Albums and Singles/Video Reviews: November 2021

Albums and Singles/Video Reviews: November 2021

 Text © Robert Barry Francos / FFanzeen, 2021
Images from the Internet

Note that these reviews are alphabetical by first letter, and not listed in a “ratings” order.

Albums:

James Lee Stanley & Dan Navarro
All Wood and Led
www.allwoodandled.com
This release is just part of a series of covers of classic rock songs, where the “wood” represents acoustic guitars, which have included albums of material by the Rolling Stones and the Doors (both previously reviewed on this blog). As Navarro says, “With absolute respect and admiration, we chose not to simply duplicate the originals, but instead imagined, ‘What if Led Zeppelin had lived in Laurel Canyon in 1967 instead of England?’” The folkie soul in me is quite satisfied with the rocker part of this collection. While not a popular opinion, I was never a Zep fan, and honestly, a lot of this material is new to me for that reason, giving it some virgin ears. They nail such classics like the obvious “Stairway to Heaven,” “Whole Lotta Love” and “Dazed and Confused,” but they also do a stack of non-radio saturated numbers like “Good Times Bad Times” and “Hey Hey What Can I Do?” True to their word, they reinvent the songs to their own spirits and it works out incredibly well. The Doors was a pretty easy translation, and the Stones’ blues riffs fit quite well into the model, but Zep is more of a transition, but the hand-to-glove still works in surprisingly good ways, mainly due (in my opinion) to Zep’s use of Olde English melodies in rock form, such as “The Battle of Evermore.” If you are either a folk fan or a curiosity seeker, this may meet your needs on multiple levels.
Full sample song HERE 

 

Nine Pound Hammer
When the Sh*t Goes Down
www.acetate.com
As the sticker on my CD clearly states, “Original members Blaine Cartwright and Scott Luallen team up with Ramones Super-Producer Daniel Rey.” Who in my shoes could not have their curiosity piqued? Especially since I am not very familiar with the Kentucky cowpunk (their description) band. I must say, after most of my life being force-fed Southern Rock like Skynyrd with the occasional good stuff like Rank & File and Nashville Pussy (which shares Blaine as guitarist), this is so refreshing. From the opening, using a clip of Mel Blanc’s Foghorn Leghorn, you know they don’t take themselves too seriously (meant in attitude, not aptitude). Starting strong with “What Kind of God,” and especially the second, title cut, you can definitely hear the Rey influence as the sound is laid bare and stripped, though Cartwright’s guitar flairs brilliantly here and there. It’s almost like the Ramones zeitgeist if they listened to country rather than surf and girl groups. At gut-wrenching speed, most songs are quite short at about 2:30, with a couple being longer. Their mindset can be seen in titles like “Street Chicken,” “Mama Lied,” “Billy Lost His Feet,” “Get the Hell Off the Farm,” “Daviess Co Tractor Massacre,” and “Lizard Brain.” I know I haven’t gotten the full effect of the lyrics yet, but this one is so much fun and kicks so much butt, it will certainly be replayed, so I’ll get there and enjoy the ride. Just wish there was a lyric sheet included.
Full title cut can be heard HERE 

 

Yod Crewsy
The Longings of Paul Roalsvig
www.darkmarbles.com
Before he was in bands like the Splatcats, the Sky Cabin Boys, the Dark Marbles and the Bernie Kugel Experience, Yod was known by his birth name, Paul Roalsvig. This two-disc collection is split into a “Love” group and “Peace” selection. There are 31 cuts in total, being a mix of covers both infamous and obscure, and originals. Some of Buffalo’s musical royalty appear on here, such as Dave Meinzer, Russell Steinberg, and Cathy Carfagna. He starts off strong with Icehouse’s “Crazy,” which follows one of Yod’s personal favorites, the poppy theme to the film “That Thing That You Do!” Third cut in is when we get our first original, “I’ll Keep Sending You Flowers,” proving that Crewsy knows his way around creating both a melody and a strong lyric. Of course, I won’t be discussing all the cuts, but will pick and choose. His cover of the Stones’ “Dead Flowers” is almost projected through a folk lens which actually works quite well. More somewhat obscurities with Dylan’s bluesy “I Threw It All Away” and the Monkees’ “Sometime in the Morning,” and then a deep version of Orbison’s classic “In Dreams.” The more folk-oriented Peace disc starts off with one of my fave tunes, “Eve of Destruction”; here it is handled more folk pop leaning towards the Turtles cover rather than Barry McGuire, but the stanzas are intact. Included are masterful covers such as Dylan’s snarky “With God on Our Side” (banjo led), Nick Lowe’s “(What’s So Funny About) Peace, Love and Understanding,” and a raucous Five Man Electrical Band’s “Signs,” But the gem here is the back half of this second disc that is solid originals, including “Edie” (about Edie Sedgwick) and the timely ballad “When They Stormed the Capital.”
Full sample song HERE 

Singles:

Chesty Malone and the Slice ‘Em Ups
Turn to Crime
1332 Records / www.chestymalone.com/
Despite moving relatively recently to the hinterlands of Pennsylvania, CMatSEUs have lost none of their drive or appeal. The main focus is still vocalist Jacqueline Blownaparte and her partner in – er – crime, guitarist superb Anthony Begnal, with a new bassist and drummer. Their aggressive hardcore both brings reminiscence of the 1980s style of in-your-face madness with a touch of harmonies that do not fall into the wishy-washy ‘90s Green Day kind of fluff. What I especially like about the chorus is that it can be both chantable, and can be used in the fist pumping way to build up adrenaline for the mosh pit (or in lieu of it; I’m old enough to be a lieu of person, but I digress…). Possibly the best comparison would be the flavor/attitude of the Cramps mixed with the influence of the likes of GBH. This is just one side of their new single (7”-er, remember them?). This is some of the better post-hardcore sound I have heard in a while, and a high mark even for them, and they set the bar high.
Can be heard HERE 

 

The Dictators
“Let’s Get the Band Back Together”
2:25 minutes
Dictators Multi/Media
I have liked the Dictators (DFFD) since I heard their introductory album, and even more when I saw them live (CBGB in 1975) for the first of multiple times (including at The Bottom Line, The Left Bank, and Irving Plaza). Over the years, HDM got most of the attention, but I always thought that the songs Andy/Adny Shernoff voxed were amazing, as well. They had a style that was metal and could be juvenile at the same time, which was part of their charm. Songs were singalongs and often brilliantly silly (such as “Master Race Rock”), but they could also be profound (“Steppin’ Out”). Over the years through various incarnations of the band, they are back, with Andy on vocals and bass, ace metal guitarist and right winger Ross “The Boss” Friedman, Albert Bouchard (ex-Blue Oyster Cult) on drums, and for this recording, the recently late, great rhythm guitarist Scott “Top Ten” Kempner. This song feels, in tone, like it could fit somewhere between the first and second album. The “C’mon” in the chorus, sung by Manic Panic/Sic F*cks’ own Tish and Snooky Bellomo, is certainly chantable, layered with Andy’s New Yawk accent, sounds like fun. The phrasing of the song is a bit melodic rock, even with Ross’s solo burst, but with its occasional hint of early rock’n’roll on some parts, it is definitely an enjoyable listen. While I look forward to the full album, as an aside, after you have heard this Dictators’ song, it is also worth hearing an earlier, more pop solo Shernoff version of it from almost a decade ago HERE. 
Full song can be heard HERE 

 

Gary Louris
“Almost Home”
3:31 minutes
https://orcd.co/jumpforjoy
This travel song has a nice “hoo-hoo-hoo” chorus to sing along with, with it’s poppy and upbeat singer-songwriter tone. Of course, as should be, the rhythm is steady like the wheels of the car (truck?) humming along a highway, not too far from the final exit. Louris’ vocals fit the sound so well, and the video that accompanies it is arty without being obtuse. It’s as simple as the driving beat. Humorously, I wonder about the line “When I close my eyes, I see your face…” Err, aren’t you driving? Still, the chorus is extremely catchy possible earworm and a hoot. A good listen, but that should come as no surprise as he was in the seminal band The Jayhawks, and a founding member of “supergroup” Golden Smog.
Can be heard HERE 

Singles/Video Reviews: February 2021

Text © Robert Barry Francos / FFanzeen, 2021
Images from the Internet

Singles/Video Reviews: February 2021
Note that these reviews are alphabetical, not listed in a “ratings” order.

Anya Marina

“Notice Me (Live from Rockwood, NYC)”
www.anyamarina.com
This is off her sixth album, Alive and Alone in New York, which was recorded at the great Rockwood Music Hall on the Lower East Side, which has sort of become the CBGBs of singer-songwriters (with cleaner bathrooms). “Notice Me” is one of her signature songs, and on the original album, it is produced with a wall of sound that accentuates the mood with overdubs, and a much larger group behind her. For this recording, it’s just her and her guitar, and feels way more personal. With a chantable “do-do-do” chorus, it can easily be a pleasurable ear worm as she feels neglected by her lover. It’s a bit of an upbeat song and doesn’t actually feel as desperate as the topic sounds. It’s coyer and sexier, with a hint of frustration, with Anya’s lovely falsetto voice playfully calling out. The album has 17 tracks covering her career, and this is the first single. You can find the original version on YouTube if you’d like to compare.
Can be heard HERE 

 

Ben Howard
“What a Day”
Republic Records
From the upcoming album, Collections from the Whiteout, Ben’s fourth full release is a “pastoral” sound as the singer reminisces about where the time goes. It’s a nice, light sounding ballad that has some deep thoughts imbued with a mild, melody backed up by what sounds like a drum machine (though I could be wrong). The production is high, but it doesn’t necessarily overwhelm here. It’s also pretty catchy, which is always a good thing. His British inflection is also endearing. The video seems almost straight out of a Monty Python sketch, with a bit more seriousness. I might actually go listen to the album, at some point.
Can be heard HERE 

 

Carla Geneve
“Dog Eared”
Dot Dash; Remote Control Records
Australian 22-year-old music teacher hits the pop rock trail on her solo album, Learn to Like It. Filled with encouraging girl power – as one can see in the song’s video – Carla has a strong voice and belts out on choruses, hovering the line between alt pop and rock. Dealing with finding self-worth because she “always feel so useless,” but acknowledges she “still has something to lose,” meaning there is some possibility of positivity. It’s a really good song, the production is tight without being overbearing, and it’s lyrically smart. The road trip video filled with her friends is cheerful, as is, on some level, the song, as she pulls herself up. Liked this one a lot.
Can be heard HERE 

 

The Cavemen
“Am I a Monster”
Pig Baby Records
Thematically, what if the early Cramps had been a hardcore band instead of voodoobilly? That is one way to look at New Zealand “ghoul punks,” The Cavemen. The song is a three-chord mosh fest with a horror motif. While I heard the recording rather than seeing a video, I have seen picture of them, and they seem quite energetic, which is definitely present in their music that seems highly influenced by the early 1980s H/C and garage scenes. The melody of the song is certainly catchy, though it’s hard to tell what they’re saying much beyond the chorus, which is the song’s title, and a few snippets here and there about loneliness, due to a garage-rock level of vocal fuzz. This definitely harkens back to a minimalist period, pre-extended guitar solos by the likes of Ginn and Mascis, but that’s okay with me; there is a brief and raucous burst, though. A Ramones-ish slagging of basic chords and speed is just what I like. These guys sound like they’re a lot of fun, and this one will get some more listens by me over time.
Can be heard HERE 

Elise Davis
“Yellow Bed”
Tone Tree
Nashville singer-songwriter Davis released her single, “Yellow Bed,” from her third album Anxious, Happy, Chill. I have seen a few of her videos performing live in her bedroom or on stage, and she is really amazing. Her songs are poignant, such as this one about relishing time with her husband. That being said, I had a bit of trouble with this song, recorded in a studio. The sound is very flat and electronic, including the processing of her voice via reverb, which makes it lose its beautiful tone, giving it a kind of impersonal feel when the song should be emotional. I hate saying this since I like her and I enjoy her voice, but it is the production here that squashes her sound. I believe if I saw her do this live, I would enjoy it a lot more. I say go seek her out, find her videos and enjoy. This is the only song off the album I have heard and I’m hoping the rest of it is more loyal to what she has to offer.
Can be heard HERE 

 

Half Waif
“Orange Blossoms”
Anti- Records
The first single by Half Waif – aka Nandi Rose – is quite lovely, albeit sad. As described by her press, it is “a desperate plea to be rescued from wrestling with everything.” In a voice perfectly suited for the song, the protagonist is in urgent need for help kick-starting her life at the moment, asking repeatedly for “someone” to do things like answer an email, or “make me think I’m worth something.” Thematically, it reminds me of The Allen-Ward Trio’s “I Need a Friend,” but rather than folk, this is more modern singer-songwriter. Yes, she’s listed as alt pop, but I would not personally put this song in this category. There is some lovely harmonies snuck in, backed by an electric piano in the forefront. It’s a powerful, lovely tune and is both bleak and, at the end, hopeful. It’s a keeper.
Can be heard HERE 

 

Lost Horizons, featuring Marissa Nadler
“Marie”
www.bellaunion.com
www.losthorizonsmusic.com
Lost Horizons is the collaboration, among others, of Simon Raymonde (Cocteau Twins) and Richie Thomas (Dif Juz), and this single is included in their new album, In Quiet Moments, Part 2. They are joined by Marissa Nadler to front it (other songs on the double album are voiced by different singers). As one might expect from Raymonde and Thomas, the song is strongly studio-enhanced, moody and I might add gothic. The shadowy reverb is ramped up and it almost sounds like a ghost is singing it. Nadler has a good voice, somewhere in there, and I would have liked to have actually heard it clearer through the production. The song itself is a quiet, slow, and soft footed ballad, reminiscent of XTC’s “Somnambulist.” After a couple of listens, it is starting to grow on me, more for Nadler, honestly. Because of the production, I couldn’t make out much of the lyrics; however, it sounds melancholic.
Can be heard HERE 

 

Thee Sacred Souls
“It’s Our Love”
Daptone Records; Penrose Records
Hailing from the San Diego area, this soul trio (perhaps they could have called themselves “Three” Sacred Souls?) fit somewhere in the post-Motown category with the likes of the Ohio Players (sans horns) and Al Green. Vocalist and lyricist Josh Lane uses his falsetto voice to lull the listener about his love in a Barry White ballad speed. Soul is not my forte, honestly, but I was charmed by the sound here, as Sal Samano and Alex Garcia skillfully back him up with their rhythms (guitar and drums). The video is quite simple, as is the tune, mostly shot with the band in the studio.
Can be heard HERE 

 

Yonaka
 “Seize the Power”
https://www.facebook.com/weareYONAKA/
This track is listed as “Dark Alt Pop with Heavy Riffs” on their Facebook page. That feels accurate. It’s definitely modern, with heavy production and added with some pop fusion. It’s like if Lady Gaga’s style was thrown in a blender with some electronica and white rap, fed through some anger and entitlement. It’s decent, as even the rappish parts aren’t too stereotypically done. The positive behind it is its power, as Theresa Jarvis forcefully infuses her lyrics with drive, almost yelling above the British band’s studio-infused minimalist melody.
Can be heard HERE 

 

Zadar
“Upstairs Room”
https://zadars.bandcamp.com/
Not to be confused with the Yiddish “Zaydeh,” nor the city in Croatia, their publicity calls them “scathing post punk [sic] from Philadelphia,” sounding like Sisters of Mercy. Really? This song is essentially based on a dissonant B-52s-type rhythm played electronically over an over, with Fred Schneider-style vocals without the charm. Even the lyrics are repetitive and kind of monotonously mundane. I’m not a fan. But then again, I was bored by Sisters of Mercy, as well.
Can be heard HERE 

Music Reviews: January 2021

Text © Robert Barry Francos / FFanzeen, 2021
Images from the Internet

Music Reviews: January 2021
Note that these reviews are alphabetical, not listed in a “ratings” order.

 

Ben Sutin Quartet
Hard Bop Hanukkah: Live @ Rockwood Music Hall
www.MEIIenterprises.com
www.bensutinmusic.com
Hard bop, a subgenre of bop jazz, was fomented by the likes of Miles Davis and Coltrane. It is wild and a bit musically asymmetrical, relying more on sharps/flats and a tempo of its own and often changing nature. The opening of the six cuts, “Have a Little Dreidel,” shows exactly what is expected right off the – er – spin. Ben Sutin, who leads the Quartet, is the arranger and violinist, who tends to play at the high end of the instrument. He is met evenly by Sam Javitch’s piano. They are backed by Cole Davis on bass and Evan Sherman’s drums. But it is the violin and piano that are out front on this live recording in one of my favorite spaces to hear non-punk/rock music in New York, Rockwood Music Hall, down on the LES of NYC. The third song, “Neroit Dolkim,” has the bones of Klezmer (which I thoroughly enjoy). Sutin’s modified V-necked electric violin gives him access to the very high ends of the strings, while Javitch uses his piano for both melody and part of the rhythm section simultaneously. “Sevivon, Sov, Sov, Sov” (translated as “Dreidel, Spin, Spin, Spin), the longest cut on the release, gives the rhythm section a chance to solo in smatterings. This may sound blasphemous, but parts of “Maoz Tzur” (or “Ma’oz Tzur” aka “Strong Rock”), from the 13th Century, sounds like it could be off Vince Guaraldi’s Charlie Brown Christmas album (I am saying that in a positive way, as that is the only Xmas record I can tolerate). The musicianship is superb, as would have to be to play in this style, and the Quartet go full force. As with many jazz styles, the songs are all instrumentals, and tend to average around 6 minutes, but they do both swing and bop. Might be good to get this now and have it ready for the next time Hanukkah rolls around.

Cro-Mags
2020
Mission Two Entertainment
The Cro-Mags are to hardcore what the Ramones were to the first wave of punk. These New Yorkers blazed a trail that was picked up by a disenfranchised youth into a movement of fury, anger, and moshing. In fact, Cro-Mags founder Harley Flanagan was the first mosher I ever saw when he was still with the Stimulators in the early 1980s, at a Siouxsie and the Banshees show at Irving Plaza. The Cro-Mags called it quit for a few decades, and now have come back with the second release this year, in this six-song opus that lasts, yep, 20 minutes and 20 seconds. Needless to say, it covers the topics of the year, including COVID-19 and street rioting. Starting off strong, the band wails with “Quarantine,” which leads pretty strongly with Garry “G-Man” Sullivan on bass, and Rocky George on Greg Ginn/J. Mascis-ish lead shred guitar (note that George used to be with Suicidal Tendencies). As with the rest of the songs – “2020,” “Life on Earth,” “Violence and Destruction,” “Chaos in the Streets,” and the instrumental “Confusion,” there is an atonal element that pounds and works, even with the chant-worthy choruses such as with “Life on Earth.” There’s even a bit of New Agey reverb used on occasion, such as the beginning of “Violence and Destruction,” before it descends into hardcore madness.  Despite the screechy, amazing guitarwork by George, parring with Gabby Abularach on rhythm, the songs are more rhythm focused on top of almost No Wave-inspired hardcore with Flanagan (bass) giving some thrash metal growl lyrics. Honestly, without a lyric sheet, I couldn’t make out what they were saying, but the songs stand up, especially “Chaos in the Street,” which is more traditional hardcore, and is by far my fave here. It concludes with a bit of just a part of an in-studio freestyle jam. The Cro-Mags have not lost their edge and deserve a listen.

 

Jordan Rabinowitz
A Couple Songs
@jordanrabinowitz
For years, Rochester, NY native/Washington, DC-based Rabinowitz has bounced around the music scene playing bass with other groups before settling down and working on his own material. He has now released a five song EP (available on YouTube HERE).  His songs feel like light, singer-songwriter style, but actually are kind of dark, talking about break-ups, love ending, and leaving. Jordan’s voice is pleasant without being same-old-same-old, with a hint of pitchiness that works for him. Note that the songs are fully backed by a band in which sometimes the feel of the song gets a bit mired in a way that would not happen if he were a solo-performer, but that’s the nature of the beast in today’s studio-produced world. It’s a good listen, though, and for a debut record, the songs are well written and performed.

 

Rockower
It’s Alright But It’s Never Enough
Mark Rockower Music
Great name for the band; fortunate that the center of it has this appellation. Mark Rockower is on vox, guitar and synthesizer (and songwriting), Derek Hughes plays bass, backed mostly by Jax Bowers on drums. But essentially, this is a two-man outfit, even recording it in Hughes studio (garage? basement?). This harmonious (i.e., overdubs of Rockower’s vocals) almost pop rock has all the hallmark sounds of a demo. Now, to be fair, a demo sound is so much more preferred by us aficionados than the cold, overproduced music mostly found on the radio today. It reminds me of the likes of The Nerves (who originally sang “Hanging on the Telephone”). The amateurishness (of the sound, not the playing ability) is refreshing and enjoyable, starting right off with the upbeat “American Dope.” Each song going forward is a bit different, but the overdubbing is pretty consistent, though I believe it should be used more sparingly, such as on choruses; overdubbing vocals also make it harder to hear the lyrics. “The Other Side” sounds a bit more garage from the late ‘60s, or possibly less formulaic than the early ‘80s. As the CD plays on, it definitely grew on me more. Sure, “Simple Minds” is a bit of filler, but they make up for it with the very next up-beat poppy number, “Lunar Star.” For a miss, like “Vacation Girl,” a synth noise mess, there are others that are worth the listen, like (again) the following cut, “Driving Force” and the title number, which closes out the 10-song disc. Basically, the entire zeitgeist is about American culture in the here and now, which makes it an interesting timepiece. I definitely liked it more on the second listen.  Weirdly, the biggest mistake is not printing the name of the band or CD on the disc proper, rather than just an image. Good way to get the disc lost.

 

TASTE
Brothers Vol 1
Melodicrock Records
Taste-music.com
TASTE is a “legendary” rock group from Down Under which originally formed in the 1970s, but I am not sure I have ever heard of them before, as this kind of ‘70s rock (they are often compared to the likes of Queen and 10cc) that never held my attention. But this is a new 5-song EP. It starts off with a kiss-off to a “horrible year” with “2020’s Gone.” It’s a power ballad celebrating the coming of a new year and hopefully new – err – hope. The production level is high, but it has a catchy and flamboyant chorus. Its follow-up “Hello Hello” is almost more rock power pop, which feels stuck in the ‘70s reminding me more of REO Speedwagon than Queen. Lots of harmonies, especially on the choruses. Ken Murdoch’s vocals are not traditionally rock tenor-and-above rock screeching, but rather it’s quite pleasant. He is well backed by Joey Armenta on guitar, Michael Tortoni on bass, and Damian Corniola on drums. “(We All) Stand Up” is a ballad paced bit of a corny and cliché rock with lyrics that are a bit insipid; what would at one time may be called “filler.” It’s follow-ups are live (or live in studio) versions of their previous songs, “Rock is Dead”  and “I Don’t Wanna Be Like You,” which are a bit better as rockers with the band getting to exercise a bit more of its instrumental prowess (including an extended drum solo on “Rock,” and clocking in at over six minutes). “I Don’t,” which is more guitar-focused, has an Aerosmith feel during their prime. Note that all proceeds go to benefit Beyond Blue, to help those affected by anxiety, depression, and suicide. A noble cause, indeed.

 

CD Reviews: November 2020

Text © Robert Barry Francos / FFanzeen, 2020
Images from the Internet

CD Reviews: November 2020

Dalia Davis
Keep a Clean Engine
Teal Power Records / daliadavismusic@gmail.com
Davis is a Boston-area veteran singer-songwriter who has released this collection of mostly original multi-genre tunes. When she sings, what she brings up to me is the solo singers from Britain during the 1960s, like Celia Black, Lulu, and a bit of Dusty Springfield. This is especially true for her cover of the standard, “When Sunny Gets Blue,” which is a highlight here, with its lite jazz tones. For some reason, this comes across to me, especially on the bridges. Speaking of which, one of my fave cuts is “Beatles Bridges,” which is exactly what it claims to be, a bunch of bridges from Beatles classics into a bluesy, mostly cohesive song, even though the content is all over the emotional map. She starts of strong with “The Power of One,” sliding into the gospel-tinged “Don’t Give Up the Fight.” The harmony vocals enhance the sounds nicely as they are right up front, often equal to Davis. The title track is a nice, almost Jacque Brel-ish type melody that swirls around the sound, without going dark. Another highlight is the gospel and doo-wop infused “Wash Away.”

 

Jack Phillips
Night and Day
Magnolia Group Records
Jack has a nice musical sound that is somewhere between Billy Joel and Elton John, as in the opening original “I Love New York,” mixed with a bit of New Orleans jazz, especially on the likes of “The Old Grey Hat,” and maybe even some soft Southern Rock with “No One’s Home.” The second half of the CD (aka “the flip side”) is mostly jazz/standard sounding, such as “Let’s Drink to Us” and “Take Them to Manhattan.” A more commercial rockin’ sound is given in “No More Waitin’,” one of the better cuts here. The album concludes with a I-IV-V instrumental that relies on a ragin’ guitar by Caleb Quaye on “Down in the Jungle Room” (assuming that’s a Graceland reference). Phillips’ voice is a bit rough at times, but it is unique and actually works really well with the styles he brings forward, which I would say is a highly boogie, almost Cajun-focused sound, with a deep southern tone. It’s an enjoyable listen, especially when he gets his soft jazz boots on.

Various
The Boston Rock & Roll Anthology Chapter 21
Valrulven / joeviglione.com
Joe Viglione has been putting out compilation albums, generally for bands coming out of the Boston/New England area (although this one is more far reaching), for decades, in various forms, such as his Anthology and The Demos that Got the Deal series. And with this, his documenting rock’n’roll history continues. The 21 tracks start off with heavy rocking duo (guitar and drums) 3D that originated in the 1980s (not to be confused with New York’s 3-D from the same period), with the anti-drug song, “Anything But Peace.” Pamela Ruby Russell’s first cut, “Space and Time,” has almost a hymnal tone with a military-paced back beat that works together beautifully. Her voice is sweet and the overdubbing with itself works, to give it a powerful punch; her second cut shows off her voice even more. Here she has a Judy Collins intonation, which really operates for her. The production is also quite enjoyable, being full without feeling over-kneaded. Working with the likes of Peter Calo and Andy Pratt certainly give her an extra zing. Karmacar – Heidi Jo Hines and Nico’s “As It Is” has a bit of a 1970s New Agey feel to it, though I believe it would have been stronger without the self-overdubbing and just let Heidi’s voice be by itself; their other cut on the CD, “Who’s Foolin’ Who?”, gives a better example of her voice, and is superior of the two, with a catchy melody and improves on the catchy harmonies. On a more esoteric note is the next two cuts – “Downtime” by the Complaints and “Faraday” by Phil DaRosa – which use a bit more electronica to posit their songs, especially the latter, which is kind of long in the tooth at nearly 6 minutes. The former has a mild Beatleseque tone. Kitoto Sunshine Love spreads the smooth ‘70s soul sound in the beautiful “Proud Soul Heritage.” Worth checking out; her second track, “Love You,” is equally as strong and arguably shows off her voice even more than the first cut, which was thoroughly enjoyable. Yeah, I would buy an album by her. Fittingly, Slapback follows with its lite funk “Guardian Angel (Radio Mix)” that is cheerful and fluffy in a good way. Hard rockers Empty County Band have been reviewed on this blog before. Their first track, “Until the End,” is a slow grinder and burner, but the vocals need to be a bit more up front in the mix; “Skeptical” is much stronger all around and a better listen, but both are good. Joe Black leads a guitar-centric metal group that wails with “Blackenstein.” If you like the guitar god sound, this mostly instrumental screamer is for you; for “Monster,” Black is joined on vocals by Jeffrey Baker. This cut is a more traditional rocker that switches between slow burner to a wild ride, which should please any metalhead. The lyrics are a bit silly (especially the chorus), but the guitar makes up for it. Tom Mitch, Jr.’s soulful “Table Scraps” reminds me a bit of Joe Tex, which is a compliment. Harmonious pop rockers Greg Walsh’s New Ghosts presents “Counting Down to Zero (From 1),” which has a late ‘60s sound mixed with early ‘80s echoey production styles. Mad Painter’s exuberant “The Letter” (not to be confused with the Box Tops song) has a bit of a Mod sound mixed with Ian Whitcomb’s bounciness, especially in Alex Gitlan’s vocals. As a note, a personal fave of mine from the Boston scene, my pal Kenne Highland, plays bass. Next up – and rightfully so – is a cut by the man himself, Joe Viglione, with his original “Thought About You.” Backed up by Jay and Scott Couper (who played with Denny Laine in the ‘80s), Joe presents one of the better songs I’ve heard from him in a while (and I like his stuff). It’s light without being sophomoric, and has a harmonious catch that could easily play on the radio and have people singing the chorus with him. Following is Boston musical veteran Dalia Davis, with “Eleven and a Half.” Reminding me of Harriet Shock here, Davis shines in a song about reminiscences. Fire in the Field’s “Bossman,” has a bit of an ‘80s rock sound that works, but somewhat harmless and generic, with harmonies and a cowbell sound. Concluding is “The Ballad of the Rock Star,” by Matty O’. This is a nice way to end, with a smooth Irish rock sound that fits well into the collection. Matty gets a couple of opportunities to show off his voice, which is appealing. Overall? This is a pretty damn decent collection of different styles, from singer-songwriter to heavy metal wailing, and it all works together. You can tell Viglione worked hard on the order of presentation of the songs, and he has a nice flow going so there isn’t an equivalent of a film’s jump cut. Everything flows pretty smoothly, and as a collection, it all meshes well. And if that wasn't enough, there is a really well thought-out glossy booklet that comes with it that is full of artist and song info and nice color pictures. Stunningly done.

CD Review: Harry Chapin: some more stories live

Text © Robert Barry Francos / FFanzeen, 2020

Images from the Internet

Harry Chapin

some more stories live: Live at Radio Bremen, 11th April 1977

Die Sparkasse Bremen / radiobremen / MIG / MVD Entertainment

www.mig-music.de

www.mvdentertainment.com

Harry Chapin meant a lot to me, starting around 1972 or ’73, when I first heard his song, “Sniper.” Most were drawn to him through “Taxi,” his first hit, but I came from a different place than most folkies (which helps explain my later transition to punk). I saw him play live a number of times, and even had the opportunity to sing with him on stage (HERE). 

Around the time this new release was recorded at the Post-Aula venue for a radio station in Bremen, Germany, in 1977, Chapin’s original live album, Greatest Stories Live was already available, so this is not the “leftovers” from that concert, but a completely different show taped on another continent. There is some overlap between here and the original Stories, but Chapin is one of those singers who does every song a bit differently each time due to his non-technical voice (i.e., unique, like Dylan or Cohen). On the other hand, throughout his career, Chapin’s backing band has been pretty consistent, so you do get a group who is proficient on all the numbers. Plus, the quality of the sound is top notch.

For me, it seems “Shooting Star” is an odd opening for a show, as it is a deep and moving song that seems to come too early, before an audience has a chance to get into the emotional investment needed for Harry’s songs. It tells of a man with some kind of lack of mental agility (perhaps autism?), and the woman who loves him anyway. It’s a beautiful and touching tale.

“W.O.L.D.” was a minor hit for Chapin, and definitely one of his standard live numbers. It’s almost the opposite of “Shooting Star” as the protagonist of the song is an aging disc jockey trying to reconnect with his ex-wife (see video below). It also includes the tale of how he got to where he is today, and subtly why he is in the present situation.

The next cut is titled “Harry Chapin introducing the band,” which is also the prelude to the next number, “Blues Man.” While there is no question Chapin is head of this group, he also has always been open to giving the stage to members of his band, each of whom plays a particular part in the story, especially his bassist, Big John Wallace (who has a five octave vocal range).

Chapin’s specialty – or at least niche – is storytelling, which is not surprising considering his early career was as a film writer and editor. “Corey’s Coming” is a good example of that output, as it’s a story-within-a-story (i.e., meta-story). The song is about a young man listening to a tale told by an old railroad worker, or is it? This is the longer, live version rather than the album release, which is a bit edited (much like Simon & Garfunkel’s “The Boxer”). It’s a beautiful tune, with a lush chorus that both lulls and is dramatically romantic. And a bit sad. I love the melody, right from the opening riffs.

Off his third to last LP (also the album title) is “Dance Band on the Titanic,” an upbeat psudeo-1920s-style mixture of literal and a more metaphysical look at the situation facing the ill-fated ocean liner. Chapin combines “Nearer My God to Thee” (what the band played as the ship sank) and being a situation that feels like the listener is there.

“Mr. Tanner” is another story song with a sad tone, but is just so beautiful it could bring the listener to tears and you could feel the ache as the titular character (Wallace again singing tenor) goes for the ring, risking it all to follow a dream. The final stanza “Tanner” sings just pangs. Another standard for Chapin and crew.

Rather than just singing one of his biggest hits as the encore, he gives us “Taxi” in mid-stream, which is, what Chapin once referred to as “66 percent truth.” The original release was the first Top-40 song to play at more than 4 minutes. Again, it’s a tad sad but has an interesting back story, while also taking a glance into a possible future. Other than the song that ends this collection, “Taxi” is probably Chapin’s best known number; you might say its theme is a less ego-centric and kinder remembrance than Billy Joel’s cynical “Piano Man.”

Not all of Chapin’s songs are great, and the next one is a good example: we only hear part of “Dirty Old Man,” which as an introduction to the next, and much better song. As I said, Chapin tends to run a bit on the lengthy side, but this is the shortest (thankfully) cut on this collection at just under two minutes.

“If My Mary Were Here” truly is a stupor of a song and one of longing and reminiscence. I think it’s romantic, as the protagonist sits in his cups (not sure from liquid or smoke) aching about a lost love. It’s a soft ballad, but someone I know really does not like this because in a way, the central character is indirectly using the heartbreak to try and connect with someone else. I think of it more as being open to finding the proverbial window/door in s sad way.

“Dreams Go By” opened the original Stories live collection, but here it is buried deeper in the collection, though the opening is similar (I came to find that many of Harry’s “ad libs” were pre-planned, but I’m okay with that since it’s the songs I care about, not their introduction). This ia about how time passes and dreams “go by,” taken over by something else. It’s like the John Lennon line, “Life is what happens to you while you're busy making other plans.” But what this one posits is that rather than it being something that got in the way, it’s more that is the way is was supposed to turn out. Fun song about family and a shrug of the shoulders.

Back to story songs, the sad and dusty “Mail Order Annie,” about a farmer meeting a mail order bride for the first time as she steps off the train in the prairies of the late 19 Century. For some reason, it reminds me “Corey’s Coming,” because of the lonely tone. I loved the tune of this tune from the first time I heard it. The harmonies for the back-up band solidifies the emotion, especially on the bridge of the song.

Harry’s brother Steve comes forward with the “’round the hearth” earthiness of “Let Time Go Lightly,” a ballad of being home with kith and kin. It’s also a beautiful look at enjoying and appreciating what you have. Steve’s voice is a bit more lilting than Harry’s and it works for this one. I sing parts of this one to my partner when I’m feeling cozy in front of the fire.

“30,000 Pounds of Bananas” is also a Chapin standard, but it’s also one of the silliest of his songs (and remember, he has “Dirty Old Man”). It’s a good driving melody and gotta say it’s produced an ear worm more than once that lasted a long time. It’s a sad comedy as the C&W rhythm of it matches the bouncing of the truck carrying the said payload. Except for the tragedy involved with the singer, it could be a children’s story, as it’s a kind of twisted singalong.

The last cut is arguably Chapin’s largest hit – and one of my least favorites of his as it feels like pandering to its audience despite it’s relatively deep message, “Cat’s in the Cradle.” (much like Paul Simon’s “50 Ways to Leave Your Lover” or Melanie’s “Brand New Key”).

There is a really nice booklet added with the CD. It’s also humorous to me that Harry is wearing the same outfit on the cover as he wore on “Don Kirschner’s Rock Concert” the year before this was recorded.

And if you'll excuse a private joke between myself and my friend Dennis, "Oh, Colleen..."

Song List:

Shooting Star

W.O.L.D.

Harry Chapin introducing the band

Blues Man

Corey’s Coming

Dance Band on the Titanic

Mr. Tanner

Taxi / Six String Orchestra

Dirty Old Man

If My Mary Were Here

Dreams Go By

Mail Order Annie

Let Time Go Lightly

30,000 Pounds of Bananas

Cat’s in the Cradle