Steve Goodman

It Sure Looked Good On Paper: The Steve Goodman Demos

Omnivore, 2021

9/10

Listen to It Sure Looked Good On Paper: The Steve Goodman Demos

The Omnivore label continues their documentation of the legendary songwriter Steve Goodman with a peek at his in studio work, where solo and band demos are spread across 20 previously unreleased tracks.

Of the band demos, “City Of New Orleans” leads the listen with Goodman’s inimitable and charming singing alongside his timeless folk and country appeal that John Denver and Arlo Guthrie embraced. Elsewhere, “Climb The Hills To Dale” is tinted with melancholy in its poetic presence, and “Eight Ball Blues” unfolds with a very cozy, frisky delivery and sharp, wise wordplay.

The solo recordings are some of the best, including the fascinating guitar picking of “Turnpike Tom”, where Goodman’s breezy vocals are quite inviting, while the cautious guitar playing of “Song For David” aligns with the emotive singing. Near to the end, the talk/singing of “It Sure Looked Good On Paper” sure has aged well in its bare playfulness, and “The Water Is Wide” exits with 6+ minutes of Goodman doing what he did best- playing honest, raw and universally relatable tunes.

Goodman passed away in 1984 at just 36 years old from leukemia. He left behind a large body of work, and there’s been many posthumous releases as well. Certainly one of the best collections of his songs, the packaging here includes liner notes from Lee Zimmerman and photos from Goodman’s family archives to help further document one of the most revered songwriters of the last 50 years.

Travels well with: Todd Snider- Cash Cabin Sessions, Vol. 3; Dwight Yoakam- 21st Century Hits

Travis Linville

I’m Still Here

Black Mesa, 2021

9/10

Listen to I’m Still Here

An esteemed session and touring musician, Oklahoma’s Travis Linville has an impressive resume that also includes this sophomore solo album that was produced by JD McPherson.

“I’m Still Here” leads the listen with agile acoustic guitar as Linville’s smooth, flawless pipes guide the piano friendly meshing of Americana and folk ideas, and “Feeling We Used To Know” follows with a louder approach, where thumping drums and firm electric guitar add a garage rock slant to Linville’s jangly formula.

Closer to the middle, “The Rain” enters darker territory as plenty of atmosphere unfolds amid some pop influences, while “Blue Sky Bound” is breezy, melodic Americana that also recruits a playful beat. “I Saw You”, an especially strong track, then flows with retro-rock appeal as frisky keys and Linville’s attention to deal won’t go unnoticed.

“Running Back” and “Diamonds And Dust” close out the disc, where the former is a finger snapping and bouncy display of ‘50s nods, and the latter exits on one of the best tracks as a poetic aspect enters Linville’s timeless song craft that embraces pedal steel and tambourine, too.

Linville possesses a skill that runs parallel to legends like Tom Petty, Elvis Costello and Willie Nelson. Always heartfelt, sometimes intimate and other times adventurous, he knows his way around an eloquent and mature tune that you’ll want to visit repeatedly.

Travels well with: Ted Russell Kamp- Solitaire; Adam Carroll- I Walked In Them Shoes

MOON

Shine

Self-Released, 2021

8/10

Listen to Shine

A duo comprised of Chelsea Dawn (vocals and drums) and Dan Silver (guitar and synth), as Moon the pair cultivate a very unique version of indie-rock, where their Southern California status is firmly embedded into a varied and inviting formula that allows their respective talents to be illuminated in spades.

The title track starts the listen with hand clapping fun as a gospel influence enters the busy and beat friendly version of soulful folk-rock, and “Never Cross Me” follows with an electronic angle to the playful and buzzing climate where Dawn’s vocals soar and the Budapest Symphonic Scoring Orchestra contributes much elegance.

“Sweetest Magic” occupies the middle spot and offers a calmer landscape of fluid percussive sounds as Dawn’s powerful pipes are both expressive and inviting in the stylish version of rock, while “Down By The Water” moves cautiously amid a dreamy quality that is so well executed, it alone is worth the price of admission. “My Oh My (I’ll Take You Home)” then exits the listen with a reflective quality as an orchestral backdrop complements the pensive mood.

Silver, a full time producer, highlights the tunes so precisely here, as Moon’s version of desert rock unfolds with an unpredictable and easily enjoyable 5 songs that ends far too soon. Thankfully, repeated plays settle in quite nicely.

Travels well with: The Rough & Tumble- We’re Only Family If You Say So; Zoe Fitzgerald Carter- Waterlines

Mare Wakefield & Nomad

No Remedy

Self-Released, 2021

10/10

Listen to No Remedy

A Nashville duo who certainly embrace the traditions of their hometown, Mare Wakefield and Nomad Ovunc are in the company of Brian Allen, Wes Little and Tim Galloway on this very distinct and very smartly executed 3rd album.

“Almost Mine” starts the listen with Wakefield’s lovely, sublime vocals alongside warm acoustic guitar as a dreamy opener makes an indelible impression, and “Give Myself To Love” follows with a quicker pace of country influenced spirit, where accordion from Ovunc and banjo thanks to Galloway adds much to the thoughtful climate.

Near the middle, “Outfield” offers a timeless approach that embraces folk ideas amid a poetic quality resonating alongside piano from Ovunc, while “Your Dad” glides with a dance friendly demeanor where Little’s skilled drumming anchors the rootsy atmosphere. ‘No Remedy”, one of the record’s best, then benefits from Jason Eskridge and Kira Small handling backing vocals on the heartfelt and emotive song craft that’s both stirring and memorable.

Landing near the end, “Home To Me” resides in darker territory where Wakefield’s strategic accordion is as agile as Wakefield’s pipes, and “Winter Rose” exits the listen gentle and emitting a bare eloquence that’s powerful in its subdued haze.

The pair missed out on 6 months of shows in 2020 due to the pandemic, and they concentrated their energy into this record instead. A career highlight, No Remedy balances intimacy with exploration, as flute, synth, upright bass and slide guitar, among many other noisemakers, make their way into what will likely be one of the best Americana records of 2021.

Travels well with: Patty Griffin- American Kid; Cindy Alexander- When The Angels Sigh

Mick Fleetwood & Friends

Celebrate The Music Of Peter Green And The Early Years Of Fleetwood Mac

BMG, 2021

9/10

Listen to Celebrate The Music Of Peter Green And The Early Years Of Fleetwood Mac

Mick Fleetwood sure has some talented friends, as names like Neil Finn, Kirk Hammett, Steven Tyler and David Gilmour, to name a few, help him flesh out this tribute album that was recorded live at the London Palladium on February 25, 2020.

“Rolling Man” starts the set with Rick Vito’s playful guitar on the bluesy rocker, and “Homework” follows with Jonny Lang’s contributions on the lively and rhythmic setting that’s got plenty of soulful power.

Further on, “Rattlesnake Shake” displays Steven Tyler’s vocal prowess and Billy Gibbons’ guitar acrobatics in the feisty rock climate, while “Looking For Somebody” brings organ and Christine McVie to the calmer landscape of ‘70s influenced ideas. “Station Man”, a particularly great tune, then recruits Pete Townshend for the rugged yet melodic execution of classic rock sounds.

Deeper yet, “The Sky Is Crying” puts the spotlight on a founding member of Fleetwood Mac, Jeremy Spencer, as he brings his inimitable guitar playing to the bare, emotive atmosphere, and “Shake Your Moneymaker” exits the listen with a group finale as a busy, energetic and festive spirit is packed into the glorious finish.

Sadly, Peter Green, an original member of Fleetwood Mac, passed away in 2020. This evening is an excellent tribute to his legacy, and also shines a light on the early days of the band. If you’re a fan of Fleetwood Mac or just want to hear some legendary artists making classic songs sound even better, you won’t be disappointed with this double disc listen.

Travels well with: Rick Vito- Soulshaker; Chicago- VI Decades Live (This Is What We Do)

Peter Gilbert

Burned Into The Orange

New Focus, 2021

8/10

Listen to Burned Into The Orange

The always impressive composer Peter Gilbert returns with a follow up to his 2008 release, The Bold Arch of Undreamt Bridges, and this time he’s got performances from the Arditti Quartet, Jeremias Schwarzer, Michael Velt and many others on the rich, textured and highly unpredictable 9 tracks.

“the voice opens wide to forget that which you are singing” starts the listen with atmospheric and often tense violins from Irvine Arditti and Ashot Sarkissjan, as Ralf Ehlers contributes strategic viola alongside quivering cello from Lucas Fels.

Elsewhere, the moody brass of the title track benefits from 4 saxophones as Paul Nolen’s soprano, Marcos Colon’s alto, Paul Forsyth’s tenor and Eric Lau’s baritone work together amid a warm and cinematic quality.

Of the shorter tracks, “Passage: Orange into Silver” channels a sci-fi feeling with mystery entering a darker approach thanks to the electronic exploration, while “Channeling the Waters” recruits a jarring delivery of flutes from Camilla Hoitenga and lively percussion from Magdalena Meitzner as they explore timbral innovation.

Near the end, “By The Lonely Traveller’s Call” puts Richard White’s tuba skills on display where the instrument is manipulated in unconventional ways, and “Soon as the Sun Forsook the Eastern Main” exits the listen with Emanuele Arciuli holding down piano as electronic media enters the dreamy, abstract finish.

Known for his artistic presence in the areas of acoustic and electronic sounds, Gilbert again provides a fascinating listening experience where his inestimable vision bridges the gap between organic and ambient instrumentation in ways that few others would dare to venture.

Travels well with: Curtis K. Hughes- Tulpa; Douglas Boyce- The Hunt By Night

Gabor Lesko

Earthway

Creativity’s Paradise, 2021

8/10

Listen to Earthway

The fusion guitarist and keyboardist extraordinaire Gabor Lesko aligns himself with Guido Block, Eric Marienthal and Jimmy Haslip, among many others, on this energetic and groove filled display of 8 varied originals.

The title track opens the listen with Dave Weckl’s proficient drumming that anchors Lesko’s sublime guitar playing as some minor prog-rock nods enter the equation, and “Fiesta” follows with dynamic instrumentation that displays Lesko’s synth prowess and Marienthal’s strong soprano work.

In the middle, “Igor” proves that Lesko shines in calmer areas of beauty, too, while “Push It!” resides amid a fuller landscape of rock oriented song craft that further showcases Lesko’s diverse talent in more firm areas.

Approaching the end, “Mickey Mouse Loves Jazz” embraces a more direct version of jazz that we could never tire of, and “Air (Lost Key Part Two)” exits the listen and meshes orchestral ideas with Lesko’s bold and innovative guitar acrobatics.

This is Lesko’s 8th album as bandleader, and once again his boundless talent and inimitable vision of fusion puts him at the top of the list as far as modern day jazz artists go.

Travels well with: Dan Rose & Claudine Francois- New Leaves; Reza Khan- Imaginary Road

Jeannine Otis

Into My Heart

Adrielle, 2021

8/10

Listen to Into My Heart

A vocalist, educator, actress and author, the Detroit native Jeannine Otis knows her way around a genre defying song, as the veteran artist has dabbled in pop, classical, dance and many other sounds. Here, she lands closest to jazz, where originals and cover are fleshed out with an impressive cast of musicians on hand.

“Mood Is For Lovin’” starts the listen with breathy, rich singing from Otis as Jimmy Ponzie’s guitar work and Sam Jacobs’ congas add much to the playful, warm climate, and “Touch Me Tonight” follows with Jonathan Sherry’s graceful piano complementing Otis’ expressive singing amid the sparse beauty.

Near the middle, “Sweet Sad Guitar” has Saul Rubin playing all the instruments on a calm, mesmerizing album highlight that showcases plenty of mature melodies, while “Lover Man” pairs Rubin’s spirited guitar with powerful singing from Otis on the intimate classic. “Cokika”, another strong track, then recruits Latin influences as Rubin and Otis make cultured, pretty song craft with much soul.

At the end, “In A Sentimental Mood” puts a cathartic touch on the Duke Ellington original, and “Into My Heart” exits the listen with a dreamy execution that allows Otis’ radiant pipes to shine.

Otis and company make the interpretations their own with much precise and careful instrumentation, and the originals embrace the time honored traditions of vintage jazz music in ways you won’t forget anytime soon. An artist with a wealth of talent across many avenues, Otis recorded her first song in 1980, and her passion and skill clearly haven’t waned, as evidenced by this engaging effort.

Travels well with: Amber Weekes- ‘Round Midnight Re-Imagined; Diane Moser- Birdsongs

Francois Bourassa

L’impact Du Silence

Effendi/NAXOS, 2021

8/10

Listen to L’impact Du Silence

A veteran of the Canadian jazz scene, Francois Bourassa now has 10 albums of original music to his credit, and L’impact Du Silence continues his impressive body of work with an effort that embraces emotion, improvisation and pays much attention to mood.

“Small Head” starts the listen with pensive, emotive keys that construct a poetic landscape of bare beauty, and “Blues Masque” follows with a swifter pace of intricate, absorbing piano that builds into a hypnotic display as a more firm approach is delivered.

Halfway through, “Remous Part 1” offers a frisky display of diverse songwriting that bounces playfully with much grace, while “Andante” pushes and pulls with warmth and tension as much grace and mystery surround the unpredictable climate. “La Buissonne”, one of the album’s best, then moves calmly, sublimely and often with a cinematic quality.

Nearing the end, “Musique pour Film” spends 8+ minutes mesmerizing us with elegance, power and a timeless execution of meticulous finger acrobatics, and “Epilogue 1983” exits the listen brief, serene and agile in its eloquent finish.

While 14 tracks of solo piano might seem to present a challenge to hold one’s attention, Bourassa pulls off the task easily with his profound skill and meticulous attention to detail across this fascinating adventure.

Travels well with: Erin Propp & Larry Roy- We Want All The Same Things; Sarah Jerrom- Dream Logic

Amber Weekes

‘Round Midnight Re-Imagined

Amber Inn, 2021

9/10

Listen Round Midnight Re-Imagined

An artist whose quantity and quality of work run parallel (this is her 4th release in 2 years), Amber Weekes returns with a batch of jazz influenced tunes from the past, and she’s got an all star cast of Southern California musicians with her, including Danny Grissett, Eddy Olivieri and Trevor Ware, among many others.

“Hazel’s Hips” starts the listen with hand clapping fun as Louis Van Taylor’s spirited saxophone supports Weekes’ smooth, soulful pipes, and “Summer Samba” follows with warm piano as Mark Cargill’s playful violin adds much to rhythmic setting.

Landing near the middle, “My Romance” recruits a dreamy climate as an orchestral backdrop complements the expressive, rich singing, while “Don’t You Feel My Leg” is as frisky as the title, where Sherman Ferguson’s proficient drumming and the fluid guitar lines add much to the bluesy delivery. “One For My Baby”, a particularly stirring track, then emits a soft and romantic execution that’s dizzying and sublime.

Close the end, the shuffling pace of “Lovers” will get your body moving to the timeless melody and soothing backing vocals, and “More Than You Know” exits the listen with much depth to Weekes’ soaring vocals as her always exciting brand of jazz exits with as much memorableness as it started.

Originally a promotional recording from 2002 that was made for clubs and festivals, the tracks here are remastered, remixed and reorchestrated. These are all songs that Weekes sang as a child, and are documented here as a tribute to her late father, as she swings and gets soulful in her inimitable and always charming fashion.

Travels well with: Diane Moser- Birdsongs; Anne Neikirk- Spring Shadows

Because Villains

Yes

Self-Released, 2021

8/10

Listen to Yes

The brainchild of singer-songwriter and multi-instrumentalist Travis James, as Because Villains he writes, performs and records all the music with a diverse and skilled approach that puts a unique spin on alt-rock.

“The Feeling” starts the listen with warm singing and equally inviting acoustic guitar as an eloquent version of rock unfolds with a strong vocal range alongside power and emotion. The middle track belongs to “Painkillers”, which gets a bit more forceful with its precise and arena rock friendly moments as James undergoes some self-examination, lyrically.

“There Is Us” exits the listen with fluent drumming as spirited guitar lines and soulful, even bluesy, ideas enter his cautious, yet universally embraceable version of modern rock.

A Florida native who now calls Nashville home, this is the 2nd EP from Because Villains in 6 months. Let’s hope an LP is on the horizon, cause James possesses a timeless sense of songwriting prowess that deserves a lengthier platform.

Travels well with: Neil Jacobsen- Silver Park; The Guilty Lenses- Somewhat Romance, Somewhat Poetry

Reverend Freakchild

The Bodhisattva Blues

Treated And Released, 2021

8/10

Listen to The Bodhisattva Blues

A Colorado resident, Reverend Freakchild has been paving a very unique solo career for 20 years now, and his highly curious brand of blues rarely stays in one place long on the very diverse The Bodhisattva Blues.

After the 9 second chanting of “Om Mani Padme Hum” opens the record, “I Can’t Be Satisfied” bursts into soulful and gritty blues rock that’s rhythmic, melodic and executed flawlessly.

Further down the line, “Little Red Rooster” sprinkles piano into the cautious and powerful landscape of vintage swagger, while “I Know You Rider” resides in retro rock’n’roll territory, where acoustic guitar and harmonica bounce playfully. “Yer Blues” then recruits Melvin Seals on a thick and rugged display of southern influenced rock that benefits from well timed organ and fuzzy textures.

Deeper still, “Sweet Sweet You” finds itself in some form of Americana where intimacy is explored with much attention to detail, and “And We Bid You Goodnight” exits the listen on a live tune that’s a cappella with a gospel spirit embedded in the spontaneity.

Freakchild is in some fine company here, where Mark Karan, Robin Sylvester, Hugh Pool and Chris Parker all lend their talents to a very unconventional version of the blues that embraces an inimitable formula of rock, roots and psychedelic nods.

Travels well with: AJ Fullerton- The Forgiver And The Runaway; North Mississippi Allstars- Up And Rolling

Benjamin Jayne

Theater

WhatAboutMusic, 2021

9/10

Listen to Theater

The sophomore album from Benjamin Jayne, which is the duo of siblings Benjamin and Amanda Wright, Theater enters a more rock focused setting than their debut, Hi-Lo, and they even dabble in electronics, too.

“Talking Heads” starts the listen and makes an immediate impression with its psyche-folk tendencies as Benjamin’s deep, soulful vocals guide the mysterious and acoustic guitar fueled atmosphere, and “Waiting For Life” follows with a swifter pace of gentle singing amid a meditative sort neo-folk breeziness.

“Theater” lands in the middle and moves with echoed vocals and swift percussion as a modern indie-rock approach is delivered, while “All Will Wash Away” gets dreamy, poetic and even hypnotic with its absorbing guitar work. “Moonshiner”, another exceptional tune, then builds into a beautifully textured climate of dark folk rock that suits any decade since the ‘60s.

“Glorious” and “Lies Divide” finish out the listen, where the former leads gentle before erupting into a buzzing execution of nearly alt-rock crunch, and the latter emits much elegance alongside warm strumming and timeless instrumentation.

Primarily a solo effort, Benjamin wrote and recorded the album with help from Drew Skinner on production and mixing, and Amanda contributed bells, backing vocals and keys. A very well thought out and lyrically relevant 2nd record, Theater sounds right at home in a loud rock venue just as it does soundtracking an intimate campfire as Benjamin Jayne put a unique and memorable spin on folk rock.

Travels well with: Spencer Cullum- Coin Collection; Brian Cullman- Winter Clothes

Philippe Cohen Solal & Mike Lindsay

Outsider

¡Ya Basta!, 2021

9/10

Listen to Outsider

A collaboration featuring the musician, producer and composer Philippe Cohen Solal, who’s a member of Gotan Project, and Mike Lindsay, of the acid folk band Tunng, the duo bring in vocalist Adam Glover and musician Hannah Peel for Outsider, which is inspired by the life and work of the American artist Henry Darger.

“Who Will Follow Angelinia?” starts the listen with a dreamy approach of warm instrumentation, soothing vocals and a sublime orchestral quality to the chamber sounds, and “Hark Hark, My Friend, Cannon Thunders Are Sweling” follows with spoken word as an ethereal atmosphere is built around strings, drums and angelic backing vocals.

In the middle, “Can A Boy Forget His Mother” finds a calmer place to reside, where soulful horns and an elegant haze surround the cautious landscape, while “851 Webster Avenue” is 2+ minutes of ambient instrumental prowess that’s cinematic and absorbing in its uniqueness. “We Sigh For The Child Slaves”, one of the record’s best, then touches on folk ideas as soaring vocals and muffled horns radiate an iconoclastic version of Americana.

Near the end, “We’ll Never Say Goodby” retains a gospel spirit initially, as the pretty pipes add much to the triumphant execution, and “Scattering The Fierce Foeman” exits the listen with a charming energy that’s got some pop spirit embedded in the throwback appeal.

An aptly titled record, Darger’s reclusive life of clandestine art was as unconventional as this listen, where nods to the ‘50s and ‘60s unfold with an artistic and lush version of vintage pop from some of the most creative minds in music today.

Travels well with: Tunng- Turbines; Wudewuse- Northern Gothic

Danny Paisley & The Southern Grass

Bluegrass Troubadour

Pinecastle, 2021

9/10

Listen to Bluegrass Troubadour

The legendary Danny Paisley and his band have enjoyed a lengthy and esteemed career with their traditional take on the time honored bluegrass sound, and together with Ryan Paisley, Bobby Lundy, Mark Delaney and Matt Hooper he continues their powerful, intense and extremely memorable formula.

“Blink Of An Eye” starts the listen with Paisley’s soaring pipes alongside Delaney’s banjo prowess and Ryan Paisley’s mandolin on the harmonic bluegrass opener, and “Date With An Angel” follows with no shortage of melody as Hooper’s fiddle acrobatics don’t disappoint .

Residing next to middle, “Forty Years Of Trouble” offers a swift, dynamic display of strong rural musicianship, while “Fancy Gap Runaway” benefits from fingerpicking acrobatics in the dizzying instrumental. “I’d Rather Live By The Side Of The Road” then showcases Lizzy Long’s tenor vocals on the sublime duet that showcases so much inimitable talent.

At the end, “Long Black Limousine” enters ballad territory with much graceful beauty amid the cautious landscape, and “May I Sleep In Your Barn Tonight Mister” exits the listen quick, precise and glowing with bluegrass sensibilities that sound as great today as they will 50 years from now.

Paisley’s diverse and soulful voice sounds better than ever across these 10 tracks, and The Southern Grass certainly know how to inject the perfect balance of energy and emotion while staying true to their classic bluegrass ways on this career highlight effort.

Travels well with: Williamson Branch- Heritage & Hope; Dale Ann Bradley- Things She Couldn’t Get Over

Ahmed Warshanna

Ishta

Tiber River, 2021

8/10

Listen to Ishta

A rising jazz artist from Baltimore, Ahmed Warshanna blends both Eastern and Western ideas into his cultured songwriting, where he takes help from Hart Guonjian-Petit, Dominic Ellis, Daniel Sperlein, Josh Miller, Thomas Owens, and Charlie Seda on these 5 compositions.

“Inty Omry” starts the listen with hypnotic piano from Miller as bright brass and frisky drumming from Seda steer a very interesting 9+ minute opener, and “Alf Leila” follows with a more playful climate of smooth guitars from Warshanna as Guonjian-Pettit’s soulful trumpet adds much depth to the album highlight.

At the halfway point, “Samaka” displays sublime interplay between the artists in a cautious and mesmerizing execution of dreamy song craft, while “Azra’” makes great use of Owens’ bass prowess and, of course, Warshanna’s superb guitar that’s present across the entire listen. “Intisar” exits the listen, and puts the saxophone on display as a lush and unpredictable climate unfolds with incredible memorableness and dexterity.

A very unique fusion effort, Warshanna takes nods to the post-bop of the ‘60s and popular Egyptian music while also being influenced by legends like Wayne Shorter and John Coltrane, and it results in a very fascinating take on jazz.

Travels well with: Wayne Shorter- Jazz At Lincoln Center Orchestra With Wynton Marsalis; Kane Mathis- Geminus

Timmy Brown

Good Life

Self-Released, 2021

8/10

Listen to Good Life

The country singer-songwriter Timmy Brown is making fans pretty quick with his heartfelt and easily relatable songs that explore friendships, relationships and other life adventurous on this debut album. Although he has his roots in New England, his song craft sounds right at home in Nashville as Brown touches on all the hallmarks of Music City that we could never tire of.

“That’s Where You Come In” starts the listen with a pop friendly approach to country as Brown’s flowing vocals guide the breezy melodies, and “Summer Of Us” follows with a warm setting of power and tunefulness as he displays his strong singing prowess.

In the middle, “Nothing To See Here” puts focus on intricate electric guitar as a more rugged direction enters the textured landscape, while “You Do” trims the pace and volume back with much beauty entering the ballad like territory. “That’s How We Drink Here”, one of the album’s best, is then a playful and dance spirited moment of crisp drumming, finger snapping fun and well timed backing vocals.

At the end, the restrained, emotive quality of “Wish You Knew Me Better” showcases a firm, timeless country appeal, and the title track finishes the listen with an anthemic, feel good tune that’s tailor made for playing loud while driving to the beach.

Armed with a set of soaring pipes and a strong sense of songwriting dynamics, Brown is certainly on his way to an exceptional career in the area of pop influenced country rock, as you’ll find plenty of reasons to revisit Good Life.

Travels well with: Alyssa Trahan- Baby Blues & Stilettos; Lilly Winwood- Time Well Spent

Bob Corritore & Friends

Spider In My Stew

VizzTone, 2021

9/10

Listen to Spider In My Stew

The harmonica genius Bob Corritore returns with 14 new tunes, and he’s got an all star selection of guests along with him, including John Primer, Bob Margolin and Adrianna Marie, among many others, for the festivities.

“Tennessee Woman” starts the listen with plenty of soulful blues swagger, as Tony Tomlinson’s guitar and Shea Marshall’s sax add much liveliness to Oscar Wilson’s vocals, and “Big Mama’s Soul Food” follows with Sugaray Rayford’s gritty pipes complementing Kid Ramos’ strong guitar work and Blake Watson’s energetic bass lines.

With the wealth of talent on hand, there just isn’t a bad tune present, and some of the best ones reside in the middle, including Shy Perry’s expressive pipes and Brian Fahey’s drum acrobatics on the rhythmic “Wang Dang Doodle”. “Drop Anchor” then flows with Corritore’s always flourishing harmonica amid Alabama Mike’s frisky vocals on the melodic climate, while “Why Am I Treated So Bad”, one of the album standouts, recruits a gospel influence as Francine Reed handles vocal duties alongside Johnny Main’s guitar and Mike Hightower’s bass.

Landing near the end, the groove friendly “I Can’t Shake This Feeling” will get you shaking your body to Lurrie Bell’s inimitable singing and Corritore’s harp skills, and “I Shall Be Released” exits the listen with Reed’s powerful pipes emitting much emotion as Ramos and Main contribute guitar and the rhythm section of Hightower and Fahey don’t disappoint either.

Corritore has released several recordings in the last couple years, and each one has been nothing short of fantastic. Spider In My Stew continues that theme, and with the large amount of talent on hand, each track shines in its own unique light and resonates with so much talent.

Travels well with: Johnny Burgin- Live; Kid Ramos & Bob Corritore- Phoenix Blues Sessions

Pikefruit

Inflorescence

Self-Released, 2021

9/10

Listen to Inflorescence

The Seattle duo Pikefruit are back with a sophomore release, where their ambient, melodic and sugary sweet approach unfolds across 10 very cleverly crafted songs that embrace pop, rock and electronic ideas in very inviting ways.

“So We Begin” starts the album with some mysterious twinkling as very elegant singing from Nicole and playful percussion abruptly enters the unusual version of electro-pop that emits much beauty, and this innovative approach continues to the pretty synth-pop of “Why I Smile”, which buzzes gently with much agility.

In the middle, “Lullaby” indeed does find a calm place to reside as mood and atmosphere are key in the ‘80s influenced climate, while “Wish You Were Here” shimmers with a near post-punk quality amid a dreamy delivery of manipulated synth. “Play Your Game”, a particularly memorable tune, then possesses a dance friendly spirit that touches on New Wave tendencies in ways that you can’t help but be smitten with.

Approaching the end, “Tempest” offers a radiant display of pop filled song craft that’s got plenty of mass appeal, and “Finite Time” finishes the listen hazy, cautious and with Alex’s sublime production work illuminating the glowing landscape.

Pikefruit find themselves in a very unique spot, where the best sounds of the ‘80s, the creative pop of the ‘90s and modern day indie-rock are all present in a very smart and memorable debut album we should all be acquainted with.

Travels well with: Glaare- Your Hellbound Heart; Creux LIes- The Hearth

Calista Kazuko

Whatever it is, the way you tell your story online can make all the difference.

Empress

Self-Released, 2019

9/10

Listen to Empress

This debut album from the multi-instrumenatlist Calista Kazuko finds the subject matter surrounding feminine power and sexuality, as the songstress dedicates this body of work to her late father, the violinist Paul Robertson.

“The Empress” starts the listen with hushed, breathy vocals in a bare setting that soars, and “Come To Mama” follows with mystery and elegance amid plenty of sophisticated melody.

In the middle, “Ode To Genevieve” uses strategic keys and strings in the album ballad, while “Dear Sabotage” continues that landscape with some pop influences complementing the bluesy feelings. “Sick Like Me”, one of the best tunes, then brings more forceful percussion and expressive vocals for an unclassifiable but immediately intriguing artistic venture.

Near the end, “Cake” offers a danceable excursion into strong rhythm and timeless melody with vocal effects, and “We Are Impress” ends the listen with marching band style drumming and repetitive vocals that unfold with a dreamy quality.

An extremely versatile affair, Kazuko finds a unique place to reside where pop, blues, jazz, cabaret sounds, and modern rock all co-exist alongside inimitable storytelling on this well executed first album.

Travels well with: Fiona Apple- Tidal; Amanda Palmer- Theatre Is Evil