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Satellite Gods

Independent Release, 2016

This album is full of surprises. Starting with “Falling to Earth,” it initially feels like a ragged rocker that a million bar bands could deliver. But it quickly transforms to a lush, blithe number, complete with a resounding and irresistible chorus. This is followed immediately by “Saturday Night in Riga,” a loungey, lighthearted song, which moves breezily.

Covering a lot of territory here, rock, pop, Celtic, folk and blues, the songs have a lyrical and sonic potency. The songs play out like stories about family, not fitting in, and arduous journeys. Vocalist Brendan MacMahon delivers it all in a in poetic fashion and open to interpretation, MacMahon is able to weave tales and write music so entwined you cease to try to separate music from lyrics.

The Satellite Gods should remain in orbit for some time to follow.

Motion

Mayve

Independent Release, 2016

What’s old is new again, and that on it’s own can be fun. Long Island’s Mayve are making their way down a path previously blazed by The Stray Cats, Squirrel Nut Zippers, Steel Panther and countless others artists, (without animals in their name), who have opted to pursue a conspicously anachronistic art form. Mayve have chosen to dive headlong into the extra synthy aspects of the 1980’s. They call to mind, The Thompson Twins, Tears for Fears, and Human League without sounding like any of them exactly.

With “Cruel Intentions” they have a dogged and determined dance floor ready rhythm; chiming guitars, and lyrics that summon hopeful high school cravings. “Young Blood” is a more restrained, but no less earnest. “1924” is far more substantive than one would believe on first glance. With a deeply textured arrangement, it simmers easily.

Mayve strike a positive tone with a confident throwback sound that’s missing from the current audio landscape. Hopefully there will be more to come.

wearemayve.com

Unsung

Mark Reitanga

Independent Release, 2016

From Detroit, a town whose musical affiliations immediately call mind soulful Motown over the overblown sonic assault of The MC5 and Terrible Ted Nugent, comes the unexpectedly tender folk of Mark Reitanga.

Dulcet and sincere, he favors spare acoustic arrangements, and sings of personal journeys, spiritual and actual. There’s an honest vulnerability to the lyrics Mark, if I may be so informal, attaches to his songs. No bravado or swaggering boasts, just a profound desire to connect with someone else on a personal level.”Are You Waiting” seems like an window on a deeply intimate level.

“Angels Watching Over Me” is a sparkling bright tune of optimism and certainty of faith. And because Reitanga has a wicked sense of humor, he’s placed the closing number, “Devil’s Train” back to back with “Angels Watching Over Me” just to see who might notice.

“Devil’s Train” breaks stride with the rest of the EP. With an irresistible rockabilly shuffle and catchy chorus, what else could you want?

Mark Reitanga has a sunny disposition at odds with the hard knock, tough luck reputation of the Motor City and it’s hard to ignore.

www.facebook.com/markreitenga

Jason Andrew Brown

Jason Andrew Brown

Independent Release, 2017

There’s something about the midwest that helps to develop compelling songwriters. From Indiana comes Jason Andrew Brown. On his own after years of fronting the band Push Down and Turn, Brown is determined to set his own course.

With a six song EP, he covers optimism, loss and introspection. “Shine Sun Shine” is a bright eyed bit of pop designed to chase away whatever foul mood may be threatening. There’s the warm, dulcet strains of an electric piano worked in here that helps add warmth and depth to it all.

“Making Time” is an electric, upbeat rocker that sounds ready made for FM radio. “Icarus” contemplates the final thoughts of 9/11’s “The Falling Man” who has chosen to leap rather than allow himself to be burned alive. There’s a lot of time to contemplate the life you’ve led on that long drop. Emotionally bare, pained, and ultimately resigned, the song refuses to be gimmicky nor sacharine.

Jason Andrew Brown, armed with his acoustic guitar, has chosen to drape himself in the austere trappings of an folkie and Americana artist. There is little room to hide or to be insincere. So it’s a good thing he’s good at what he’s doing.

http://jbrown-music.com

Eidolon

Allan Hodsworth

Manifesto, 2017

Before Joe Satriani and Steve Vai there was Allan Holdsworth. Guitar heroes of the common variety may be easy to pigeonhole, but Holdsworth . . . ., can be hard to define. Which is why Manifesto has chosen to release a 12 CD set, The Man Who Changed Guitar Forever. The releases here span from 1982 until 2003. For those not as inclined to be inclusive purists, there is the two CD best of, Eidolon.

28 tracks of overblown histrionics, and high wire variety drama. The musicianship is by turns lyrical and fluid, artful and angular, with phrasing coming through the speakers from unexpected places. And sometimes this will occur in the space of just one song.

Perhaps what is fascinating in light of the scores of gifted over-the-top musicians he has inspired, is Holdsworth use of space. There will be moments where a rest will almost seem uncertain or hesitant before Holdsworth throws himself headlong into the next movement. “Letters of Marque”is a wild ride of spacey jazz. His take on Django Reinhardt’s “Nuages” is verdant and his synth axe often implies an accordian as the melody is teased to new places. “Road Games” which features Jack Bruce, has manic changes, and effortless mood swings.

We need artists like Allan Holdsworth to show us what’s possible. To show us the how the humble guitar, instrument of choice for pop stars and would be headbanging demi gods can transcend expectations and slip past all you thought was possible.

Manifesto.com

Oh Contraire

Race to Neptune

Independent Release, 2017

From Fort Collins, Colorado comes Race to Neptune. They shape layers of post punk with hints of psychedelia into what they call their own.

“Wanderlilly” is crazy catchy, emotionally nuanced, and when Brian Maier declares, “I see angels,” I believe him. “Elysian Fields” is angst filled and troubled, but always seeking. The song shows how wonderfully the band balances light and darkness throughout this disc.

“Blue Sky Burned” offers airy guitars coupled with a driving beat to push the song, before relenting to overblown squalls of frenetic lead work. Intense and iridescent, the song feels like personal torment.

“Bayou Brew” is a great two-hand on the snare race to beat the clock. This is Johnny Cash filtered through the Clash. This could be used for pretty much every chase sequence on Sons of Anarchy.

Whether working through a quiet passage or pushing through a raucous number, Race To Neptune bring a sense of urgency to all they do.

www.facebook.com/RaceToNeptune

Field Trip South, Day 1

Little Sheba and the Shamans, The WildTones, The Woolly Bushmen, the Subsonics, The Hatebombs, and The Little Richards

Will’s Pub

Friday, February 24, Orlando, FL

Real life often collides uncomfortably with art in ugly ways and as a result I wasn’t able to make it on time on Friday. So all apologies to the excellent Little Sheba and the Shamans, and Orlando’s own The Wildtones. I heard good things, so I’ll have to trust the word of the more punctual.

The Woolly Bushmen were swinging for the fences as the played their final show before leaving the next day for a month long tour of Europe. The Bushmen delivered an unhinged hour of organ fueled rock that quivered and shimmied with charisma and flair. From Atlanta came The Subsonics with a rude and raw sound that felt like rat rods street racing for pink slips. Theirs was a solid set of oily, revved up rock.

The Hate Bombs were reunited once more and the performance was impressive. Three chord masterpieces, with hooks to spare. Bassist Scott Sugiuchi was one of the organizers of the two day festival. The band was whipsmart and played like it was still the 90’s. Without missing a beat, or even breathing hard, guitarist Dave Ewing did splits and high kicks that would make Diamond Dave green with envy. They plowed through the set with a surety that only comes with time.

And then there came from San Diego, The Little Richards. This coed sextet has a deceptively uncomplicated premise, to perform the songs of Little Richard like they mean it. From Macon, Georgia, came the one and only Little Richard. Flambouyant, energized and over the top in all he did, Little Richard was peerless. Most people covering him come up short. In performance, in attitude, in every-thing. So The Little Richards had set a pretty high bar for themselves by attacking the most famous portion of his catalog.

What followed was a breathless 60 minute set of brilliant music which would have done Richard Penniman proud. There was production, style, a cocksure delivery and choreography. Everyone but drummer, Little Letty, took turns singing lead, and they stuck to the script by introducing each song, “Hi! We’re the Little Richards, and I’m Little Pat (or who-ever), and this is Tutti Fruity!”

And they killed. Seriously, the played the songs true to form, delivered a memorable, and not overly slick show at the same time, and it felt like a well-dressed riot onstage. You are on notice. Do not make an excuse not to see them when they come through your town. The Little Richards are every scandolous, purile, and up to no-good thing your grandparents feared rock and roll was, and you shouldn’t miss the chance to wallow in it.

It’s easy to be snobbish or dismisive of garage rock. By design it’s simple. The songs and the music hasn’t changed much from the 1950’s and 60’s until present. And it often seems like silly nostalgia. But if it was easy, anyone could be good at it. And that’s simply not the case. To be good is to commit to those three chords, the dogged, unwavering beat and direct lyrics. To be great, is to mean it.

Two Devils Will Talk

The Real McKenzies

Fat Wreck Chords, 2017

The Real McKenzies have been at this Celtic Punk thing for 25 years now and like AC/DC (pre-Axl) and Motorhead, there is a reliable consistency here that sounds familiar. Two Devils Will Talk has everything you want or expect at this stage. Driven songs boasting of bravado, sailing, drinking, and all done with lots of bagpipes and attitude.

This album is bare knuckled poetry by the sort of men who would normally scoff at that sort of thing, but poetic nonetheless. Fourteen shout along numbers with “Sail” and “The Comeback” standing out to my ears. “Fuck the Real McKenzies” is sort of self explanatory and loads of fun. This disc is dirty, sweet and within your reach as the band is on tour once more. If you liked them before, this serves to solidify their place in your music library.

www.facebook.com/therealmckenzies

The Own You EP

The Ood

Independent Release, 2017

From Tampa come The Ood, a five piece who specialize in coarse, unburnished 70’s throwback rock. With jagged, broken glass vocals and tastefully sweeping leads, The Ood are a dogged bunch of ornery malcontents who happen to have instruments, and decided to sing about their anger

“Dead Meat” churns at a quick clip. Fueled by guitars tuned like an a thousand angry hornets, and driven by a solid rhythm section, the song never holds back. “WW” is a tribute to Breaking Bad and Walter White. There’s some unguarded moments herein,where the band plays loosely with the rhythm, and the slack moments offset the punchy-ness of the chorus.

“LOFNO” (Lookin’ Out for Number One) is a classic dirty, rocking stomp of a number. This would work as an acoustic blues, a rockabilly tune, and is just fine as is. This is what the inside of your head sounds like when you have to force yourself into a job too early on a Sunday morning with a hangover and three hours of sleep.

The audio quality here is a few steps up from a demo, but it only adds to the rough and tumble, seat of the pants feel. This feels like the band wrote this album while UFO, Nazareth, and Waylon Jennings played on a constant shuffle.

www.theoodband.com/

American Beauty

CJ Ramone

Fat Wreck Chords, 2017

“Let’s Go” gets this party started. There’s an urgent refrain, an itch being scratched and a conspicuous sense of anticipation. There’s no reason to abstain, so allow this to take up permanent residence on your music listening device of choice.

“Tommy’s Gone” is a quiet, tender, and deeply personal number, reflecting on the last original Ramone to check out. Original drummer, Tommy Ramone, a.k.a Erdélyi, left the band after the fourth album because the grueling touring schedule was wearing on him. But he remained involved with the band as a producer and it’s legacy to the end of his life.

“Run Around” is what would happen if Bruce Springsteen locked himself in a room with the entire Ramones catalog for a week. And it is perfect. “Steady as She Goes” reflects on life on the road, and all that makes keeps it interesting.

Both “Moral of the Story” and “Pony” have CJ’s individual stamp on them. You can see his personality truly shine through while remaining true to the surname which he earned on endless tours. He foregoes the cartoonish imagery which his other band was famous for, but doesn’t try to tackle the troubles of the world. This disc does everything on hopes and expects from a Ramones alumnus’s legacy. There’s catchy pop songs fed through wood chipper guitars and reliably forceful rhythms.

www.cjramone.com

Glimpses of the Sun

Natalise and the Sunset Run

Independent Release, 2017

From California comes the subdued pop of classically trained pianist, Natalise. With elegantly delicate melodies, she focuses on introspective mid tempo songs that glint like the first light of day on a reflecting pool. Natalise has sweetly pliable vocals that yearn in her delivery. “Abandon” swells with expectant confidence love will conquer all.

In “See Me” she sings “I’m drowning in a sea of cold gray maybe’s.” Slight and strong, Natalise reveals herself forthright,as if being anything less than real never occurred to her. Piano ballad “The Lucky Ones” confronts a deeply personal ache and offers cold comfort for all that is lost. Finding solace in happier days can be a tricky endeavor.

The five songs here light as a coastal breeze. How much you wish to attach to the emotional revelations may say more about your own personal state of heartache or lack there-of. This is worth taking a moment to listen to all she has to say. And then once more; because.

www.natalisemusic.com

Heather Gillis Band

Heather Gillis Band

Independent Release, 2016

I’m gonna come out and say it. A lot of blues artists are flippin’ lazy. Relying too much on cliché moves as well as tried and true form. They become a watered down version of whoever it was who initially inspired them to commit to the medium.

Heather Gillis and the band she helms manage to sidestep this problem entirely. Currently residing in Tallahassee, she is attending FSU and had been part of Butch Trucks and The Freight Train Band. Just about everything on here is a surprise. For how strong the musicianship is, the great arrangements, and the decidedly wonderful and unexpected turns the music takes. Just when does she find the time to be this great?

“Soul” opens with a compelling groove with a loose feel, and showcases her smoky, yearning vocals.

“100 MPH” pushes with a relentless drive and a gritty, dark guitar tone. The song has a great cinema noir quality, complete with incendiary guitar lead.

“I Found a Love” is the other side of that coin. Bright and cheery with a sparkling saxophone coloring throughout. Remember what I said about form? “Gonna Be A Storm” offers a new version of an old riff that’s been unearthed from searching deep in a muck filled swamp. It’s groove is slippery and stubborn.

This disc is filled with charm and personality to spare. Gillis writes and performs with deft skill that belies her youth.

heathergillisband.com

Visitors

Howard Simon

Independent Release, 2017

Reviewed by Cathal Croft

Howard Simon has put together a collection of carefully crafted, and well polished indie-folk pop songs on this full length release. The songs on Visitors are a genial, breezy blend of personal revelations.

From track to track Simon manages to give an intimate snapshot on his worldview. Optimistic and heartbroke, uncertain and composed. He approaches conflicting emotions head on, always with a melody as light as air.

“Albion” and “The Devil Every Day” are strong numbers with a full backing band and each with a compelling story. “Antonia” is a spry, lively number, about that one friend we all have who’s hard to forget and harder to ignore. The Horns are a welcome addition, filling out the production. “Sweet Little Mystery” shuffles easily, showcasing melodies and strong songwriting. The harmonies from the backing vocalists help elevate the tune to a blissful state.

“Three Horses” is an unexpected number, considering Robert Johnson’s final moments, when the poison was wending it’s way through his system. Stately and reassuring, making peace with the inevitable.

This is music designed to accompany the personal journey.

www.howardsimonmusic.com

Bryan Ferry

w/Judith Owen

Hard Rock Live

Sunday, March 12, Orlando, FL

Bryan Ferry pulled into Orlando with a 10 piece band, an amazing repertoire, and a stunning light show. All of which proved to have the makings of an unforgettable evening. The evening’s 25 song set leaned heavily on Roxy Music’s catalog. The well heeled crowd responded enthusiastically.

It can be hard to overstate just how lush the show sounded. Full and rich. Whether the band was wending through a slower number or a more upbeat songs. The songs conveyed an elegance and grace rarely found anywhere. His reading of Neal Young’s “Hurricane” was a set highlight; as was “ReMake/ReModel.”

“Avalon” quivered with quiet tension, a waking dream brought to life. Bryan Ferry doesn’t appear to have aged much in the past thirty years and his audience was beyond appreciative. He closed the set with a beautiful reading of John Lennon’s “Jealous Guy.”

This was jazz pianist Judith Owen’s first professional visit to Orlando and she made the most of the moment with a remarkable Central Florida debut. Warm and engaging, her set was a mix of light jazz and bright eyed soul, with an emphasis on her most recent release, “Somebody’s Child.” backed by the formidable band of bass legend Leland Sklar, percussionist Pedro Segundo and cellist Gabriella Swallow; the band grooved and swung effortlessly. The laid back “Train out of Hollywood” simmered slowly, full of want.

The audience received her warmly. With her warm, dusky voice and radiant charm Owen was able to make the Hard Rock feel like a much smaller, more intimate space. Hopefully she’ll be able to wend her way back to the sunshine state on her own, for all those whose appetites where merely whet by her opening set.

https://www.youtube.com/watch?v=n3kxtHnWLwY

Dust Bowl Heart

Doc Fell and Co.

Independent Release, 2017

Doc Fell and Co. are men out of time and place, and don’t no one need to bring them up to date anytime soon. Before there was the Outlaw Country label, it was just country music. Filled with heartache, loss and hard times as the main course of most of the songs. Doc Fell and Co., are smart enough to realize it’s best not to mess with what makes something great and truly memorable.

Equal parts honky tonk, and traditional storytelling, there’s no country rock musings or attempts at a crossover. They sound like all their musical inspirations peaked in 1955. The sole exception being the irresistible “Broken Heart.”

“Lonesomeville” is high drama at it’s finest. Shuffling easily, the song calls to mind tube radios and drought. “Dandelions” resigns itself to whiskey and fate. “Might as well go crazy, before we go insane/Realize we’re dandelions dancing in a hurricane.” “Lovesick” is a swinging two step that’s be at home on a Friday night dance with Bob Wills hosting. Same with title track “Dust Bowl Heart.”

This is one of the finest Americana albums in recent memory. Noticeably out of step with contemporary Nashville, but that’s fine. Most of those songs will be forgotten like yesterdays mayflies. Here, the remains of heartbreak and bad luck are reassembled and re-purposed. Dust Bowl Heart falls in the category of minor genius. And any day, I’d rather be privy to a small masterpiece than an enormous piece of garbage.

Doc Fell and Co. are an unassuming American treasure waiting for you to discover them.

www.docfellmusic.com

Freaks Like Me

Daphne Willis

Independent Release, 2017

Daphne Willis has created a substantive slice of soul flavored pop with her most recent release, Freaks Like Me. Catchy and well crafted there’s a surprising amount of depth here. And before I get to the heart of this review, I need to get this out of the way. The brand of ‘pop music’ is often dismissed as disposable, but these songs, are earworms. The best of which will live on in radio and films in perpetuity.

Title track ”Freaks Like Me” is a slower, sexy, tension filled scorcher of a number that smolders with anticipation. There’s a theatrical quality to the production, that charms the ear effortlessly. “Somebody’s Someone” is the disc’s centerpiece, about worth, love and how people are much more than their actions. Blunt and hopeful, she refuses to give up on people’s better nature.

“Keep on Keepin’ On” is sunny and upbeat, as is much of the disc. This disc is full of surprises. Horns pop and punctuate from the most unexpected and delightful places. With “The Letter” Daphne could break your heart if you let her, and hopefully you will.

From start to finish, this collection is well executed. Memorable and polished without sounding cluttered, Major labels should take note. This is a fully realized and developed artist who clearly needs a bigger stage. .

daphnewillis.com

https://www.youtube.com/watch?v=uGgN9vMPUn8

Rake It In: The Greatestest Hits

Me First and the Gimmie Gimmies

Fat Wreck Chords, 2017

On the outside chance you don’t know, Me First and the Gimmie Gimmies are punk-rock cover band with members of NOFX, Foo Fighters, Lagwagon, and Swingin’ Utters. They’ve been re-interpreting very un-punk songs in their own inimitable way for twenty or so years, and here’s their Greatest Hits retrospective.

As with any artist re-interpreting material, some songs work better than others. The urgency of “The Times They are A-Changin’” still rings true at the songs core, even if delivered at breakneck speed. “City of New Orleans” is surprisingly lithe and never loses the melody despite the speed. And this is true throughout all the songs. Vocalist Spike Slawson manages to sing, and his voice is the honey in the rock.

The Eagles “Desperado” is what passes for mid tempo and feels like a 33 rpm has been set to 45. “Sloop John B.” kicks off off with a truly funny Ramones reference.

The best songs here kick and thrash irreverently in the truest spirit of punk rock, before it set up shop at Hot Topic and was still a little scary. If there’s something you don’t particularly like, well, it’s over quick.

www.facebook.com/gimmegimmes

Glitter

Heavy Tiger

Wild Kingdom Records, 2017

An all female act with a penchant for 70’s glam rock sound and look would be easy to dismiss as fan girls diving head first into a reworking of The Runaway’s, so let’s skip that.

Heavy Tiger are from Stockholm, Sweden, and play gritty rock prettied up with sweet harmonies. And Heavy Tiger are really easy to like.

“I Go for the Cheap Ones” is a bad luck admission right off the bat, with great soaring vocals that make all the difference in the world. “Feline Feeling” has the strength to be a single. Catchy with great lead, the band drives the song with a sense of abandon. “No Tears in Tokyo” is a solid blast of silly lyrics that flat out rocks.

“Devil May Care” closes the disc and sums up the band well. Optimistic, energized and clearly enjoying themselves, this is Heavy Tiger’s reality. Unconcerned with big statements or changing the world, the songs are reliably unpretentious. They sandwich pop with dirty guitars and spirited leads.

The best songs we’ve heard other versions of before, but they bear revisiting, reinterpreting, and did I say repeating?

Well I should of. A fun disc start to finish.

https://www.facebook.com/heavytigermusic

Dead Serios

w/Special Guest Geezër

Sunday April 2, Siggy’s, Palm Bay, FL

Dead Serios, who are retired, dusted off all things Dead (seriosly) to help out an old friend going through a tough time. Space Coast guitarist and fixture of the it’s music scene, Eric Hotton is the worthy beneficiary and personality

required to prod DS back for one more show.

Geezër came up from Miami to lend a helping hand. With a short but memorable set the 5 piece seemed a little confused as to what season it was, opened and closed with high octane Christmas carols. At least they played them like they meant it. Harvey Geezer certainly didn’t behave like too many octogenarians. Dancing, grinding and living like a man with numbered days, he didn’t hold back.

Dead Serios delivered a scalding set of their most memorable songs from their storied catalog. Joined onstage by the usual DS hanger’s on, which included, Oprah Winfrey, The Psycho-dyke, and Manager Sheckey Finklestein. They performed for an appreciative crowd who came out on a Sunday night for a good cause.

www.facebook.com/geezer2000

www.facebook.com/deadserios

Eight Year Itch/Night Shift

Instant Smile

Independent Release, 2017

Instant Smile are some old friends with a new name. The Gregg Phoenix Experience re-branded itself and to celebrate, Erin Berry and Gregg Phoenix released this digital single. The duo from Philly feel slightly smarter, and musically more self aware than most guitar/drum duos.

“Night Shift” creeps to life like that second cup o’java hittin’ you all at once. And just because you’re awake, doesn’t mean you’re ready to make sense of the world just yet.

“Eight Year Itch” is covered in paisley and swirls with a sense of purpose. It also has some nice changes throughout, and the main riff breathes easily.

This is a nice take on the garage rock medium. Forgoing an over adrenalized attack for a loose, rollicking 1966 feel.

www.facebook.com/InstantSmileBand