NYS Music 20​15

Category: Album Reviews

  • Hearing Aide: The Turnpike Troubadours Self-Titled Album

    The Turnpike Troubadours, hailing from middle America (Tahlequah, OK, to be exact), offer listeners genuine heartfelt lyrics over the backdrop of perfectly balanced old-timey, twangy instruments that are heavy on the fiddle and pedal steel guitar. This band epitomizes Americana music at its best, which at times is reminiscent of the Avett Brothers and Robert Earl Keen, and while this style might not be a favorited genre amongst music fans, the Turnpike Troubadours just might help the category gain a few converts.

    Comprised of lead singer/guitarist/songwriter Evan Felker, bassist R.C. Edwards, fiddler Kyle Nix, pedal steel and electric guitarist Ryan Engleman and drummer Gabe Pearson, the Turnpike Troubadours’ self-titled fourth album pulls listeners in right from the first track with the five-member outfit’s driving beats and Midwestern drawl. Each member of the band is individually talented, but when joined together to perform as a group, they create a sonic vibe that is uniquely all their own with country-rock and roots characteristics.

    Amy Lieberman - Turnpike Troubadours (2)

    The 12-track Turnpike Troubadours has an organic sound, with the band basically recording until they got it right. Listening to the album makes you feel like you’re at a barn dance in rural America, particularly on a couple of tunes, including “Easton and Main” and “7 Oaks,” during which one can practically picture a country line dance happening.

    Although the tunes may have an uplifting and catchy sound, if listened to carefully many of the lyrics are a bit dismal, particularly on “Fall Out of Love,” which will really hit a nerve with those who have experienced such a situation. Perhaps the most appealing element of the album is that the songs make the band members seem accessible and real, spinning tales that are universally applicable and played over melodies and rhythms that are easy to get into.

    Formed in 2005, the Turnpike Troubadours have gained quite the following over the years, commonly drawing thousands of people to shows in their home state and nearby Texas. Hopefully they will bring the party to New York State, because it would be hard to picture having a bad time at one of their shows, but for now, you’ll just have to settle for their latest album.

    Key Tracks: “7 Oaks,” “The Bird Hunter,” “Fall Out of Love”

  • Hearing Aide: Kimberly Schad “Mystic Kingdom”

    Kimberly Schad debuted her new self-produced, four-song EP, Mystic Kingdom, Friday evening at The Palace Theater, bookending her eighteen song set with the tracks from the new release. In this case I saw the concert before listening to the EP, it gave insight to the formal version and how Kimberly sees the music in a bigger picture.

    Kimberly Schad Mystic Kingdom
    Photo by Sandra Jackson for Sublunar Studios and NYS Music

    She is an artist who has complete control over her music and how it’s presented. In the studio she handles all facets of the project, from vocals, piano, keys, to programming, mixing and producing, besides one tasty guitar track on “Secret” from Kevin Farrell (Hard Promises, The Hurricanes). Live, the lush stage production and instrumental ensemble represent her complete vision.

    Her backing band consisted of her long-time partner Will Masiclat – keyboards, sampling and video, Travis Reed – piano, Andrew Greacen – guitar, Jim Lucas – drums and Gary Lucas – percussion. All of this tied together with her father, Tim Schad, mixing F.O.H. and her uncle, Steve Schad, as L.D.. The stage was set with flowing white drapes, an elevated, spinning riser at the center with an antique chaise lounge and access ramps on each side dressed in white. Dozens of moving light fixtures cast their colors in dramatic scenes accentuating the setting combined with a rich, full mix of ear candy for the highly receptive crowd that assembled. All of the songs performed were Kimberly’s compositions with the exception of four covers that will be noted along the way.

    Kimberly Schad Mystic Kingdom
    Photo by Sandra Jackson for Sublunar Studios and NYS Music

    The show and EP opener, “Secret” has a Spanish note and feel, brought to bear through the acoustic performed by Andrew Greacen and the drums/percussion/sampling. Her vocal reading gives many hints at what was to come from her in both the concert and the EP. She has a tremendous grasp on what she feels, believes and practices. “After Midnight” is deep and proggy, while flexing her R&B and trip-hop chops. The breadth of Kimberly’s lyrical content becomes evident even more here, as she often does, speaking from her soul, deeply.

    “Dirty/Money” features the piano of Travis Reed, a voice we’d hear from often through the show, a brilliant young talent who played as if he wrote the material. A deft touch with ease and a knack for the open spaces. Kimberly mixes in a taste of Drake’s “Star 67”, the code on your phone used to block your number when dialing someone. Stalker? Joker? You decide. The next song is one I’ve been told the background story for and it has twisted my listening a bit since. “Nothing But a Bitch” is a biting send-off to emotional attachment delivered with an appropriate bitch-slap. “Where R U Now?” was the first cover of the evening, the Skrillex/Diplo collab. featuring Justin Bieber is given a fittingly electro-pop read and hits right in her sweet spot.

    Following a costume change, Kimberly took to the piano, solo, where her art truly comes from. Hitting on yet another mark of professionalism, that being the whole picture, the aesthetic, were well looked after. “Afterglow Confessions” is a post-show expression of love and emotion toward her muse. These moments directly after baring your soul to an audience can be some of the most reflective to an artist. One of the highlights of a show filled with them, this one stands out clearly. Travis took the stage again for Stevie Wonder’s masterpiece, “All Is Fair In Love” with more than a hint of Jennifer Hudson’s take on it. Immaculately executed, Kimberly’s voice and Travis’ piano brought the crowd to a height of exuberance, it was simply brilliant. “Look Outside” and “Twice,” a Little Dragon cover, stayed in the piano/voice form, lending clarity to the vocals and space to the piano, both flourishing within it.

    “When I Think Of You,” “Might As Well Be Magic,” and “Solid Ground,” all being from Kimberly’s deep repertoire, grow and develop with time and perspective. They’re reflective of her maturing as an artist and a person, it’s remarkable to behold. “Two Weeks,” the final cover of the night, this time by FKA twigs, is emblematic of where she is now. Dream Pop, Trip-Hop, Prog R&B, Trap Nouveau, way too many different influences to pin-point, which is probably thee point.

    “Fly” and “See Your Face” lead us to the final two songs of the night expressing more themes from her life. She exhibits her behind the scenes skills in tracking, sampling and triggers that become pillars of her compositions. It shows in every note. “One More Time” marks Greacen’s chance to bring his electric guitar to the ensemble, he does it well, perhaps a bit under the mix, but layering textures is what it’s all about. I’d like to hear more of him. The closer, “Mystic Kingdom”, is a signature piece that is perfect in its placement and character. It sums up much of what the performance was about and what we have to look forward to from Ms. Schad.

    While Mystic Kingdom is Kimberly’s first officially released EP, it’s apparent that there is much more to be heard from her. She has plenty of material for two full length albums and her skills as a writer, performer, producer and engineer are growing in giant steps. Her consciousness toward the larger picture and vision are strengths many will never enjoy. At twenty-six, she has a very long way to go and all of the faculties to get her there. Congratulations on the magnificent work and we cannot wait to hear and see what comes next.

    The EP is available for purchase on iTunes and CDbaby and can be streamed on Spotify.

    Setlist: Secret, After Midnight, Dirty/ Money, Nothing But A Bitch, Where R U Now? (Skrillex/Diplo), Afterglow Confessions, All Is Fair In Love (Wonder), Look Outside, Twice (Little Dragon), When I Think Of You, Might As Well Be Magic, Solid Ground, Two Weeks (FKA twigs), Fly, See Your Face, One More Time, Mystic Kingdom

    You can see many videos of the songs performed in earlier concerts on Kimberly’s Youtube page, and keep up with her on her website, Facebook and Twitter.

  • Hearing Aide: Ellie Goulding ‘Delirium’

    EllieNovember was indubitably a huge month in pop music. A number of artists like Justin Bieber, Adele, and One Direction each released new albums that are all getting a great deal of hype in the music world. In addition, Ellie Goulding’s Delirium was released on a New Music Friday with a whopping 23 tracks on the deluxe version. The album features the 2015 top hit “Love Me Like You Do,” which was featured the on the Fifty Shades of Grey soundtrack back in February. However, this album is filled with a lot more than just the big movie hit.

    Delirium is one of those albums you don’t have to listen to in order; however, it’s best to listen to the wistful, wordless introduction track and its progression into “Aftertaste” before listening on. The two songs are nicely juxtaposed, contrasting a ballad with a more upbeat tune, and this foreshadows the variety of styles throughout the album.

    In an article on Music Times, it says, “Ellie… has stated that she is trying to step away from indie and EDM to become a bona fide pop star.” This is made clear as Ellie’s last album, Halcyon Days, released in 2013, could be classified as indie pop/synthpop. New album Delirium falls under the category of plain old pop. Without being cliché, this album is definitely pop first and foremost because all the tracks are incredibly catchy. You’ll be whistling the choruses to “On My Mind” and “Around U” after each play. It also seems like each track is about the great or the no-so-great parts of a romantic relationship, which is standard for the genre. In addition, the album cover features the top half of her body in a somewhat provocative pose, which is in congruence with the often-sexualized portrayal of pop artists.

    So how has her sound changed? Overall, her vocals haven’t changed much with her standard doubled lead vocals and her own voice harmonizing the backing vocals. The instrumentation is also quite similar to her other albums. It’s important to note that Ellie was a contributing writer on each of the tracks, and thus had a great deal of creative control. It seems like she wasn’t pushing for an entirely new sound, but rather a change in how the album was to be marketed. She desires to be known as a pop artist in the music scene, perhaps on a quest for more recognition.

    Each song on the album was artistically produced by her producers with a number of electronic instruments. There isn’t really one song one would identify as a “banger,” but they’re each high-quality and deserving of a listen or two. The single releases of “On My Mind,” “Something in the Way You Move,” “Lost and Found,” and “Army” were decent picks in incentivizing listeners to check the album out. Overall, this album would be great to play as ambient music at a small party or to sing along to in the car.

    Key Tracks: Don’t Need Nobody, Codes, Army

    https://www.youtube.com/watch?v=qJ_sDIQe6gk

  • Hearing Aide: The Primrose Drive EP

    Going into my first listen to The Primrose Drive’s EP I was apprehensive. From the sessions I’d seen online, I knew the the group had talent, but I had no idea how they would display it in the studio. Primrose opens their EP with “Empty Auditorium”, a Dan Auerbach-esque tune with a catchy riff and driving drums. I was disappointed when the vocals entered, because it felt to me like they were too separated from the music.

    Their second song, “Funk > Shakedown Street”, completely changed my opinion. It proved to me that the skills are certainly present as are the vocals. I think the fault in “Empty Auditorium”, if any, lies in the production. I grooved to Funk >. It’s certainly something that I’m going to play on my radio show in the coming weeks. I pressed onward to “Up Close”—simple, catchy, groovy. It’s a sweet, introspective tune. This eventually became my favorite song on the EP because it fits with the songs that I’ve been listening to since my move to Syracuse. Things only got better with “Site 21”. It was folky in nature, which I absolutely love, and the minor chord progressions leading into the chorus were a great touch. The final song, “Waiver” was a nice ending. It grooved, and the guitar solos were stellar.

    All in all, I don’t think there was anything “groundbreaking” about the Primrose Drive’s first EP. It’s their take on a genre that has existed for quite some time. That being said, I’m excited to here for more them in the coming years. The Primrose Drive certainly separates themselves from other rock groups with the authenticity of their music. Every tune is genuine and heartfelt, a window into the group’s wild highs and morose lows. watch out for these guys.

    Key Tracks: Up Close, Funk > Shakedown Street

  • Hearing Aide: Vaporeyes ‘Swell’

    Swell

    Syracuse experimental group Vaporeyes released their fifth studio album titled Swell on November 11, offering listeners a reservoir of jazz-infused jams to meditatively contemplate.

    Vaporeyes is composed of Jonas Reddy-Nicholson (Warp Drive Operator), Shannon Zory (Groovemaster), Sean “Chid Law” Cadley (Keeper of the Beats) and Jamie “Jyms” Tynan (Facemelter). Two songs feature Stephanie Donato on saxophone. Swell was recorded and mastered by William Nicholson at JoBop Records in Syracuse. Released in combination with the new album is a live recording titled An Evening with Vaporeyes from their July 8, 2015, show at Funk ‘N’ Waffles Downtown. Included with the recording are extra downloads displaying video footage from a September 5 performance at the same venue shot by Jason Vincent.

    Swell unfurls the opening song, “Precipice,” with a short spoken word quandary uttered by album cover artist Yegor Mikushkin. The final line feeds into the dreamlike opening of “Precipice,” postulating, “This tense suspense has driven me insane/This glance, this trance, must all just be a dream.” The tense suspense of the first half of the song mirrors that sensation some feel in anticipation of large family gatherings before flutes of champagne and goblets of wine douse the initial discomfort in an avalanche of warm fuzzies. Midway through, “Precipice” serenely eases into a savory instrumental jazz piece. It’s ambient qualities could melt into the background of an indulgent holiday party as drunken family members adorned in matching knit sweaters lounge lazily around a fire guzzling mulled wine and gorging on an array of delicate cheeses.

    If “Precipice” is the anthem for that all-too-familiar holiday party progression, then “Exo Robot” could thematically epitomize the angsty mission-driven mischievousness of the dreaded holiday shopping season. It calls to mind scenes similar to Arnold Schwarzenegger’s bloodthirsty hunt to locate a Turbo Man action figure for his beloved son in the 1996 thriller, Jingle All the Way.

    “Spirutine’s” mid-album playfulness embodies that happy-go-lucky sense of wonder coursing through young spirits on Christmas morning. “Retrograde” imparts a cathartic effect, winding down the sequence of energetic jams with a melody fit to doze off under the comfort of cozy blankets, sheltered from winter’s chill.

    Key Tracks: Precipice, Spirutine, Retrograde

  • Hearing Aide: The Werks ‘Inside A Dream’

    The Werks Inside A DreamThe Werks have released their fourth studio album, Inside A Dream, which takes listeners through the wonderment of a dream. Their concept album is full of twists, turns and surprises.  The Werks consists of Chris Houser on guitar, Dan Shaw on keys, Dino Dimitrouleas on bass, and Rob Chafin on drums. Hailing from Ohio, their new album treats fans to fresh sounds with each new song.

    The first track, “The Answer,” draws listeners in immediately with slowly building guitar chords full of crunch, as if the music were running from something.  Ever present touches of psychedelia flow throughout. Funkalicious “The Drop” highlights itself as a tune that is perfect for jamming. Extended guitar play leaves wide open spaces for live performance experimentation on this track. Fans should keep an ear out for this one during upcoming shows just to see how they take this to new depths over time.

    Chopin’s “Opus 66” gets a ghostly twist with haunting organ and mysterious guitar melody accentuated throughout, taking listeners to a darker dream state with this track. An upbeat “For You” is infused with lighthearted piano and sunlit lyrics, drawing listeners out of the darkness from the previous track. This tune calls for you to get up and dance.

    [soundcloud url=”https://api.soundcloud.com/tracks/232745620″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

    The distinctive sound of an old piano in a smokey bar takes over during “Give or Take,” maintaining that hopeful feeling as the album continues a dreamy ride. “Find Your Way” is packed with complex arrangement, offering pause and time to reflect on life.

    “Inside A Dream,” the title track, shares touches of jazz and funk while it carries a wave of confidence as they sing, “Your dreams are calling out your name.” Don’t be surprised when hitting the repeat button for this track again and again. “Alive” continues the spirited atmosphere of the album as husky vocals and commanding guitar, combined with pounding piano, maintain that ‘can do’ attitude when chasing a dream.

    “Not Alone” is the track that lifts self-doubt within a dream. Full of synth and psychedelic undertones, this tune takes a journey through melodic and exploratory notes from start to finish. “Transformational” begins to awaken the album from a dream state with a refreshing touch of African drum beats before seamlessly easing into this dynamic song.

    The album finishes with “Waiting Room,” bringing the dream concept full circle.  An uplifting song full of harmony and softened guitar is a perfect ending to the album, as it returns to reality. Inside A Dream fully captures the focus and intent of the band’s concept, having taken listeners on a journey and are able to reflect on their own personal adventures through life.  This well balanced album, full of surprises at every turn, captures the imagination and really nails the concept on the head.

    Information regarding the new album, along with tour dates for The Werks, can be found on the band’s official homepage.

    Key Tracks: Drop, Inside a Dream, Not Alone

  • Hearing Aide: The Nth Power ‘Abundance’

    ABUNDANCE-HI RESIt’s been a long time coming, but The Nth Power has finally delivered their debut album, Abundance, in all of its glory. The band has been around since 2012, and with a stacked lineup of musicians they decided to tour first and hit the festival scene to start growing a fan base. It’s almost unfathomable how they blew up as quickly as they did without an album for people to dig into, but that’s what happens when you’re this talented. Regardless, the wait is finally over! Abundance is being released Friday, November 13, and if you’ve been lucky enough to catch this special act, the album doesn’t fall short of showcasing all that they represent. Just as the band has done live, Abundance is mixed with touches of soul, R&B, funk, and jazz into their own self-defined genre of “Love” and few would disagree.

    The band opens up with the strong and powerful overarching message, “Only Love,” evangelizing all that they stand for. It’s been quite sometime that a band has come with a message as potent and strong as The Nth Power bring to the table, both lyrically and through the non-verbal dialogue of their instruments. There is a deep feeling and they’ve really captured the essence of their message overall as it’s felt right from the opening of the album.

    The band really puts the rhythm in R&B on the song “Right Now.” With a rhythm section as strong as this band has though, it’s no surprise. Nikki Glaspie [drums], Weedie Braimah [percussion], and Nate Edgar [bass] are all masters of their instruments and give this track some serious teeth that immediately dig in from the opening pattern. The bassist isn’t always called out, but Nate Edgar needs to be commended for his overall work throughout as he does a stellar job all over this record. While never trying to openly stand out with solos, he plays the support role to a degree most bassists could never reach while still churning out some complex lines in the process.

    NEWNTH
    (From L to R) Nate Edgar, Nikki Glaspie, Nick Cassarino, Courtney “Jay’Mel” Smith, and Weedie Braimah

    As the album progresses, the feeling of love and joy is thoroughly reinforced in the most uplifting way. The bands tightness and focus on this delivery is something that is a testament to the time they took before releasing the debut. While lyrics aren’t always included in the liner notes these days, Nick Cassarino’s beautiful words were chosen to be laid out. Paging through them in sync with the album, it is clear he put as much effort into them as the band collectively put into developing the music. Nick’s honest and introspective words and heartfelt delivery is matched by his impressive chops on his guitar. You can feel that the band really poured their heart and souls out throughout the musical journey.

    The album finishes very strongly with the trio of songs, “Home,” “Soul Survivor,” and “Altar Call.” Each are distinctive in their own right, but make up a solid run to the finish line. “Home” is beautifully introspective, both musically and lyrically, while “Soul Survivor” is where the band takes the time to step away from the lyrics a little and focus on some of the incredible chops they have as musicians. That being said, the chorus on “Soul Survivor” is easily the most anthemic on the album as the band proclaims their ability to survive through hardship. It finishes up with “Altar Call” which could be the most underrated song on the album. The overall construct and ethereal beauty of it can draw out the deepest of emotions. The track is the only one without a lyrical presence and it showcases an elegant and subtle beauty to the band’s musicianship as they explore the meaning of love musically and express it without words.

    Overall, Abundance is exactly how The Nth Power should’ve made their debut album. It captures their live energy and delivers on the messaging they’ve settled upon since they formed just a few years back. The musicianship and perspective are a fresh one and one everyone should welcome with open and loving arms. If there’s ever a time for a pick me up or a need for some uplifting, scoop up Abundance and take it for a spin.

    If you’d like to pick up The Nth Power’s debut, click here. The band is currently on tour and making several stops throughout New York State in support of the new album. They will be in Woodstock at the Bearsville Theater on Nov. 14, in Buffalo at The Tralf on Nov. 18, and in Brooklyn at The Hall at MP on Nov. 20. Click the respective links to grab tickets and catch them live.

    Key Tracks: Only Love, Home, Soul Survivor

  • Hearing Aide: ‘Damn Country Music’

    Tim McGraw Damn Country Music - standard coverWhat could possibly make a Friday better?  Well, the official release of Tim McGraw‘s 14th studio album, Damn Country Music of course.  Just in time for the upcoming holiday season, Big Machine Records released the highly anticipated album this week. The record was produced by McGraw and trusted collaborator Byron Gallimore, and proves to be yet another album chock full of hits.

    Tim shares the opening number with his first-born daughter, Gracie, in an upbeat country tune with a Celtic vibe of a tin whistle in the background; outstanding.  Gracie’s sultry undertones match her father’s voice perfectly, and the tiny glimpse into their relationship at the end is super endearing.  He also kicks up some dust with friends and co-collaborators Big & Rich on what’s sure to be a hit for them, “California”.

    To McGraw, the album’s title track is reflective of the entire record’s tone and his musical journey thus far. “When I recorded Damn Country Music, it was one of those electric moments. It speaks to a passion and being at a crossroads in your life when you make that decision to pursue it knowing you might pay a heavy price,” says McGraw.

    Damn Country Music’s lead single, “Top Of The World,” has been rocketing up the country radio charts since its out-of-this-world debut in August. The song’s widely-viewed lyric video features an intimate look into McGraw’s life as he surveys various personal photos and memories.

    The release of Damn Country Music will cap off an exceptional year for McGraw, which began with a critically acclaimed & trending performance of “I’m Not Gonna Miss You” from Glen Campbell: I’ll Be Me at the 87th Academy Awards on February 22. In April, McGraw was included on TIME 100 – Time Magazine’s list of the 100 most influential people – and narrated the ESPN Films & SEC Network documentary Shaq & Dale, which detailed the enduring relationship between basketball icon Shaquille O’Neal and his former Louisiana State University coach Dale Brown.

    Continuing to bolster his film career, McGraw starred in Disney’s Tomorrowland in May before kicking off his wildly successful Shotgun Rider tour in June. The tour thrilled thousands of fans and awarded mortgage-free homes to veterans through McGraw’s partnership with Operation Homefront & Chase in more than 30 cities throughout the summer. The tour concluded on September 19 in Irvine, CA to a sold out crowd.

    Photo by Danny Clinch
    Photo by Danny Clinch

    Not sure how he fit in recording an album of this caliber, but we are sure glad he did.

    Damn Country Music Standard Tracklisting:
    • Here Tonight (ft. Gracie McGraw) – Perfect opening song featuring his first-born daughter Gracie. His smooth country sound blends perfectly with her warm bold undertones and gives a depth to the song.
    • Losin’ You – This is an amazingly well written song. Through words, Tim paints the backdrop and tells a story of lost love. This is a great country song.
    • How I’ll Always Be – This snappy upbeat diddy describes the simple pleasures in life of a man who knows who he is and what he finds important. ” I’ll always be a fan of old stray dogs and guitars playin’; One room churches, back road walks, and front porch swingin’; Sunset skies and bonfire nights, I love the simple things; That’s how I’ll always be”.  Think that says it all.  I absolutely loved the percussion and the great guitar riff within this number.
    • Damn Country Music – Tim sings of the passion surrounding the life a musician. The constant dedication it takes is all rolled into a ballad of the love affair he has with country music and the ups and downs in the career as such. This is a perfect reflection of the cannon ball jump musicians make to follow their dreams.
    • Love Runs – Love walks you to….and the lyrics within bring definition of what is the essence of a relationship.  But it’s the love runs through your veins that is so strong and confirms the love you know, will be a forever love. Loved it. Number one hit for sure.
    • What You’re Lookin’ For – This ballad tells of an admission and realization. This mellow tune is an acknowledgement of a love that just isn’t right. We have all been there, and Tim’s ability to deliver a sad song of love, just makes you weak in your knees.
    • Top Of The World –  The first release on the album came this past August and didn’t take but a minute to climb its way into the charts and our hearts.  Would say that Tim McGraw definitely sits on Top of the World.
    • Don’t Make Me Feel At Home – This number has a very old-fashioned country flavor of the George Jones era. Loved it. A must listen track.
    • Want You Back –  WOW! All I can say is, you can have me back. Definite hit. (drops mic)
    • California (with Big & Rich) –  This collaboration with Big & Rich rocks your country boots off. It’s one of those songs you hear, and you immediately pull your beau out to the dance floor. Fun and upbeat. Loved it.
    • Humble and Kind – My hands down favorite on the album. It’s a conversation; one that brings me back to so many I’ve had throughout the years with my momma, my grandma, and my pop pop as they teach me how to be the best person I can be in life. Truly a number that everyone will relate to and love as well. So beautiful. The arrangement on this number must get a shout out as well as it is spectacular. Can’t wait to see this one live!

    For those that purchase the Deluxe Edition, you will be treated to the following extra tracks as well.
    Damn Country Music Bonus Tracks (Deluxe Edition):
    • Everybody’s Lookin’
    • Kiss A Girl
    • Country And Western

    This album has a great energy to it.  It is a perfect mix of both upbeat and ballad; every song is a hit; and every song has substance.  With some of the most talented writers in the business working with Tim, their words are made into stories and Tim delivers them magically and perfectly.  A lot of scuttlebutt has been made in the industry claiming that commercialism has taken over and strayed country music from its roots. This album reflects a bit of those roots within, and gives the listener a taste of what country music is all about; the stories of life, love, and loss. I predict that this album will one of Tim’s biggest selling albums. I give it a definite two thumbs up.  I believe it’s substance was a compilation of all that Tim’s endured over the years on the road and in the business.  Tim’s was able to deliver an honest and heartwarming album, while standing tall and true is a direct reflection to his character and talent.  A must purchase.  I know I will.

    Key Tracks: Want You Back, Humble and Kind, California

  • Hearing Aide: Lettuce ‘Crush’

    It’s only been three years since we last heard an official release from the funky innovators known as Lettuce. And while that might feel like an eternity, the coming of Crush (Expected Nov. 06, 2015) marks the quickest turnaround between albums in the band’s history. It can likely be chalked up to the extensive time spent together on the road, sparking tons of raw material for the band to work with.

    lettuce crushWith eighteen tracks and a musical journey covered throughout the album, it’s tough to touch on just a few highlights. Damn near every song has at least one riff or section that can grab your ear and dial you in to a fat groove, and that’s being modest. Either way, they’re back with the most aggressive, ambitious, and funkiest album to date; Lettuce all be thankful.

    Crush starts off with the sounding of the Shady Horns, announcing “The Force” and setting the tone for the rest of the album. The band’s play on words with Lettuce Crush (Let Us Crush) is felt from the start with a tight pocket and hypnotically heavy riffs. An immediate evolution is heard on the first track as trumpeter Benny Bloom and saxophonist Ryan Zoidis’ effect-laden horns blaze the way. They’ve certainly been toying more in the live setting with effects, but it’s great to hear it on an album. Zoidis’ sax solo on “The Force” provides some brass foreshadowing for the rest of the album. From start to finish though, this song serves as an anthem to announce the bands triumphant return!

    If you’ve seen the band out on the road in the past year or so, there are a good number of songs that will sound familiar. The band used that time together to road test and evolve their ideas. That being said, there were many on Crush that haven’t been played at all, or at least minimally, and are just getting turned loose now. The deeply introspective “Phyllis” was from the road tested bucket. While simple and laid back in nature, Lettuce somehow captures that live magic and is one of the early highlights. The song allows the listener to catch their breath after a typical Lettuce onslaught of fast-paced funk that starts things off. Going back to back with “Phyllis” is the light-hearted Nigel Hall led “Sounds Like a Party.” As with other Nigel songs from previous albums, they nail another classic sing-along and will have you piping in by the time the second chorus comes around.

    As the album blazes on, there’s a noticeable sense of diversity that hasn’t been explored to this depth on previous Lettuce albums. While the band has always had their hand in funk, hip hop, jazz, and soul, this album seems to dive in and explore other dimensions to a deeper degree. “Trillogy” specifically is one of the standouts on the album, exploring a hip hop sound like they never have before. It’s  also one of the heaviest songs with the first two phases of the song building before taking a dip into the heaviest groove on the album. With innovation like this, there’s a hope that we might one day see an actual MC make a debut on a Lettuce track as a guest. The band has deep connections and fans would fully support an appearance from Talib Kweli, a member of the Wu, or another gifted rapper they’ve crossed paths with.

    lettuce crushFollowing “Trillogy” is the dynamic and fluid “Pocket Change.” This could be a play on words as the band places a heavy focus on the pocket in terms of rhythm and this certainly changes its rapid pace throughout. This song harkens back to some Soulive-jazz influences and reminiscent of the rhythmically intense song “Nyack” from their 2002 release Outta Here. The stark difference between “Trillogy” and “Pocket Change” is something that Lettuce is not only capable of, but one of their strengths. Solos on this include a Zoidis/Deitch syncopated back and forth battle early on that surely spurred the subsequent appearances of Eric Krasno’s guitar in response. Neal Evans and the Shady Horns interplay throughout is an interesting conversation to listen to as well. With so many layers, its easy to say that you should never get bored with this band.

    If you’ve never had the opportunity to dive into some Lettuce head first, now might be a better time than ever. Crush is the convergence of road tested and polished material, musical exploration, deep pockets of groove, and a band that is simply on top of their game. With a discography full of hits, this album somehow stands above them all. For the non-musician, the band has endless groove with an allegiance to the pocket and a keen ability to get your foot tapping. For the musician, the band has all sorts of rhythmic and melodic folds to listen for that can keep you eating for days. This album is no different from any of their previous records in that manner, but so different in every other sense. Lettuce all be thankful that they’re back and ready to Crush.

    Key Tracks: Phyllis, Trillogy, Pocket Change

    The album is set to be released this Friday, November 6. If you’d like to pre-order Crush, click here. There are a ton of limited edition bundles and every order comes with instant downloads of “Phyllis” and “Elephant Walk.”

  • Hearing Aide: Vulfpeck ‘Thrill of the Arts’

    Thrill of the Arts, the debut full-length release from Vulfpeck is an entertaining score of influences —Motown, superfly funk, disco ballads, ’80s easy listening, other music your parents probably owned—and classically trained elements that mix confidently with technetronic effects. The result isn’t nostalgic or avant-garde, but geeky cool in its carefully composed yet vibrant sound; it’s revenge-of-the-nerds with soul-train swagger.

    vulfpeck thrill of the artsThe four-man rhythm section formed at the University of Michigan—Jack Stratton (keyboards/drums/guitar), Theo Katzman (guitar/drums/vocals), Woody Goss (keyboards) and Joe Dart (bass)—self-produced the album through a 59-day Kickstarter campaign and open it with the appropriately named “Welcome to Vulf Records,” an upbeat symphonic theme song that signals it’s time to tune in, brassy saxophone solos and all.

    Over the following half-hour, the band grooves through a variety show of offbeat instrumentals, starring guests like rhythm-and-blues vocalist Antwaun Stanley, who sings about the self-aware, TED-talk giving “Funky Duck,” and guitarist Blake Mills in the spaghetti Western rockabilly number “Rango II” that moseys on until mid-trail distortion time warps listeners back to the future. Mushy Krongold (Stratton’s alter ego) brings the 10-tracks to a close with “Guided Smile Meditation,” a spoken-word bit that uses outer-spacey synths to help visualize manning “mission control” and sends TOTA off with a “sense of smile spreading through the eyes.”

    vulfpeck thrill of the artsMost songs remain under the five-minute mark, but existing live footage reveals that these guys aren’t afraid to improvise and can deliver unexpected transitions with impressive precision. And they’ve also been known to cover a classic song or two like The Band’s “Up On Cripple Creek” and Stevie Wonder’s “Boogie on Reggae Woman” and will occasionally breakdown their instrumental configurations for the audience before jamming out. Vulf has yet to announce a tour schedule in support of the album; however, the band is booked for two nights at the Brooklyn Bowl on Nov. 21 and 23 and special guests are soon to be announced.

    Vulfpeck‘s premiere feature compilation is dressed to thrill and proves that independent musicians in the 21st century can provide much more than studio session backtracks.

    Key Tracks: “Funky Duck,” “Rango II,” and “Christmas in L.A.”