Text by Nancy Neon / FFanzeen, 2018
Images from the Internet
Michael J. Roy
The Bright Side
https://michaeljroy.hearnow.com/
Roy opens with a track called "The End." So, for Roy,
the end actually becomes a beginning with
a new recording for 2018. The song has a T-Rex feel. Lyrically, Roy seems to be
singing about a relationship, be it romantic or creative, that teetered on the
precipice of greatness only to implode. "Same Old Thing" has a cool, downbeat
feeling. Musically and vocally, it will turn those on who dig Jakob Dylan or
Tom Petty. It is a powerful song of regret that highlights what I have always
called Roy's painterly style of guitar playing. "Impossible Ways” is
vocally strong with a ‘60s pop feel. "Mr. Berserk" is someone we all
know; he tries to come off as if he has it all under control, but blows up like
a grenade with any or no provocation. These are some of Roy's best lyrics,
where he sings of "Mr. Berserk" being followed around by a shadow
that cannot be escaped. "Moving to L.A." is something I can relate to
after a bad fall on the ice in Boston last winter. The track has a lovely
vocal, melody, and arrangement. The music and lyrics touch the listener with an
amalgam of wistfulness and wanderlust: "I can't believe/I've stayed here
so long/It makes no sense/Once the summer's gone/It seems I don't know/Why I'm
here at all/And I can hear that balmy West Coast call." "Point
Of No Return" has a Bob Dylan/Tom Petty style vocal and overall vibe.
"All The Time That Never Was" has a feeling of sadness and
regret over real or perceived unrealized
potential. Roy describes it as "pining for things that you know are never
going to happen." This concept has resonance for me as I have been
troubled by my own sense of unrealized potential. “Thin Air" has the
message of striking back and ultimately surviving creatively against the threat
of obsolescence. "A Reason to Live" speaks of the renewal of hope and
life in the face of the increasing pressure of time and mortality. This track
is fast paced, energetic, and the catchiest of the bunch along with the closer,
"The Bright Side." As with "A Reason to Live," on
"World Run Wild," Roy's musical mojo is at full force as he
sings" My mind is on fire." So is his guitar! "The Bright
Side" is a shimmering, jingle jangle power pop track in a Byrds/Dwight
Twilley Band vein. When I spoke to Roy about the recording, I mentioned that I
always thought he was the George Harrison of the Boston-based bands Fox Pass
and Tom Dickie and the Desires. Roy showed he understood what I meant by responding
by saying "dark horse." (In addition to the dictionary definition,
Dark Horse was Harrison's record label.) The
Bright Side is a powerful follow up to Roy's 2015 release Eclectricity.
Tom Guerra
American Garden
www.tomguerra.com/
The song "Nevermore" opens this recording with power
chord/riff stylings in a classic rock vein. Guerra's voice is a combination of
approachability, vulnerability, and moxy. "Goodbye to Yesterday" was
written by Guerra and bassist Kenny Aaronson of The Yardbirds. This song has
elements of blues, garage rock in a Sonics vein, and ‘60s pop-oriented
harmonies. "Walls" is a Tom Petty number that Guerra recorded soon
after Petty's death. The vocal is downbeat and the arrangement is faithful to
Petty's style. "Jack for Joe" is Guerra's homage to his former
roommate/manager, Joe Polito, who died about 30 years ago. Guerra described
Polito as having "lived life at full-throttle racing speed." Guerra
expresses a lingering fondness for his halcyon days while asking “where can we
go now that we can't go home again?" "Blood on the Rising Sun"
was written after the Charlottesville riots and features Jon Butcher on lead
guitar. Guerra uses a Dylan/Petty style vocal to create a 21st century protest
song that ends with the chant "hate cannot replace us." "Family of
One" and "Lyin' King" are two more Guerra/Aaronson
collaborations. These were intended for inclusion on a Jack Douglas-produced
Yardbirds album – a concept that was sadly shelved. The bridge "Now that
tomorrow is here at last" is a line Guerra intended as response to the
Yardbirds' "Shapes of Things." "The Lyin' King" has blues
harp and a garage rock-oriented feel. "The Story" is a song Guerra
was moved by after hearing Brandi Carlile's version. Here Guerra's voice sounds
like he is broken but still fighting to summon up faith and strength to strive
for love. "Meet Me at the Bottom of the Glass" is a piano/vocal
arrangement with Morgan Fisher of Mott the Hoople on keyboards. Like "Jack
for Joe," it is about Guerra's friend who was lost to alcoholism. The
closer, "American Garden," is thematically a pastiche of three
Vietnam veterans with whom Guerra had conversations about their war
experiences. The title track has an Apocalypse
Now vibe with its psychedelic feel, distorted vocals, and helicopter sounds.
The pop rock section of the song juxtaposed against the more ominous elements
of “American Garden” highlight the dichotomy of the relative innocence of pre-Vietnam
War versus the lost idealism of the post-War period. The image of the "American
Garden" is all the more startling when you realize Arlington cemetery is
one interpretation of the album title. This is Guerra's third solo recording.
Also check out his band, The Mambo Sons.
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