well-found reputation on stiff upper lips and soldier songs
Stiff upper lips won’t save the men in suits and badger baiters oh,
Ooh, wo, ho, oh, oh
Coz I’m waiting outside alone,
And the rest of the world don’t know,
That it breaks me down, the way those clowns are treating me, keeping me, waiting outside alone
Coz I’m waiting outside alone,
And the rest of the world don’t know,
That it breaks me down, the way those clowns are treating me, keeping me, waiting outside alone
Do I have to be on my own?
Ooh woo ooh ooh ooh
Ooh, woo ooh ooh
Treating me, keeping me….
Sometimes the most compelling lyrics are born from adversity and pain, which is certainly the case for the beautiful new single “Night Bus” by Welsh singer-songwriter Caitlin Lavagna. Born and raised in the picturesque Rhondda Valley, with strong Gibraltarian roots, the multi-talented and lovely singer-songwriter, musician and actress has had a life-long love for music and the arts, with a special passion for percussion and drums. Her vibrant vocal style is heavily influenced by some of her favorite artists like Sting, Stevie Nicks, Florence Welch, P!nk and Adele.
Photo by Akta Photography
In July 2021, Caitlin released her marvelous debut single “How Not To Start a Fight”, which I reviewed. Now she’s back with her second single “Night Bus”, which is every bit as good. In addition to singing both vocals and backing harmonies, she also played drums and percussion on the track. And from what I was able to gather from her Instagram post about the song, fellow Welsh musician Mark Croft played guitar and bass, Joe Rodwell programmed synths, and Lucas August Mendes produced, engineered and mixed the track.
The song was inspired by her experience of moving to London for the purpose of furthering her music and acting career, and the disappointments and struggles she faced while there. She elaborates: “‘Night Bus” is about being a young creative in a big city with life getting in the way of that creativity. Working 40 hours a week, burning money on everything apart from your career, going around in circles and seeing the worst of a city you thought would give you your big break. As a young Welsh Actor Musician, I experienced this recently when deciding to finally leave London and move home to the Rhondda. It was a difficult time, because after all, everyone says you won’t be successful unless you’re in the City. That was not my experience at all. I was so tired. When I did have time, I would be burnt out from work or supporting other musician and actor friends in shows and gigs I couldn’t really afford to go to. I hope people can relate to this track and that it provides them some comfort and escape. It is both angry and triumphant with a catchy melody and beat!“
I like how the song starts off slowly, with Caitlin’s lovely pensive vocals accompanied by gently-strummed guitar notes and airy synths, then gradually builds into a dramatic sweeping anthem. The sparkling synths, thumping bass and lively guitars are superb, but just as with “How Not To Start a Fight”, the highlight for me are Caitlin’s commanding impassioned vocals, as well as her exuberant galloping drumbeats that give the track such incredible energy and force. It’s a wonderful track.
I’m feeling sad
Sad girl on the train
I feel so bad
It’s coming back again
Come to London City
When you cry you look so pretty
It’s a waste that no one looks at your face
When I close my eyes that’s when I feel like I’m alright
When I’m awake then I get lost in the space
I’m so tired…Fist fights
Laddered tights
Dancing under fairy lights
Thought I was doing fine
Night bus
Reckless
Everybody look at us
But not in the morning light
Woahhh
Eighteen
Daydreams
Circling my bloodstream
The City that swallowed me up
I learn my lines
I turn up to play
I show up on time
Reject me anyway
Come to London City
When you cry you look so pretty
It’s a waste that no one looks at your face
When I close my eyes that’s when I feel like I’m alright
When I’m awake then I get lost in the space I’m so tired…
Fist fights
Laddered tights
Dancing under fairy lights
Thought I was doing fine
Night bus
Reckless
Everybody look at us
But not in the morning light
Woahhh
Eighteen
Daydreams
Circling my bloodstream
The City that swallowed me up Woahhh
(So tired of the City)
Fist fights
Laddered tights
Dancing under fairy lights
Thought I was doing fine
Night bus
Reckless
Everybody look at us
But not in the morning light
(So tired of the city)
Woahhh
Eighteen
Daydreams
Circling my bloodstream
The City that swallowed me up
And I try and I fail and I try and I fail and I try
(Fist fights
Laddered tights
Dancing under fairy lights)
I get up again
And I try and I fail and I try and I fail and I try
(Night bus
Reckless
Everybody look at us)
I get up again
And I try and I fail and I try and I fail and I try
(Woahhh)
In the City that swallowed me up
I continue to be astounded by all the creativity and talent coming out of the British music scene, and one of my favorites (who I’ve been following for several years) is Granfalloon, the music project of Manchester-based singer-songwriter, producer and guitarist Richard Lomax. Using acoustic guitars, synthesizers and drum loops, along with unusual instruments such as vintage Omnichords, the engaging, curly-haired artist creates his own unique style of music that’s a pleasing hybrid of lo-fi alternative folk, experimental and electronica. His songs are enchanting little stories touching on the many idiosyncrasies of everyday life, but with a dollop of quirky surrealism to keep them fun. And his warm, soothing vocals, delivered with a lighthearted cheekiness and charming accent, are so wonderful I would literally enjoy hearing him sing the telephone book. Simply put, his songs make me feel happy.
Since forming Granfalloon in late 2016, Lomax has released a fairly steady stream of singles and albums, beginning with his debut album Down There For Dancing in 2017. He followed two years later with his beautiful second album RGB, then dropped his marvelous third album Positive Songs in August 2021, a collaborative work featuring 11 tracks produced for The Positive Song Project, launched by Lomax and his friend Lobelia Lawson during the first lockdown of 2020. They invited songwriters to create new music by challenging themselves to focus on positive aspects and feelings, rather than negative or depressing songs about feeling isolated and bored during lockdown. The response was overwhelming, resulting in the creation of over 300 tracks by artists from around the world. (I reviewed two of the tracks from Positive Songs – “Working On Your Own” and “The Pigeon” – which you can read by clicking on the Related links at the end of this post.)
Now he’s back with his fourth album Calendar, featuring 12 delightful tracks. I’ll leave it to him to explain his inspiration behind the album’s creation: “The roots of this album can be traced back to 2014, when I was recording a debut album with my previous band. It was the 13th time I had recorded that album. Getting it right was proving difficult… A different approach was needed to keep things fresh. I would write new songs, one every week, without perfectionism weighing down the process. By the end of 2014 I had amassed 52 new songs, each one reflecting the week I’d experienced, all framed as fevered journal entries. After founding Granfalloon in 2016 and releasing two albums, I went into the studio in February of 2020 to begin the task of committing definitive versions of the songs from my ’52 Project’.
Obviously the pandemic put the project on hold and ironically, now everyone had a double album of songs squirrelled away. But I never wrote because I had too much time on my hands. Writing has always been a matter of necessity for me. I returned to the studio again in 2021 with a core band from the Positive Songs Project to whittle down the original 52 to 12 songs. These 12 songs comprise this new album ‘Calendar’.”
In addition to Lomax, who sang lead vocals and played guitars, Wurlizter, Omnichord and melodica, a host of other musicians contributed their talents on some or all of the songs, adding a colorful kaleidoscope of instrumental sounds and textures: Daz Woodcock (bass, vocals, organ, keys), Andy Lyth (drums, percussion, banjo), Cleg (guitars, mandolin, vocals), Garreth Knott (trumpet), Sarah-Jane Pearson (vocals), Caffs Burgis (vocals, synths), Dom Major (guitars), Ellie Boney (cello), George Burrage (violin), Robin Melinda Koob (violin), Molly Becker (violin), Tim Davies (drums), Jack Wakeman (bass), and Jason Alder (contrabass clarinet).
The songs encompass an array of styles, from the exotically folksy “Witch of Woodplumpton” and seductively bluesy “Eulerian Circles“, to the whimsically poppy “Bee on a String” and Americana-tinged “A Year After the Party Died“. But the one thing they all have in common is their outstanding arrangements, instrumentation and production values. The album kicks off with “Archive“, which opens with Jason Alder’s fascinating contrabass clarinet notes, nicely accompanied by twangy guitars, George Burrage’s violin, Ellie Boney’s cello, Tim Davies’ military-style drumbeats. and Sarah-Jane Pearson’s gentle vocals.
I like all the songs of Calendar, but I’ll call out some of the standouts for me, as well as some particularly lovely little moments heard on a few tracks. The aforementioned “Witch of Woodplumpton” is pleasing, but with a mysterious undercurrent, and lyrics that speak to the historic and ongoing oppression of women: “From Mary of Eden to Joan of Arc, we’ve been burning and burying you from the start. You have to dig your way out of your own grave.” Richard’s intricate guitar work is sublime, and I think I also hear Cleg’s sweet mandolin notes. And once again, we’re treated to Sarah-Jane Pearson’s smooth backing vocals, Ellie’s lovely cello, and George’s violin, with added violin by Robin Melinda Koob for good measure.
“Paint It By Numbers” is a cheeky number sung from the perspective of a professor who can only express their love through mathematical figures: “Shall I compare thee to the fundamental theorem of algrebaic K-theory? Like Pythagorus said, something’s deeply irrational about the square root of 2 where the 2 are me and U. Let me show you the numbers. Tell you in numbers. Lay down the numbers. Paint it by numbers 4 U.“
Far and away the highlight for me on the album is the thoroughly enchanting “Please Write Responsibly“, which tells the story of an innocently-written song that goes rogue: “This yarn had caused more harm than was ever my intention. I’d only scribbled words on paper, I hadn’t wanted this destruction. I mean, whoever got hurt by a story? What song brought a government to its knees? What poem dismantled a tank, or started World War 3? And As I tracked the trail of carnage caused by my fantasy, it leapt right out of my computer screen and began to attack me. My Story tore me limb from limb, all the while screaming with glee: ‘Words are more powerful than you ever could conceive So please write responsibly!’” The beguiling song features the musical handiwork of Richard and Dom Major on guitars, Molly Becker on violin, Daz Woodcock and bass, and Andy Lyth on the sweet banjo. I love this song, which is currently enjoying an extended run on my Weekly Top 30.
Another favorite is the bouncy “Bee on a String“, with its lively guitars and Garreth Knott’s warm trumpet. The lyrics describing a woman who keeps a bee on a string trapped in a tupperware box in her refrigerator are an allegory for keeping her man similarly under her control: “I know you’re fascinated by me but won’t you let me be free? Why won’t you let me bee free? O must you keep me in a deep freeze. It makes me sleep so you keep me, and she keeps bees in a deep freeze...”
“O Joyce” tells the story of a Joyce over a 60-plus period of years, beginning with how her mother bought a pet Macaw who she named Bobby Corwen when Joyce was a young child. It’s a cute little ditty, with some nice trumpets by Garreth and guitar, Wurlizter and Omnichord by Richard. I also like how he whispers in a slightly seductive voice, “Joyce, make us a cuppa tea“, after each verse.
“All My Old Lovers (live on the same street)” is a rather wistful, introspective song about past loves, loss, and the need to move on and away from judgmental neighbors and gossiping tongues: “All the meetings they’ll have about this and that, make you feel so exposed. In a small town like this all you do is exist. This is no place to heal. It’s time to move on – You can’t live here any more.” The song is lovely, with a bit of a melancholy undercurrent, highlighted by gentle chiming guitar notes, cello and violin. Richard’s smooth vocals convey a slightly sad sense of resignation.
In a similar vein, “The Day the Party Died” speaks to loss and the passage of time, with references to several mythical characters like Ahab, Peter Pan and Cupid to drive home the inevitable changes that happen with time. Not all of these changes are for the better, expressed in the lyrics “They’ve turned the club into a takeaway. They’ve turned the pub into a takeaway. They’ve turned our home into a takeaway.”
But then on the album closer “Rushmore“, Granfalloon admonishes us to look to the future with hope and optimism, and not dwell in the past: “Don’t waste your life on a memory. The wind will change, both kind and strange. It’s never as dark as you think.” The song is another favorite of mine, as I love the dramatic shimmery electric guitars and beautiful soaring vocal harmonies in the chorus. It’s a fine finish to a delightfully charming album. With Calendar, Richard and his fellow musicians have created a lovely and thoughtful work that makes for a thoroughly enjoyable listen, for which they should be very proud.
His albums are only available as a digital download on Bandcamp and in CD format, though several of his singles are also available for streaming on Spotify, Apple Music & Soundcloud.
Hailing from East Sussex, England is the talented and charismatic young pop-rock band Wild Horse, consisting of brothers Henry and Jack Baldwin and long-time friend Ed Barnes. Now in their early 20s, the guys are seasoned musicians who’ve been writing and recording songs since forming in 2013, when they were barely teenagers. Both Henry and Jack are multi-instrumentalists who play guitar, bass and keyboards, as well as sing vocals, while Ed plays drums and percussion, sings backing vocals and plays guitar on a few tracks. The Baldwin brothers are also prolific songwriters who’ve penned hundreds of songs over the years, with five albums, three EPs and numerous singles to their credit. I’ve been following them on social media for nearly five years, and have reviewed two of their albums, DANCE!! Like An Animal in 2019, and When the Pool Is Occupied this past December, which you can read here.
Always keeping busy and productive, Wild Horse has recorded a number of new singles which they plan on releasing this year, starting with “Joy Ride” this past June. They now follow up with a second single “Bitter“, which drops today. The song explores the emotional minefield of casual romantic relationships, in which one partner desires a ‘no strings’ arrangement with the freedom to see other people, leaving the other partner feeling dissatisfied, insecure and generally unhappy.
I really like the song’s breezy, guitar-driven melody, which nicely contrasts with the poignant, rather ‘bitter’ lyrics. As always, the guitar work is first-rate, accompanied by a lively rhythm section that keeps the toe-tapping groove going, while allowing the guitars and vocals to shine. Jack’s endearing, heartfelt vocals sound better than ever here, and we feel his sad resignation as he plaintively laments “A little bit of feeling’s what I need. And just a little bit of pleasure’s all you want. And now I’m stuck here in the middle, playing games. I really thought we could have talked this out by now. I’m just a little bitter.”
“Bitter” is a wonderful track, nicely showcasing Wild Horse’s continuing growth and maturity as a band.
ECLECTIC MUSIC LOVER 