Author: Greg Jackson

Hearing Aide: Todd Rundgren “Global”

Todd Rundgren released his 25th album, Global, on April 7 and immediately set out on a 34 date North American tour. Having had the pleasure of seeing Todd in concert several times, reading some of the early reviews didn’t surprise me at all. If you expect to hear “I Saw The Light,” “Can We Still Be Friends” and “Hello, It’s Me,” TR never disappoints, but, he may make you wait and tease you a few times before giving in. I grabbed a couple of quotes from a good friend’s Facebook posting post-show, before delving deeper.

“Todd always brings his own cutting edge and set his own parameters, very few artists are this talented and confident. If fans struggle with change and evolution, they should choose another artist to follow.”

“It takes a lot of courage as a fan to follow him with an open-mind, but the rewards are worth the effort”, Tommy Allen.

“Just a killer show, filled with positive energy from the girls (The Global Singers) and the DJ (DaM FunK). Todd was in fantastic voice and delivered all of the songs with passion. The choreography and light show turned the whole thing into a very immersive experience. Don’t listen to the bad reviews on the internet, this is a very unique and futuristic show,” said Mark Doyle.

Honestly, it took several spins of Global to get the feel, but being familiar with his previous release, State, it warmed me quicker to the work. The opener, “Evrybody” sounds like a slap in the face to the entitled or a call to arms for the populace. Either way it sets the tone for the album. As on most albums, it’s all Todd, all of the time. Almost exactly the way he would take it on tour. “Flesh & Blood,” another EDM-like tome that pokes fun at DJs while showing what really can be done electronically with real lyrics that have something to say. The verses sting, the chorus, “You’ve got free will, but you’re flesh and blood” simplifies and drives the message. Keep in mind this man is one of the fathers of multi-media, usually several steps ahead of the game, ultimately disenfranchising some. A pity really. “Rise” is right to the heart of the state of things, yes, globally. He speaks directly to the Romanesque status of civilization, “Time’s ticking away, time keeps ticking away. If we don’t rise, then we will fall.” Pretty simple and right on the point. This leads into “Holyland,” a rhythmic adventure into the definition of what that is exactly. Everything. If this track doesn’t hit home, you’re simply not paying attention.

“Blind” slows the pace a blue-eyed, soulful bit and illuminates the false-flag of media. “I’m not a scientist, everybody likes to brag these days. And yet they still insist, twisting all the facts their way.” Directly aimed at climate-change deniers, god-trusting book wavers, that believe all will be taken care of for them, perhaps still on the entitled ones. Shielding their eyes from the reality in front of them. “You have to be blind, blind, blind. Eyes that will not see it. (Writing’s on the wall.)” “Earth Mother” kicks back into EDM as a anthemic call to action, from a Rosa Parks reference to the choruses repeated message, “Can I get a shout-out from my sisters, a shout out from my girls. Now go out there and change the world. “Global Nation” flows right into the theme of one world, one cause, one solution. “Calling out to the planet, calling out to the world. (Global Nation) I wanna wrap my arms around the world, wrap my arms around the world and dance.”

TR always has his moment when his heart bleeds out, “Soothe” is this record’s example. His lyrical emotions move you, the timbre of his wavering voice speaks directly to the listener, whomever it may be. Something TR does exquisitely. This is chicken-skin arms material. “Maybe I can’t make gray skies turn blue, but I can soothe you. When your lovers are untrue. And the whole world seems out to hurt you. Know that I would try, everything I knew, to soothe you. I will soothe you.” “Terra Firma” sequences forward analogously as a tale of the intrepid explorer casting-off to someplace unknown. With solid ground being the love and home he left behind, “I am off to great adventures, leaving you behind. Far beyond the border and I have no clue what I will find. But the thought of home never leaves my mind, no. Though the minutes stretch to hours and the hours stretch to days. With the trials and tribulations, well it seems like I’m so far away. And it’s just too high a price to pay. There’s one thing I can always say. Whenever I feel the rain I put my faith in terra firma. And I’m never far away, because you’re my terra firma. (terra firma) Whenever I feel alone, I go home to terra firma. (terra firma) The place I can call my own, because you’re my terra firma (terra firma).”

“Fate” poses destiny as a card game and addiction that everyone seemingly has. The future being out of our hands like a roulette wheel spinning out of control. No one wants to face up to the realities of our time, it’s easier to rely on fate than make an effort to change. Manifest destiny, worldwide. “Skyscraper” shines the light on the trappings of civilization. Buildings and cars, partying with friends, living in the moment with no regard for what’s ahead. “This Island Earth” closes and wraps it all up, neatly exposing what needs to be for change to happen, allowing the future a chance to exist beyond man’s current course. “There is no other place in this universe, like this island earth. We fantasize about this spoiling other planets, like this island earth.”

When taken as a whole, this album is yet another message from a very old soul, living on the cutting edge of technology. Drawing distinct lines between reality and fantasy, fate and destiny, what can and cannot be. A statement from one of the bravest, deepest songwriters of our time that is not to be ignored.

Of course TR has multiple platforms to read and learn from. Check out more on facebook and his website.

Key Tracks: They’re all key tracks, it’s Todd Rundgren! Check out “Terra Firma” and “Soothe,” they crush.

June 17, 2015
The Church and The Psychedelic Furs Announce 2015 Tour

Post-punk romantics The Church released their 21st studio album album, Further/Deeper late last year and are bringing 35 years of recordings to North America on a co-headlining tour with art rock stalwarts The Psychedelic Furs. The Church recently premiered the first video from their newest album, Laurel Canyon , it’s thick and lush with layered acoustics, synths and harmonies, reminiscent of their huge hit, “Under The Milky Way” from 1988.

photo by Malcolm Viles

The Psychedelic Furs are practically a perfect match for the tour and will be joining The Church on many of the dates. They’re also touring the east coast in May by themselves. Richard Butler, along with his brother Tim, still maintain their uncanny ability to write songs pleasing to the ear, while questioning their subject. Surfacing in the wake of punk rock, their melodious and thoughtful material sometimes put them in the category of a synth band, but don’t be confused – even if you still love “Love My Way”, don’t forget “Pretty In Pink” – that was inspiration for the 1986 John Hughes film of the same name.

Much more on the upcoming tours on their websites – The Church, The Psychedelic Furs.

Here is the northeast leg of The Church’s upcoming itinerary. Dates with an asterisk indicate The Psychedelic Furs will also play.

Aug. 7: Toronto, Ontario (The Danforth)
Aug. 8: Buffalo, NY (Town Ballroom) *
Aug. 9: Silver Springs, MD (The Fillmore) *
Aug. 11: New Haven, CT (College Street Music Hall) *
Aug. 12: Albany, NY (Northern Lights) *
Aug. 13: Hampton Beach, NH (Hampton Beach Casino) *
Aug. 14: Portland, ME (The Asylum)
Aug. 15: Philadelphia, PA (Keswick Theater) *
Aug. 16: Hyannis, MA (Cape Cod Melody Tent) *
Aug. 18: New York, NY (Irving Plaza) *
Aug. 19: Westbury, NY (Theater at Westbury) *
Aug. 21: Pittsburgh, PA (Altar Bar)

May 21, 2015
Hearing Aide: Jeffrey Pepper Rodgers ‘Almost There’

Jeffrey Pepper Rodgers recently released his fifth album, “Almost There” and quickly garnered the 2015 SAMMY Award for Best Americana recording to his list of accomplishments. They’ll be celebrating the SAMMY at Small Plates in Syracuse, 116 Walton St., on May 6 with doors at 6pm, music at 7pm.

Jeffrey is a grand prize winner in The John Lennon Songwriting Contest, the founding editor of Acoustic Guitar Magazine, a regular contributor to NPR’s “All Things Considered” and author of “Rock Troubadours” (featuring his interviews with such artists as Jerry Garcia, Paul Simon, Joni Mitchell, and Dave Matthews) as well as other books on music. From his Upstate NY base, Jeffrey teaches courses on songwriting and creative nonfiction writing in the honors program at Syracuse University and leads workshops on guitar and songwriting. If that wasn’t enough, he performs solo and with The Jeffrey Pepper Rodgers Trio, members of which are featured on this release.

Joining Jeffrey (JPR) – lead vocals, acoustic guitar, Strumstick, tenor banjo, are Trio members, Wendy Ramsay (The Unstoppables) – backup vocals, flute, clarinet and glockenspiel, and Joshua Dekaney (Grupo Pagan, Mark Doyle’s Guitar Noir, Mary Fahl) – percussion kit, backing vocals (tracks 3,6) and chimes, along with John Dancks – upright bass, Rani Arbo – backup vocal (track 1), fiddle and Jason Fridley – saxophone. This offering was recorded and mixed by Andrew Greacen and mastered by Jocko Randall at More Sound, Syracuse with additional recording by JPR at home. All songs by JPR except ‘Almost Home’, words by JPR and music by JPR and Wendy Ramsay.

JPR may be the quintessential acoustic singer-songwriter, but he colors with a full palette of folk, rock, blues and soul. Adding elements tastefully to create works that entice rather than overwhelm, he makes the mixes of genres seamlessly smooth, while retaining the emotion of his topics. “Eight Days In January”’ opens with all elements on deck, banjo, guitar, upright bass, fiddle and drums telling a tale of love and loss in the internet age. So sweet and sad it’ll make you move and think at the same time, in a zydeco kinda way. “The Wrong Way Home” adds the seasoned harmony combination with Wendy and Joshua creating a bridge with the chimes, his playing is a voice of its own, integrated so delicately you just float on it. “Closer” gets funky and the band warms immediately, JPR’s expressive vocals along with Wendy and Josh’s harmonies swirl sweetly together. The rhythm section has obviously been here before and JPR’s staccato guitar line just rides on Josh’s double snare hits. A get up and dance number, no doubt.

Switching gears quickly, “Don’t Think I Can Stay Goodbye” highlights JPR’s varying acoustic styles through an emotional expose that is illuminated by fiddle and flute, accentuated by Wendy’s voice as almost an echo, reminding the protagonist why he wrote it in the first place. “Almost There” would sound great in nearly any format, it has bits of folk, pieces of rock and plenty of drive, it’s light, but pushes and pulls against the forms, very cool. “Enough About You (What About Me)” is a jaunty little number that seems to rail against social media and the opinionated, self-involved who live there. Where friends and fans count as statistics and it’s all about the ‘me’ agenda. Quite biting and hits the nail right on the head, smart and sarcastic! “I’ve Got It Here Somewhere” is a solid folk-rocker, it has plenty of room for JPR to exercise his acoustic riffs and expressive voice. A little funky, a little soulful, but right to the heart of what he’s about. Genre-defying folk rock, certainly not the easiest take. “My Bad” may hold my favorite lyrical twists that seems like opposite world, written in counter-point to what is reality.

“‘Somehow” gets slow and soulful, sensual in its analogies, slow-moving, innuendo-fired, full of wanting. There’s something familiar in the voice/guitar interplay, I can’t place it. Wait, it’s “That Heaven” from David Gilmour’s “On An Island”, not only my favorite guitar player, but one of my favorite musicians. That’s a feel that’s reminiscent throughout and sticks in my ears in a very good way. ’Turn Away’ is JPR at ease, light on his feet, singing and playing up, his band bouncing with him in full form. A love song full of confidence and conviction, self-assured and certain. “Proof” follows with another upbeat ride, call and response vocals and flute lightly accent the rhythmic acoustic and bottom line. While each piece is tied together, they each bear individual styling that can easily stand alone. Like the samba-feel that Josh drives the closer, “End Of The Line” with. JPR jumps right up and Jason’s sax flavors it perfectly, their acoustic/sax dual melody is masterful. All this song begs for is to played again and again, much like the rest of this album, I’m confident it will be. I await its highway test, I know it will pass with flying colors.

Key Tracks: The Wrong Way Home, Somehow, End Of The Line

JPR has a great website where you can learn more about the man and his varied interests. Yes, he does social media too, on Facebook and Twitter or better yet, see him live!

May 6, 2015
Hearing Aide: Huetensil ‘Black and White’

Huetensil has just released his debut album, Black & White, available on a digital-only format. Huetensil is the alter-ego of tri-cities based Hugh Wygmans, who is also the front man of prog-monsters, Question of Honour. Wygmans is a singer/songwriter/guitarist hoping to expand his listening area beyond the 100 plus radio stations in eight countries he’s been played on in his different stage personas. Very impressive as an artist that handles all ends of his recordings; performing, mixing, editing, producing and mastering this album at Shadow Planet Studios. Wygmans wrote and arranged everything performed by Huetensil (vocals, guitars, bass, programming drums/bass) here besides the co-arrangement of “Let’s Pretend” with David Wygmans and Ken Pitchford. Additional performers credited are Michael Wu: bass guitar on “Nothin’”, David Wygmans: side stick on “Maybe It’s Time” and additional background vocals on “Wake Me Up” by Brent Ochai, Carrie Ochai and Marty Wygmans.

It’s notable that Wygmans really has his character and career presentation together better than most I’ve encountered. A well presented one-sheet, lyric sheets, access to hi-resolution pictures and artwork through his website plus a web address for Huetensil. Having had the opportunity to review the last release from his prog band, I was eager to hear this solo outing as his alter-ego, Huetensil, he’s self-described as a “power-pop musician with a hard edge and an indie singer/songwriter ethic”. It takes a great deal of self-confidence to take a Bowiesque leap like this, the following are my thoughts on its success.

“Want Too Much” is the opener and it’s evident quickly that Huetensil has some vocal gymnastics in store. His range is clear and the layered vocals at the end illustrate the potential of his power-pop proclivity. His emotive delivery is clear, rising above his multi-tiered guitar tracks, accenting the changes, especially verse to chorus. “Last Night” hits the target dead-center, a rave-up rocker illuminating the difference between introspection and introversion, then extraversion. There’s something my ears keep listening for that isn’t there, well, more on that as we go.

“Tonight (The Carbon Wars)” gives Huetensil the chance to riff a bit harder, ripping a nice solo as his topical dexterity expands into another broad field. There’s a sense of Billy Corgan in his raspy delivery overall, but it bites a bit harder into the matter here. Like many great rock songs, the meaning is oblique despite the title, but the chorus speaks of societal ambiguity and it stings! “Executioner’s Song” switches gears a bit, a give and take from slow verse to driving chorus, relenting to an inner truth while forging ahead versus the draw to stay. There’s a growing tense connection between the compositions, it’s evident Huetensil’s thoughts blend, reflect and color each other in tones. Like “Fear & Longing”, a level of desperation from the antagonist while the protagonist searches for something deeper as if nothing is available. The ebb and flow from sweet verse to dramatic chorus is distinct and creates a narrative of sorts between the characters distinguished as melody and hook. There’s something familiar in the verse, but it’s elusive, and that’s very cool. One thing is certain, Huetensil’s dexterity, whether vocally or lyrically is masterful, he switches easily to falsetto, not losing strength or bite. Maybe it’s a Geddy Lee level of influence happening, either way, it’s undeniable.

“Nothin’” jumps a little funky with the wah pedal rhythm, Michael Wu’s bass driving the bottom and the horn blasts. It seems to be a metaphor shaped from an artist’s joy and frustration versus the same in any relationship that truly means something. Yet again, the listener is allowed to read himself into the story line. “Mr. Curry’s Troubles (The Ballad of Edward Snowden) has a XTC/Andy Partridge feel, the vocal read and the acoustic pushing the rhythm. The subject is topical, intriguing and pertinent, something I wish we’d here more of from younger artists. It’s refreshing in it’s candor, like “Tonight (The Carbon Wars)”. Continuing with the acoustic theme, “Simple” has a sweet refrain that enjoys the support of the bass line. Another facet of Huetensil’s gem, a softer side indeed. The “baaa” harmonies at the end are particularly outstanding!

“Maybe It’s Time” is a political anthem that speaks for the masses. The vocal production is borderline brilliant, the harmony tones and overlaps are pristine while proclaiming, “(Time for a change) Maybe it’s time for a radical change. (Alteration) Something more than a slight alteration. (Tear down the stage) Maybe it’s time to tear down the stage. Replace all the broken pieces. End this conflagration.” It’s has the sweetness and tart of a Rundgren composition, Huetensil’s production and mixing values reach a high here and set a deadly ear-worm! David Wyman’s “side stick” technique lends a metronome feel with a sense of a march, very nice twist. “Wake Me Up” is a desperate call from a comatose man, a remarkable perspective voiced into a dreamy chorus filled with the guest vocalists. In a straight-up power-pop format the rhythm guitar, bass and vocals blend so well. When’s the last time you heard hoosegow rhymed with Moscow and no ciao?

“Let’s Pretend” spits defiant dissonance against a wall of reality, a Black Sabbath-like rhythm guitar mixed with Huetensil’s conflicted anguish. The closer appropriately wraps the political side into a rage filled scream against the government. It smacks of what so many feel while witnessing the war machine at work. I’m hoping it’s a retroactive look at things because it speaks of GWB to me, but that’s my read.

You should take a listen for yourself. Huetensil is energetic, enthusiastic and the level of work put in this work is notable. This kind of production doesn’t happen overnight, shouldn’t be taken lightly and deserves recognition. If I had one wish for Huetensil it would be live drums. While the programming is excellent and the timing is right on, it misses on the feel. Many things can run under the surface, but this isn’t one of them. Well done and well-played Huetensil, well-played!

Key Tracks: Let’s Pretend, Maybe It’s Time, and Nothin

April 7, 2015
Hearing Aide: Papership ‘No No Radio’

Papership is a five piece trash-pop musical entity based out of Syracuse and No No Radio is their third release and first official EP. Papership consists of: Mark Romano (vocals/guitars), Joel Reissig (drums/vocals), Charlie Bell – (synths/keys), Alan Smead (bass) and Shawn Sullivan (guitar).

This disc jumps out of box fast, Sullivan’s distorted rhythm is soon accompanied by Romano’s belted vocals, Bell’s Attractionsesque keys plus the thunder of Reissig’s drums and Smead’s bass on “There’s Yer Blues.” Romano’s voice has a early ’80s punk snarl and Sullivan’s leads bend upward heightening the tension there. Straight-up trash-pop emotion. Bell opens “Pleased” with a psychedelic goth line into a intro right out of a Ozzy nightmare. It quickly turns into another up-tempo sprinter that spits at the ideal of the title. You can almost smell the pic-guards wearing off when they bridge to the ending. The title track has that familiar formula and stretches it to fit the distain. Bell’s keys really drive the song along, swirling through the biting guitar lines, Romano’s howl and the over-the-top rhythm section, Reissig/Bell just brutalize the bottom-end. The true pop hooks explode in “Graduation Day,” I almost expected to hear Elvis Costello’s voice chime in, but this rave-up doesn’t need a vocal line, it’s practically perfect as it stands. “Car” closes the disc with a burst of exposition and defiance, Romano still dynamic at the top of his range and just beyond. The way the band pushes and pulls is also beyond the edge of its self-imposed genre. They’re tight and loose at the same time, right on the edge, then a little bit over, just like rock should be. They are an absolute must see live!

Key tracks: They’re all key tracks!

Papership are currently working on their follow-up LP to No No Radio for an anticipated release in Fall of 2015.

Learn more and listen Facebook, Bandcamp, Reverbnation

March 23, 2015
Hearing Aide: Professional Victims ‘Fathom The Cosmos’

Professional Victims are an alternative rock duo based in Syracuse have released their third EP, this one is a five song offering titled “Fathom The Cosmos”. Ashley Cox and Shawn Sullivan recruited Jeff Moleski (Smashing Pumpkins, Local H) at Moletrax East and the recording is what they describe as ‘D.I.Y. alternative, exploring the space between synth pop and alt rock riffs’. Having reviewed their stunning last release “Motivational Speakers” I was excited when they sent along this new EP. It’s with high expectations that I give it a spin and share my thoughts.

“Human” sets the initial tone for this release, a dreamy, layered vocal set on what seems to be a strict power-pop keys/guitar line. Dig a little deeper and it has some teeth despite its oooh refrains.

“Gimme Space” switches gears dramatically as an expose of swirling emotions matched by Sullivan’s ripping guitar solos. The keyboard and vocal effects twist the lyric audibly sending the listener on the roller coaster of the mixed emotions portrayed. “Run” cranks up the volume further exploring the human condition, the questioning of self and the self-entitled need for escape. The mix is monstrous and the balance of the guitar tracks from acoustic to melodic, then searing, all blending to the next verse, brilliant stuff. The vocal play is next to perfect, especially the rave-up ending.

PV stretch their eighties power-pop muscle on “Strangest Thing” Cox’s vocal rising and falling with Sullivan’s guitar line driving her along. She’s convincing, but not contrived, it’s a very fine line she dances on deftly, confidently, without need of a net. “Pirate Flag” reminds me of a favorite song I haven’t heard before, reminiscent, familiar, yet carrying the excitement of something fresh and new. The melody line and hook grab your ears, propelling one finger toward the repeat button well before the end. A fitting closer that leaves you wanting for more, more sweet vocals, more biting guitar, more ear candy, which this surely is.

Their newest EP surely shows the tremendous growth in this musical partnership, combined with Jeff Moleski’s brilliant engineering, they’re a force to be reckoned with. It goes to show what musicianship, heart and drive can produce on a local level, it surely deserves wider recognition. The dual spent 2014 playing showcase shows throughout NY state and is currently working on their next ep. Follow them on social media at facebook , twitter and on their website.

Key Tracks: Human, Gimme Space, Strangest Thing

March 19, 2015
Hearing Aide: Castle Creek ‘The Only Life’

Central NY based Castle Creek is a duo composed of singer-songwriter/multi-instrumentalists Kim Monroe: vocals, guitars, Rhodes, organ, bass, percussion, cello and Chris Eves: vocals, guitars, Rhodes, organ, bass, drums. This is their first full-length CD, The Only Life, released in November 2014 and is solidifying the path they’ve been creating from the northeast to Austin, Texas and to the west coast at the NAMM Show in Anaheim, CA. in January. They’ll have the honor of performing at the Dinosaur Bar-B-Que in Syracuse following the sold-out SAMMY Award Hall Of Fame Dinner on March 5.

As if that wasn’t enough, the CD is self-produced and engineered, with all song-writing credits to Kim and Chris besides track 6 which is a Monroe/Mark Doyle composition. Bruce Monroe contributed lap-steel to track 1. Matt Mangano at Southern Ground Studio, Nashville is credited with the mix, and Independent Mastering, Nashville with the finishing touches. All of these facets together make for a dynamic and soulful blend of what the duo describes as alternative blues. It’s fitting as the elements of snarl and bite mix intricately with the bluesy rise and fall of their emotive vocals, each voice standing easily alone or perfectly complimenting the other.

The duo first met at a mutual friend’s wedding where Kim sat in with Chris’ band that was performing there. They talked afterward about songwriting and their own solo projects, eventually writing “Brand New Blues”, that is on this release, that day. Before Castle Creek, Chris attended Berklee and had been a national touring/session guitarist, writing and recording his own songs along the way. Two of those are featured here, “New Normal” and “Bigger Than the Two of Us”. Kim is a multiple SAMMY winner for her two solo albums recorded with Mark Doyle in Syracuse, she credits him for, “Essentially teaching me how to rehearse with a band, how to record music in a studio, introducing me to Soul Music and pushing me to be a better performer.” She then performed in a Buffalo area musical collaboration with Robby Takac of Goo Goo Dolls, called Amungus. After building a reputation around the northeast under their own names as a duo, they took the name Castle Creek for this, their first full-length release.

Before reading their answers to my questions and while listening to their disc the first time, I had a good idea where some of their influences came from. It’s one of my favorite parts of writing reviews, and it’s always interesting to see where those influences take them. Kim lists Bonnie Raitt and Jackson Browne, I had both, even before seeing a picture of Kim placing her left hand in Bonnie’s left handprint at Grauman’s Chinese Theater in Hollywood. Chris’ were evident watching him rip the slide guitar during a Vinyl – Albums Live performance of The Black Crowes, “The Southern Harmony and Musical Companion”, he lists The Allman Brothers as well among others. Both he and Kim have diverse musical tastes, something that holds true with many great musicians, they appreciate, listen to and learn from all genres of music from classical to pop to metal.

The opener, “The Only Life I’ve Ever Known” gives a deep expression of what’s to come throughout this whole offering. The counter-point between Monroe’s growl, the plaintive wail of Greg Monroe’s lap steel and Eves’ slide work illustrate the emotion pouring from the lyric. You can almost hear Raitt split into two personalities and doubled through the mix, it grabs at your heart and pulls hard. “Brand New Blues” straddles a similar line with Eve’s blues riff coloring Monroe’s grit and determination. The way their vocals compliment is noteworthy as well, Eves’ tempered soul softens Monroe’s edge at just the right moments while allowing her natural twists and turns to come through in a searing fashion. She’s telling you a story, it’s real, heartfelt and emotional, commanding your attention.

“Dragging My Heart Around” lets Eves come to the front vocally and the tune rolls to the rock side of blues embellished by the Hammond swirling. The depth of their instrumental abilities is remarkable, Chris hits ‘em hard here, he could easily be a drummer and that’s a lot to say. Many attempt this and it ends in tears, here he does that and more as he answers with a ripping guitar solo to top it off, amazing stuff! You can almost hear The Black Crowes on “Burning Bridges” with it’s swampy slide and rhythm until Monroe kicks the vocal in and it becomes all Castle Creek. The driving beat and quality of the mix provide a platform for Monroe to tell another incredibly personal tale from. Her vocal range and consistent quality are exemplary and allow the song to rise and fall with each new verse supported by and accentuated with Eves’ brilliant guitar work.

“New Normal” brings Eves to the forefront again and Castle Creek keeps showing different levels and voices they have in their arsenal. This tale of triumph is well written and expressed as kindred spirits find each other. While tales of being outcast and alone can sometimes wear heavily, disaffection becomes something of the past to reflect on and rise above here, uplifting while the sadness slips away. “New Reality”, the Monroe/Doyle composition, is straight-up blues and self discovery. Monroe shreds an exposition of growth away from small town entitlement to the heights available to her through herself. “Glass Heart” is a classic moving on song, the difficulty of doing so and the disillusion of love gone bad. The analogy is strong and the lyrical turns ring true.

“Brace For The Heartache” shows how the blues turns so easily to rock, the rave-up guitar tracks push Monroe along, “I could see this coming from miles away, We bend until we break, All that I could do is hold on and brace for the heartache”. The Hammond solo fits so perfectly and segues into the big guitar riff that takes you to the close, brilliant rock music right here.
“Bigger Than the Two of Us” has a Buckingham/Nicks self-exposure kind of feel, after all, the best of songs come from personal experience. The guitars are big and the groove is solid, when Kim and Chris sing together it’s very easy to believe everything they say. This is single material for sure.

“The Saddest Long Song” brings the tempo down and Kim’s bluesy vocal evokes an image of a smoky club and a single spotlight shining as she pours her heart out to a silent audience hanging on every note. The blistering guitar solo only heightens the tension in the room until it softens and ushers her story back in. Cue the audience standing and cheering. “Warpaint” spins the disc back into overdrive, flexing the muscle of a determined woman expressing her self-confidence and her undeniable charms. When this band rocks, it hits hard and wonderfully counters its softer side, but I believe it’s where the band soars. The closer, “Flown Away” acoustically brings the set to an end. Chris’ lead and Kim’s harmonies combined with the string parts are stunningly somber, yet beautiful at the same time. When it’s a song of hope, there’s always a chance for another chapter in the story.

Key Tracks: The Only Life I’ve Ever Known, Bigger Than the Two of Us, The Saddest Love Song

Kim and Chris have deep appreciation for their families, friends and supports. From Chris: My parents who are very supportive. My Brother Travis. My teachers growing up in the area- Ed Vollmer, Carmen Caramanica, Rick Balestra. From Kim: My Mother Liz and Father Bruce who both introduced me to the music business in different ways. My Step-Father Greg for introducing me to off the wall music I never would have heard. Mark Doyle for essentially teaching me how to rehearse with a band, how to record music in a studio, introducing me to Soul Music and pushing me to be a better performer. Chris for making me the performer/musician that I currently am. And it seems obvious but of course to everyone who has bought our music, come to our shows, loaded our gear, made us look/sound good on stage, given us places to stay on the road and musicians who have learned our music and been a part of a band with us. Castle Creek will give you many opportunities to experience their musical magic live and I highly suggest you do that, after you purchase this cd of course. You can follow Castle Creek on Facebook and on their website.

February 24, 2015
Vinyl – Albums Live: V to Perform at The Palace Theater in Syracuse on January 17

Vinyl – Albums Live: V, hits The Palace Theater in Syracuse on Saturday, January 17 at 7 pm. In conjunction with K Mase Productions and 105.9 The Rebel, this year’s edition will feature three classic rock albums performed by an all-star troupe of Syracuse area musicians arranged by founders Robyn Stockdale and Bob Kane. This is the fifth year Vinyl – Albums Live, has presented their format, previously highlighting such events as Taste Of Syracuse, Fox Fest and playing clubs, now they’ve grown exponentially and found a home at the majestic Palace Theater in Eastwood.

While striving to re-produce the quality of the original recordings, they’ve used an evolving line-up of musicians that is selected by their particular skills and love of certain artists. “The goal of the series is two fold. First and foremost, the series was created to allow live music fans to experience performances of complete music albums the way they remember listening to them, in the order that the original artists intended them to be heard.” Each edition features performers new to the bands and each year expands their catalog with new material. “We bring together performers that share a mutual love and respect for this music, but don’t usually get the opportunity to collaborate and take the stage with one another.” This year they’re reaching into the 70’s and selecting three iconic rock albums that mark significant moments in the careers of each artist. Billy Joel’s The Stranger, Bob Seger’s Night Moves and Paul McCartney and Wings’ Band On The Run will be brought to life in their entirety.

Bill Joel’s 1977 album The Stranger will be performed by: Prime Time Horns: Brian Bird, Tom Machuga,Tom Hillenbrand, Bob Caraher, Paul Valentino, and Tony Greene, with Dave Kane, Bob Kane, Tim Robinson and Chris Eves.

Bob Seger & The Silver Bullet Band’s 1976 album Night Moves will be performed by: Mark Westers, Eric Wilson, Andy Comstock, Todd Stiles, John Kapusniak and Chris Eves.

Paul McCartney & Wings’ 1973 album Band on the Run will be performed by: Pete Szymanski, Steve Schad, Gary Frenay, Kristopher Heels and Arty Lenin.

Backing vocals for Vinyl – Albums Live: V will be performed by Lisa Romano, Joanna Nix Jewett and Kim Monroe, guest musicians are Jon Kane on percussion and John Rohde on sax/flute.

Stockdale and Kane’s combined passions for vinyl and music in general brought them to create the Vinyl – Albums Live franchise five years ago as a vehicle for them to perform and produce events that would be unique, while not being tied to repetition. It keeps them fresh, challenged and each time reaching to outdo the previous year’s performances, not an easy task after some of their earlier productions. Led Zeppelin 4, The Who Who’s Next, U2 Achtung Baby, Pearl Jam Ten and Blind Faith Blind Faith are just some of their previously performed albums. You can check them out on the web and on facebook.

Vinyl – Albums Live: V is sponsored by AmeriCU Credit Union, Syracuse New Times and StudioDOG Pro. A portion of the evening’s proceeds will be donated to Signature Music, holistic education for teen musicians in Syracuse.

Multi-tiered ticketing is available at Soundgarden in Armory Square, The Palace Theater or

January 13, 2015