Jules Shear

Slower

Funzalo, 2020

8/10

Listen to Slower

Although Jules Shear has penned over 20 albums, he’s also written hits for legends like Cyndi Lauper, The Bangles and Til’ Tuesday, among others. On Slower, the veteran singer-songwriter offers some of his most intimate song craft to date, where plenty of raw, slow burning songs unfold with his creative vision piqued.

“Sugar All Day” starts the listen with a very mature, warm setting of graceful keys from Pepe and John Sebastian’s spirited harmonica as Shear’s inviting vocals leave an indelible mark, and “Between Hell And Hello” follows with cautious percussion from Joe Majestro on a song that touches on timeless folk qualities.

Halfway through, “It’s Love” flows with breezy melodies on an indeed romantic album highlight, while “Feels Like Fall” recruits some form of Americana with Shear’s intimacy both being stirring and reflective. “Today Like Tomorrow” then touches on both jazz and classical sounds in its highly creative atmosphere.

At the end, “Until Now” pairs piano and light drums with Shear’s modest, expressive vocals, and “Call It Love” exits the listen bare, soothing and full of emotion on a sublime finish.

The author of some of the best love songs in the area of pop music, Shear gets personal with heartfelt melodies and eloquent wordplay here that proves that, at nearly 70 years old, his craft is no less impactful.

Travels well with: Peter Himmelman- Press On; Peter Mulvey- There Is Another World

Zola Mennenoh

Longing For Belonging

Figureeight, 2020

9/10

Listen to Longing For Belonging

Although she may be known best as a session musician, Germany’s Zola Mennenoh brings her multi-instrumental skill to this debut solo album, where her vast experience playing jazz and avant garde choral music helps her flesh out the cultured and sophisticated tunes here.

“I Came Here To Stay” starts the listen with gentle strings as Mennenoh’s highly expressive and angelic vocals guide the very atypical folk song that uses bare percussion, and “I Disappeared Under The Sea” follows with an engaging, sparse quality that’s often hushed, and later on recruits graceful piano alongside sublime singing.

In the middle, “I Will Always Be Yours Forever” flows with a dreamy appeal as woodwinds add much to the gorgeous landscape, while “Make Things Simple” incorporates some experimental ideas as it quivers with 12 minutes of rhythmic droning.

Vocals return to the gentle acoustic guitar focused “Look For The Blue Hoodie! xx, M”, which is one of the album’s best, and “Edinburgh” exits the listen with just vocals in a seemingly spontaneous and playful finish.

An album where each track brings unpredictable surprises, there’s traces of folk, classical and jazz, as viola, piano and drums are used sparingly but effectively. Ultimately a very intimate, highly creative and beautifully delivered piece of art that those with open ears will treasure, Mennenoh’s talent appears to be boundless.

Travels well with: Annie Dressner- Coffee At The Corner Bar; Emily Barker- A Dark Murmuration Of Words

Ultimately Fruitless

Questions & Impulses

Self-Released, 2020

9/10

Listen to Questions & Impulses

An impressive trio from Chicago who remind us of the sounds coming out of Seattle in the early ‘90s, but who also might own records by The Beach Boys and Iggy Pop, Ultimately Fruitless bring an eclectic and exciting brand of modern rock to this easily embraceable album.

“How To Be The Life Of The Party” starts the listen with driving guitars as melodic alt-rock enters a very enticing opener, and “Hazy Sunday” follows with some chunky basslines as contemporary indie-rock flows with a hypnotic quality that indeed gets a bit dreamy.

At 15 tracks there’s much to take in here, but the band keep the scene varied, with the grunge nods of the playful “Cornflower Blue”, while “Big Wave” dips its toes into charged surf rock territory. “Things I Claim To Have Read In Books” then tips its hat to garage rock, with a dynamic and propulsive landscape that could fill stadiums.

As we get towards the end, “Fall” pounds swiftly with fantastic drumming alongside a more abrasive execution, and “Somethingtown” exits the listen some with minor post-punk influence amid a busy, buzzing formula.

A band who are very much in tune with some of the best facets of rock’n’roll from the last 3 decades, don’t let their self-deprecating name fool you, cause this is some first rate, guitar fueled rock you won’t forget anytime soon.

Travels well with: Albert Hammond Jr.- Momentary Masters; Black Rebel Motorcycle Club- Specter At The Feast

The Flat Five

Another World

Pravda, 2020

8/10

Listen to Another World

The Chicago supergroup The Flat Five, i.e. Kelly Hogan, Nora O’Connor, Scott Ligon, Casey McDonough and Alex Hall, are back with a second batch of their infectious pop formula that turns harmonies into a refined science.

“Drip A Drop” starts the listen with a memorable pop song as vocal harmonies align with upbeat and playful instrumentation, and “Look At The Birdy” follows with graceful piano as spirited brass enters the jazz friendly climate.

Near the middle, “This’ll Be The Day” recruits strong electric guitar prowess on the retro rocker, while “Girl Of Virginia” moves softly, with much sophistication, as the esteemed members weave in and out of timeless textures. “Butterflies Don’t Bite”, one of the album’s best, then shuffles with a charming demeanor as horns complement the bouncy spirit that will get your body moving.

Closer to the end, “House Of Foam” brings soothing vocal work into the light, melodic atmosphere, and “Over And Out” will lift your mood with its positive message and glorious musicianship.

All the tracks here were penned by Scott Ligon’s older brother, Chris, who has soundtracked shows like Weeds and the Dr. Demento Show, as The Flat Five put their inimitable and extremely joyful spin on an excellent sophomore appearance.

Travels well with: Kelly Hogan- I Like To Keep Myself In Pain; Mavis Staples- We Get By

Famous Letter Writer

Warhola

Big Deep, 2020

8/10

Listen to Warhola

The debut album from the duet of M.I. Devine and his wife Ru, as Famous Letter Writer the pair breed a gritty version of pop that’s as likely to draw comparisons to The Velvet Underground, just as it is legends like Talking Heads.

“Warhol/Warhola” starts the listen warm buzzing as a crunchy version of alt-pop enters the setting, and “19.99” follows with soft female vocals complementing the garage rock nods that certainly sound indebted to the ‘80s.

Halfway through, “Get Out” benefits from an organ as both subdued and busy textures enter the cathartic rocker, while “Share” glides around waves of dreamy instrumentation. “7th Grade”, an album stand out, then displays precise instrumentation as an artistic quality graces the playful pop formula that even references a Trapper Keeper.

Closer to the end, “All In My Head” recruits strategic keys where rhythm is present and welcomed, and “Daughter” exits with a sparse delivery of synth and guitars in the reflective, unpredictable song craft.

Keith Zarriello produced the affair, and did a hell of a job, as every moment here is expertly crafted to elicit the most amount of intrigue as the Devine’s twist and shape their version of pop in a way that you can’t help but be impressed with.

Travels well with: The Shivers- Forever Is A Word; Albert Hammond Jr.- Momentary Masters

Bob Hillman & Spooky Ghost

Bob Hillman & Spooky Ghost

Self-Released, 2020

9/10

Listen to Bob Hillman & Spooky Ghost

The San Francisco singer-songwriter Bob Hillman takes a unique approach to pop and rock with his self-described ‘Noise Folk’ on this 5 song EP, where he collaborates with Gerry Leonard, aka Spooky Ghost, who brings his esteemed guitar prowess to the formula.

Hillman starts the listen with the ambient noise of “Somebody’s Watching You”, where programming from Leonard enters the adventurous landscape that’s part folk-rock, part experimental rock, and “We May Be Getting Better (When We’re Not Getting Worse)” aligns strong acoustic guitar with much atmosphere that’s sonically adventurous yet still very warm.

In the middle, the firm beat of the dreamy “Elena (The Shadow Of A Shadow)” brings in impressive backing female vocals from Jaimee Harris alongside Hillman’s smooth delivery, while “Las Vegas” moves cautiously with a darker quality that’s both daring and mysterious. “Urban Wildlife” exits the listen, and recruits Paul Bryan on bass and Yuval Lion on drums as Harris and Hillman harmonize beautifully on the vintage soft rocker that’s more on par with Hillman’s previous, more traditional folk songs.

Hillman has already made fans out of David Crosby and Peter Himmelman, and, if you’re willing to devote sometime to this effort, you’re likely to become one, too.

Travels well with: Peter Himmelman- Press On; Peter Mulvey- There Is Another World

New Orleans High Society

New Orleans High Society

1718, 2020

9/10

Listen to New Orleans High Society

This debut album from New Orleans High Society showcases the outfit’s vast talent, as they interpret New Orleans standards where many genres are touched upon and delivered with their firm jazz template at the core of the listen.

“Down By The Riverside” starts the listen with marching band style drumming before highly memorable brass enters alongside soulful vocals from Cleveland Donald on the melodic opener, and “New Orleans” follows with lively percussion in the rhythmic and indeed New Orleans spirited affair.

Near the middle, “Ice Cream” flows with incredible horn acrobatics amid smooth singing and a punchy climate that will get your body groovin’, while “On The Sunny Side Of The Street” recruits Yacine Sebti’s piano for a stylish and glorious display of timeless beauty. “When It’s Sleepy Time Down South”, a late album highlight, then brings in guest Angie Z, who contributes sublime vocals on the slow burning and exciting 7 minutes.

“That’s A Plenty” and “Lil’ Liza Jane” exit the listen, where the former moves swiftly with playful interplay between the brass, and the latter benefits greatly from frisky percussion and Stephen Bohnstengel’s bouncy bass as David Bode’s saxophone bouts align perfectly with the gospel friendly vocals.

Amazingly, New Orleans High Society had only been playing together for a bit over 18 months before recording this exceptional first album. With this kind of chemistry, you’d think they’d have years- if not decades- under their belt, and it results in one of the best jazz endeavors of the year.

Travels well with: Doxas Brothers- The Circle; Rebecca Hennessy- All The Little Things You Do

Julian Gerstin

Littoral Zone

Self-Released, 2020

8/10

Listen to Littoral Zone

Julian Gerstin’s creativity seemingly knows no bounds, and here the percussionist returns with 17 selections that are partially improvised and partially composed where he plays a large handful of instruments that he’s culled from his worldwide travels.

“Voluta Musica” starts the listen percussivey strong as Gerstin recruits cultured rhythm into the worldbeat climate, and “Dentalium Elephantium” follows with firm, dynamic percussion that’s nearly hypnotic in its playful yet sublime delivery of African influences.

Elsewhere, “Corculum Cardissa” benefits greatly from Anna Patton’s deft clarinet prowess, while “Crepidula Fornicata” moves with a bare quality where Gerstin impresses us with his artistic vision. “Grimpotheusis”, an album highlight, the recruits Steve Rice’s marimba on the dreamy display of subdued beauty.

Deeper into the listen, “Argonauta Argo” brings Rice back on the brief yet rhythmic venture, and the title track exits the listen with a nearly tribal like approach of unparalleled skill.

An album that yields new finds with each subsequent listen, there’s a whole lot going on here, where constantly shifting tempos, varying degrees of intimacy and a massive amount of texturing you’re unlikely to hear anywhere else are present and appreciated.

Travels well with: Kurt Rosenwinkel- Stars Of Jupiter; Trilok Gurtu- God Is A Drummer

Rebecca Angel

For What It’s Worth

Grooves, 2020

8/10

Listen to For What It’s Worth

The always impressive Rebecca Angel puts a very playful spin on the classic protest song “For What It’s Worth”, that Buffalo Springfield popularized way back in the mid ‘60s.

The tune leads with playful basslines from Reggie Washington as Angel’s sultry, smooth vocals guide Dennis Angel’s warm trumpet and frisky percussion by Bashiri Johnson as a jazz friendly tone takes over the superbly textured climate.

Angel took inspiration from the Brazilian influenced recordings of Sergio Mendes & Brasil ‘66 on this interpretation, and it’s relevance to today’s systemic racism won’t be lost on anyone living in America. Angel, who resides in Manhattan, has been experiencing the protests firsthand, and is making her voice heard, literally, through her always flourishing song craft on this excellent single.

Travels well with: Rebecca Hennessy- All The Little Things You Do; Malin Pettersen- Wildhorse

The Slackers

Blue 7”

Pirates Press, 2020

9/10

Listen to Blue 7”

The New York City legends The Slackers release an ‘Election Edition’ 7” here, where the aptly titled song “Blue” comes in 2 versions, but with one very important message that encourages listeners to, of course, proudly vote blue.

Side A offers us “Blue”, where The Slackers deliver their patented ska, rocksteady sounds as reggae nods enter the groove friendly setting that gets soulful and rhythmic in a way that only they can do it.

Side B is the Dub Version of “Blue”, where the band inject soft horns into the echoed singing in an adventurous and reverb filled setting that’s not short on memorable basslines.

Limited to 1000 copies and available in 4 different colors, like everything The Slackers have done in their nearly 3 decade career, this is a must hear piece of wax, that, in 7 minutes of playing time, sums up just what the end of 2020 became.

Travels well with: The Aggrolites- Reggae Now! ; Bid D And The Kids Table- Stomp & Stroll

Raye Zaragoza

Woman In Color

Rebel River, 2020

10/10

Listen to Woman In Color

A artist who is indigenous on her father’s side and Japanese-American on her father’s side, Raye Zaragoza was raised in a tiny New York City apartment, and she’s acutely aware of the politicalization of her heritage, which is echoed across this stunning and eloquent album.

“Change Your Name”, about her mother immigrating from Japan to America, starts the listen with gentle acoustic guitar as Zaragoza’s sublime pipes enter the reflective and warm setting of folk-influenced songwriting that builds into a fuller atmosphere, and “Fight Like A Girl” follows with strategic horns amid breezy melodies as Zaragoza explores her impressive range.

Halfway through, “Warrior” moves with a cautious landscape of dreamy instrumentation, while “Run With The Wolves” makes great use of cello and keys in its mature, precise execution. “Rebel Soul”, one of the best of the best, then really displays Zaragoza’s powerful and timeless song craft that’s both soulful and lyrically inspiring.

At the end, the strategic harmonica and banjo of “They Say” brings an Americana slant to the versatile listen, and “Ghosts Of Houston Street” exits the listen with playfully strummed acoustic guitar meshing with orchestral strings as she addresses gentrification in her former neighborhood.

There’s some pretty impressive help on hand here, including Colin Meloy and Laura Veirs, but there’s no mistaking that Zaragoza’s poetic, stirring and shrewd vision is the focus of this exceptional record.

Travels well with: Buffy Sainte-Marie- Power In The Blood; Lindsay Lou- Southland

Juletta & Ishan

If I Never Hit Land

Self-Released, 2020

8/10

Listen to If I Never Hit Land

The debut album from this New York City duo brings a wealth of influences and genres explored across a dozen very well thought out tunes, where Juletta & Ishan bring their respective talents in spades.

“But Judi, Everything Changes” starts the listen vocally strong as electronic effects add much to the warm, bare setting, and “Solstice” follows with crisp percussion highlighting the buzzing climate of soulful, dance friendly sounds where Ishan’s beats shine bright.

Things only get more interesting from here, including the blurry, club delivery of “Ishan’s Verse”, while “Ounces” focuses on piano in the emotive and powerful climate. “Wildheart”, a Stevie Nicks tune, then recruits deep vocals with an R&B flavor that helps make this one of the album’s best.

Deeper still, “Spiral” floats with a dreamy feel of ethereal genius, and “Magdalene II” finishes the listen with a slow burning display of airy vocal layering amid mysterious piano balladry.

Juletta brings a very impressive set of pipes to this first album, and Ishan’s DJ skills add much adventurousness into the effort that helps make for an eclectic and accomplished first trip to the plate, and a definite sign of great things to come.

Travels well with: JS Williams- From A Plane; Tom And His Computer- Future Ruins

Orli Shaham

Mozart Complete Piano Sonatas

Canary, 2020

8/10

Listen to Mozart Complete Piano Sonatas

The piano extraordinaire Orli Shaham has taken on an impressive project here, where she interprets the works of Mozart. On this first disc in a series of five, she offers us “K.281”, “K.333” and “K.570” in B-flat major, where each sonata unfolds with its own distinct voice amid much attention to detail.

“Piano Sonata In B-Flat Major No. 3, K.281” starts the listen with sublime piano acrobatics that often move at a furious pace, but also retreat to calmer ebbs, too, and “Piano Sonata In B-Flat Major No. 13, K.333” follows and leads as if it’s one of Mozart’s operas, where a highly melodic presence weaves in and out of gorgeous song craft that’s as stirring as it is fascinating.

“Piano Sonata In B-Flat Major No. 17, K.570” finishes the listen strong, where Shaham’s skills are nothing short of awe inspiring, often playing so meticulously, you’d think there were multiple pianos playing simultaneously.

Shaham certainly retains the artistic spirit of these classics, and injects plenty of drama, humor and adventurousness that will certainly keep us anticipating the next 15 sonatas of the this series.

Travels well with: Edward Smaldone- Once And Again; Ludwig Van Beethoven- Complete Sonatas For Piano & Violin On Historic Instruments

Emily Brown

A Fish Of Earth

Song Club, 2020

9/10

Listen to A Fish Of Earth

A California songstress and poet, Emily Brown is nothing if not unclassifiable, and this installment of her unpredictable song craft comes with feral melodies, impressive singing and, sometimes, the impression that she’s having a conversation with herself in mid-song.

“Amen Amen” starts the listen and makes an immediate impression with Brown’s elegant and expressive vocals in the warm, chamber folk atmosphere, and “Baby Wanting” follows with a playful spirit as she weighs the pros and cons of having a child amid a very busy setting.

In the middle, “Marianne” is a quick blast of many voices in a baroque pop display, while “Dread” is a mix of talking and singing as a dreamy territory is entered with much charm. “I Haven’t Been Through Any Of That”, one of the most adventurous tunes present, then spends 8 minutes amid strategic tension and space, as a cautious landscape unfolds with intimacy and exploration.

“Game Show” and “You Might Rise” bookend the listen, where the former illustrates Brown’s strong vocal prowess alongside soft acoustic guitar and quirky strings, and the latter offers low strings as an introspective mood settles into the eloquent finish.

Certainly inspired by legends like Joni Mitchell and Fiona Apple, Brown is navigating a very atypical approach where classical, jazz, orchestral, baroque and chamber ideas are all part of her indie-folk formula that’s as imaginative as it is captivating.

Travels well with: Malin Pettersen- Wildhorse; Gretchen Peters- Dancing With The Beast

William Luke White

William Luke White

Nine Mile, 2020

10/10

Listen to William Luke White

Although William Luke White has played in many bands, I can’t say I was familiar with his name, and after hearing this excellent solo EP, I’m a bit embarrassed to admit that. An artist who has dealt with much tragedy lately in the form of a massive seizure due to a brain tumor, although he’s no longer able to tour, he’s clearly very able to make timeless music.

“(Tell Me) Where Ya From From” starts the listen percussively strong as saxophone enters the busy and rhythmic setting that embraces soul, jazz and Americana in its unique brand of indie-rock, and “Glory Line” follows with warm acoustic guitar as White’s expressive pipes display both grit and melody amid some power-pop tendencies.

The back half of the listen offers us “Love In A Cage”, where intricate guitar work aligns with some memorable pop spirit, and “My Worst” exits the listen with a quick blast of rootsy flavored rock that’s so well done it parallels the greatness of names like Gary Louris or Jeff Tweedy.

White has assembled a top notch band to help flesh out these tunes, and it certainly helps make for a triumphant return to music for the Memphis luminary. Can’t wait for an LP.

Travels well with: The Jayhawks- XOXO; The Long Ryders- Psychedelic Country Soul

Tex Ritter

The Songs Of The West

Country Rewind, 2020

8/10

Listen to The Songs Of The West

An esteemed country singer who also enjoyed successful careers in acting and radio, on this unique album we are treated to 14 songs that Tex Ritter recorded for broadcast on the radio and are versions that were never commercially released.

“Best Time Of All” starts the listen with Ritter’s unmistakable vocals guiding the classic country setting where pedal steel makes an impression, and “You Will Have To Pay” follows with expressive singing in the cautious, vintage atmosphere.

Further along, “The Wayward Wind” benefits from a softer, dreamy climate where Ritter’s soaring pipes shine bright, while “Bollweevil” flows with dynamic fiddle and banjo acrobatics. “Beaumont Ring”, one of the best tunes and quickest, then shuffles swiftly with precise strings in a bluegrass sort of way.

As we get near the end, “These Hands” moves slowly, with Ritter hitting some low notes, and “High Noon (Do Not Forsake Me)” exits the listen with moody strings complementing his inimitable execution that we will never tire of.

The master tapes of these versions were brought up to twenty-first century audio quality, although they certainly still sound very retro, which, of course, is part of the charm of these recovered gems that the Country Rewind label keeps impressing us with.

Travels well with: Merle Travis- Sixteen Tons, The Kentucky Legend; Rex Allen- America’s Last Singing Cowboy

Merle Travis

Sixteen Tons The Kentucky Legend

Country Rewind, 2020

8/10

Listen to Sixteen Tons The Kentucky Legend

A legendary singer-songwriter and guitarist, Merle Travis forged a multi-decade career that spanned country, folk, blues, gospel, Americana and swing sounds with his trademark finger picking. Here, we’re treated to 15 of his timeless tunes, some of which would go on to be recorded by B.B. King and Stevie Wonder.

“Cincinnati Lou” starts the listen with Travis’ smooth vocals alongside agile, country influenced, rock’n’roll, and “Cannonball Rag” follows with a quick pace of soft horns and spirited guitar work in the instrumental setting.

Elsewhere, “Louisiana Boogie” indeed gets your body moving with strategic backing vocals, while “Sixteen Tons”, one of his biggest hits, brings brushed percussion to a bare setting of retro fun. “I Am A Pilgrim” then recruits a dreamy quality amid angelic backing vocals and warm guitar lines.

Deeper still, “Fat Gal”, one of the album’s best, displays strong vocal prowess from Travis as he offers vivid storytelling where female vocals add much to the playful climate, and “That’s All” finishes the listen with an oldies feel, where some of the best guitar playing on the album resides.

Travis passed away in 1983 and most of his early work is out of print and certainly not available on CD. Country Rewind collects some of his best work here, effectively keeping his inimitable and timeless songwriting alive in one convenient location where it will sound great for decades to come.

Travels well with: Rex Allen- America’s Last Singing Cowboy; Rex Allen Jr.- Then & Now

Rick Shea

Love & Desperation

Tres Pescadores, 2020

8/10

Listen to Love & Desperation

The guitarist, singer and songwriter Rick Shea has enjoyed a 4 decade career that includes playing folk, blues, rock and country. On this 12th solo album, Shea’s alongside Shawn Nourse on drums, bassist Jeff Turmes and his longtime collaborator, Dale Hall, among others.

Shea starts the listen with the infectious spirit of the rockabilly fun of “Blues Stop Knockin’ At My Door”, where Phil Parlapiano’s accordion mixes well with Shea’s electric guitar, and “Blues At Midnight” follows with a calmer pace of soulful singing alongside restrained, warm blues prowess.

Further along, “Big Rain Is Comin’ Mama” makes great use of steel guitar in the rootsy rocker, while “A Tenderhearted Love” enters ballad territory, as harmony vocals and a Hammond B3 add much to the sublime ballad. “Juanita (Why Are You So Mean)” then recruits a bouncy, dance friendly spirit with an Irish flavor that’s immediately contagious.

Closer to the end, “Mystic Canyon” glides with agile beauty that doesn’t need vocals to emit much emotion, and “Texas Lawyer” exits the listen with a country shuffle as mandolin and trumpet help build rich textures of timeless song craft.

Shea and company had much of the album laid out just as lockdown started, so they had to go the digital route and record their respective parts in their homes. It all flows together seamlessly, though, and while blues is certainly the focus, there’s also country, folk and cajun present, and it’s all delivered in Shea’s inimitable and exceptional vision.

Travels well with: Jesse Dayton- The Outsider; Eric Brace & Last Train Home- Daytime Highs & Overnight Lows

The Hollywood Jazz Orchestra

Oye Como Va

Hindsight, 2020

8/10

Listen to Oye Como Va

An ensemble put together by Peter Myers, who also directed and produced this album, The Hollywood Jazz Orchestra pulls in a 15 piece orchestra, where some of Southern California’s top talent are on hand to flesh out the legendary jazz tunes, including guest percussionist Alex Acuna.

The title track starts the listen with firm keys as warm brass enters the playful and soulful atmosphere, and this approach continues to the busy setting of the festive “The Trolley Song”, as well as the timeless blues of “Senor Blues”.

In the middle, “Star Crossed Lovers” burns slowly with elegant saxophone as a romantic mood unfolds with much sophistication, while “The Hornet” provides a frisky delivery of dynamic jazz sounds. “Try A Little Tenderness”, an especially noteworthy track, then meshes horns with percussion in unpredictable and exciting ways.

Near the end, “Three Trios” takes nods to Ellington, Davis and Monk with an exceptional trombone solo, and “The Chicken” exits the listen with plenty of lively texturing amid a soulful presence and deft basslines.

With over 4 decades of film and TV scoring under his belt, Myers and company turn in daring interpretations of these classics that were all recorded on the first take, while retaining the classic spirt of the originals and injecting new life that resonates with adventurousness.

Travels well with: Manteca- The Twelfth Of Never; William Chernoff- Aim To Stay

Jon Patrick Walker

“Welcome To The Edge Times”

Walksly, 2019

8/10

Listen to “Welcome To The Edge Times”

An esteemed Broadway actor for well over 2 decades now, these days Jon Patrick Walker is also quite interested in songwriting, and this 3rd album is his most personal yet, consisting of solo recordings, some of which were made while out on tour for Hamilton.

The title track starts the listen soft and reflective with warm acoustic strumming and Walker’s cozy vocals, and “We Won The War” follows with a raw folk tune tinted with darkness.

Further along, “Angelina Of The Sky” offers ‘60s nods in the bare Beatles influenced setting, while “The Mystical Ballad Of Gregory Jim” uses strategic keys and retro rhythm on the intimate and affectionate highlight.

Deeper into the listen, “Like A Rose” delivers some of the best acoustic strumming with summery harmonies and quirky percussion, and “(Meet Me At The) Delaware Water Gap” brings finger snapping, hand clapping fun to the most playful tune on the listen. “Blues For My Baby” ends the affair with a blues spirit amid a calm setting where harmonica and soulfulness are in attendance.

Certainly an edgy listen, Walker’s stripped down approach leaves no room for overproduction as he creates lyrically strong and musically diverse song craft that’s as tender as it is timeless.

Travels well with: Dave Mason- Alone Together; Ben Davis Jr.- Suthernahia