NYS Music 20​15

Category: Album Reviews

  • Hearing Aide: Gary Frenay ‘File Under Pop Vocal’

    The godfather of Syracuse’s power-pop scene, Gary Frenay has released a new, full-length, solo cd titled, File Under Pop Vocal. A founding member of The Flashcubes, and Screen Test, two of the area’s most important bands in the late seventies and early eighties. Frenay is a six-time SAMMY Award winner and the first musician to be inducted into the Syracuse Music Hall of Fame twice, once as a solo artist, again as a member of The Flashcubes. A very prolific writer who honors the molds of Lennon and McCartney, Brian Wilson, Todd Rundgren and Elvis Costello, he has issued three solo albums, plus ten more by his bands and duo with fellow Flashcube and Screen Test member, Arty Lenin.

    gary frenayA two year project, File Under Pop Vocal is a collaboration with his longtime friend, Flashcubes drummer and producer, Tommy Allen. Tommy is producer and mixed all tracks at his NYC base, except #7 which is produced, arranged and mixed by Mark Doyle with drums recorded by Allen and #10 which is mixed by Ducky Carlisle, another Syracuse mainstay. Carlisle mastered at Ice Station Zebra in Medford MA.. Recorded in Syracuse, NYC, Boston and Tokyo, all of the songs here are by Frenay, besides #4 by Wilson/Rovell/Pamplin and #7 by Frenay/Doyle.

    You can hear Tommy Allen on each track playing drums, percussion and a myriad of other instruments, plus lending background vocals. Together Frenay/Allen recruited some very big hitters to fill the vibe of each song, including the multi-talented Mark Doyle (guitars, keys, bass, etc.); guitarist Paul Carbonara (Blondie); Doug Worthington (Julian Lennon); mega-duo Pete and Maura Kennedy; Marshall Crenshaw (yes, that Marshall Crenshaw); longtime musical partner Artie Lenin; Japanese power-pop star Osamu Satoyama (Mayflowers); keyboardists Ed Vivenzio, Andy Burton (John Mayer), and Tommy Mandel (Bryan Adams); and Frenay’s son, multi-instrumentalist Nick Frenay (Nick and Noah). To get the proper individual credits, please see the actual liner notes. I’ll highlight some, but let the music talk through me for the most part.

    ‘Blue Topaz’ takes a big swing at the genre fence with a power-pop monster featuring a vocal hook that will make you believe Elvis is in the studio. When Frenay sings, “Let it shine for eternity, To remind us of, The way we felt on that day, I placed it on your finger, A blue topaz” and the harmonies and backing vocals soar, his voice clinches on the I in homage. It hits all of the bases with jangling guitars, a driving bass and Tommy’s pacing, this begs for the top to be down, clearing the romantic haze in a beautiful way, it’s just what happens under the spell of a muse. ‘Forgot How Good Love Feels’ follows in composition, but maybe a little earlier in the real story. It runs along at full pace, like new love does, it sprints, not wanting miss a stride. Until realization puts a shift on time and you float, slowly, in revelry. You know what I mean. ‘Our Eyes Have Voices’ is flat-out romantic and truly insightful, the strength of the topic combined with Frenay’s multiple background vocals tweaks at my influence alarm. Although I believe there is more than one influence at work on many of the tracks here, Frenay’s voice sings to them, expresses them with subtlety and individuality without waving a flag. His words and melodies move easily to the borders of his genre and reach beyond for tastes, his stories are real, it makes all of the difference. The musicianship and arrangement are pristine, distinct, clear and thoughtful. Nothing is more aurally pleasing than that.

    Brian Wilson’s ‘It’s Like Heaven’ sounds like a Beach Boys/Beatles love child, played by Elvis Costello. Paul Carbonara’s slide is right out of the George Harrison play-book, Tommy’s drum sound is huge and the sweet backing vocals by Maura Kennedy and Nick Frenay carry Gary’s reading on a cloud. The production is like candy, surely the epitome of pop, and substantive of the album’s title, that continues track after track. ‘Winterview’ is a tale of reminiscence, an analogy of seasonal change and emotional cleansing. The Kennedys and Ed Vivenzio color the changes and fill the spaces so completely, along with Sam Crowes flute and Tommy’s string flourishes, they make the sadness seem palatable, though the feelings fade, they never quite go away. Frenay switches it up on ‘We Could Be Brothers’, an up-tempo power-popper that speaks to someone lost, but not forgotten. One of those meaningful people you lose track of over time, but don’t let slip your mind. Perhaps a new soul, that reminds us of an old soul. Osamu Satoyama’s guitar bites in all of the right places and Frenay’s voice exudes at the combination, his enthusiastic acoustic rhythm chimes in agreement. I can’t quite grasp it, but it’s either a high-plains western, eastern or a mix of both feels, either way it’s quite provocative.

    ‘It’s Your Heart’ sounds like it could’ve been written for a sixties chanteuse like Dionne Warwick, from Nick Frenay’s flugelhorn to Mark Doyle’s piano, organ, synth strings and electrics, it’s majestic like a single produced by “The Wrecking Crew.” The only track where another songwriter is co-credited,  Doyle’s mix and arrangement are sublime. Gary’s voice is so emotive, his backing tracks and Riley Mahan’s layers produce all that is good in pop music; like ‘You’re Only Hurting Yourself.’ Doyle starts the string intro, Carbonara on the electric rhythm, it’s a little Philly Soul, it’s Doyle bringing the “Ambrosia” So. Cal. piano and Artie Lenin drops a perfect solo. Nick Frenay adds background vocals in a level at which I needed to consult the artist to be sure all of the voices were credited. Fantastic! Frenay’s songwriting is at once, striking and stirring, there’s an innocence with a wink, assertiveness with a smile and resolution in a nod.

    ‘Everything But Love’ and ‘Luckiest Man’ close out the CD in very individual ways. E.B.T. has the ring and jangle of Lenin’s 12 string and harmonies, bolstered by Tommy Mandel’s piano and organ. Then the guitars roll in, Doug Worthington and Marshall Crenshaw add individual flavor, but the bridge to the solo is unmistakably Crenshaw and Worthington gives a monstrous solo. It’s a flavor of “Pretenders”, pure pop gloss, seamless in its fab four proclamations and eighties vibe. Lucky Man finishes softly, but substantially. No rhythm section, just Frenay’s voice and acoustic, Doyle’s piano and synth strings with Nick’s flugelhorn, expressing why songwriters write, singers sing, why lovers cry. A song for his wife and muse, his dedication to love and good fortune. Written beautifully, performed in the only way it can be, truthfully.

    Although I attempted to focus on the music itself, when you have so many important pieces involved, each needs to be credited somehow. The level of musicianship, song-writing and production put together here is as precise and thoughtful as any available today. The compositions are intelligent and bright, sweet and bitter, all unrestrained. Follow the links provided to hear and learn about Frenay’s past and present, I believe you’ll find them both exhilarating. Check his facebook page and his blog WE CONNECT for stories, history and anything else that may be found under File Under Pop Vocal.

    Key Tracks: Blue Topaz, Winterview, You’re Only Hurting Yourself

  • Hearing Aide: ET Rhino ‘Outersphere’

    Contrary to what their name suggests, ET Rhino is more jazz than psychedelic, more happy-go-lucky than deep dark space. Hailing from a couple of hours north of Toronto, Extra Terrestrial Rhinoceros, (or ET Rhino for short) has put out their debut album called Outersphere. It will be available to the public this summer. They are planning a U.S tour in the fall.

    ET Rhino OutersphereThe band’s name was the first indication of a goofiness that borders on juvenile. This sentiment is pervasive throughout album, considering they have an entire song dedicated to a hat. “Opps There Goes My Hat” which sounds like a jazz rendition of a children’s song, follows a man running down the street trying to find (you guessed it) his hat. Half the album sounds like a soundtrack to The Price is Right which is to say artificially upbeat. The other sounds like a funky take on the background music to Mario Bros. More often than not, many of their songs on this album sound the same.

    Yet the chemistry between the band members can not be denied. It’s the songs where the lyrics have a little more depth that keep this album afloat. For instance on “Don’t Know What to Do” a tune about trying to figure out the next move in life, the interplay between the keyboardist and guitarist is the highlight of the track. “Back to the Way We Were” expounds on a myriad of existential ideas. The lyrics are idealistic and the song is in fact, quite catchy. It has a grooviness that falls in line with the cheery outlook the lyrics present.

    ET Rhino Outersphere is tinged with these moments of band cohesion. Moments where their jams seem to go somewhere. It’s an album that explores a rose-colored universe, not the next frontier. Yet goofiness aside, this band could have some real potential if they just took themselves, or their audience, a little more seriously.

    Key Tracks: “Waiting on You” “Don’t Know What to Do” “Back to the Way We Were”

  • Hearing Aide: Mark Doyle “One November Night – Live In Concert”

    Mark Doyle has released a two cd live performance by his ten-piece Guitar Noir ensemble project. The material is based on his trilogy of critically acclaimed solo albums, 1999’s Guitar Noir, 2001’s Out Of The Past and the follow-up to Guitar Noir, 2011’s In Dreams: Guitar Noir ll. In Dreams is presented in its entirety on disc one and highlights of the other two cds are performed on disc two along with a few surprise gems. One November Night was performed at Onondaga Community College’s intimate new Recital Hall on November 22nd, 2014 with Jason “Jocko” Randall at the F.O.H. helm and Dan Shaw handling recording duties. Doyle produced and mixed at Near Miss Studios, Jocko mastered the final product at More Sound. The pairing of Doyle and Randall have garnered multiple SAMMY Awards for Mark Doyle and The Maniacs, Doyle’s blues/rock band.

    Mark DoyleThe carefully selected ensemble draws from a list of long-time collaborators, Terry Quill on guitar (former Maniacs), Edgar Pagan-bass, Bill DiCosimo-keyboards, Joshua Dekaney-drums/Roland Pads, all of (Grupo Pagan, Mary Fahl) and a stunning string quintet comprised of Ally Brown-1st violin/section leader, Shelby Dems-1st violin, Leila Dean-2nd violin, Claire Wilcox-viola and Kate LaVerne-cello. The quintet allows Doyle to flex his multi-faceted skill base as a producer/arranger, who states, “I’ve always loved doing string arrangements for recordings, and the idea of working with live strings has long been a dream of mine. The Guitar Noir concept particularly lends itself to this idea, so seeing and hearing it all come together in concert has been very rewarding.”

    Doyle’s extensive history as a guitarist, pianist, composer, producer and arranger would take another several paragraphs to cover properly. I suggest spending some time on his website, there are some excellent stories on his discography page and his bio page spells out his history in depth. You can also go back on the NYS Music website and read other pieces I’ve written for Doyle and his works with Mary Fahl.

    It was as if the Recital Hall was created for a concert such as this, amazing thought and skill has created an architecturally beautiful venue that is near perfect for audiences and musicians alike. It’s plush, with comfortable seating, excellent sight-lines and the sound, the sound! I was fortunate enough to attend the concert when ‘One November Night’ was recorded, this will be a chance to give it the ultimate respect it deserves. Many fans may think it odd to sit in a theater listening to Mark Doyle perform, but Guitar Noir is a totally different animal, instrumental, atmospheric and lush. This venue is perfect for Doyle’s voluminous abilities to be exercised and the audience to lean back and follow along with the nuances.

    Doyle’s love of film noir/sci-fi/horror movies influenced his thematic choices throughout the recordings highlighted here, along with the Sixties theme from Out Of The Past. This is an artist who holds the fullest respect for where he comes from, where he has been, and who influenced his path on the way there. Anyone who has attended one of his shows knows the subtlety in how he expresses them and his affection for them. I highly suggest a good pair of headphones to catch each one.

    ‘The Perry Mason Theme’ opens the show with all hands on deck, Doyle’s guitar playing the familiar lines that everyone of a certain age knows. It’s brighter, then it breaks into a samba-jam with Edgar Pagan and his unmistakeable smile riding a sweet groove with counterpoint provided by his rhythm section mate, Josh Dekaney. The strings swell in and out as Bill DiCosimo’s keyboard flourishes fill the air, Terry Quill’s accompanying guitar licks double, then echo and harmonize with Doyle, their interplay is and always has been magical. As previously noted, the rest of the first set is dedicated to In Dreams: Guitar Noir II in its entirety. ‘Mr. Sandman’ is dreamy and slowed down, Doyle switches from harmonics to slide to pick, emphasizing tonal changes directly into another standard ‘All I Have To Do Is Dream’. While recognizable, these arrangements take on a new depth behind Doyle’s signature and accompaniments. This version is upbeat, sweet and hopeful, perhaps another chapter in his tome, written for the love of his life. Ray Davies’ ‘I Go To Sleep’ – familiar to many from the Chrissie Hynde reading – comes next in an atmospheric inversion, enough to call to memory the words; “I go to sleep, sleep. And imagine that you’re there with me. I go to sleep, sleep. And imagine that you’re there with me.”, spoken with a volume pedal and a little finger on the volume control knob on Doyle’s signature Stratocaster. The guitar solo at the end is worth the admission price alone. ‘Reve Noir (Dark Dream)’, the first of Doyle’s compositions, brings the theremin in with a haunting effect that is quickly softened by a ‘Dream A Little Dream Of Me’ homage lick. The strings are consistently perfect, performed with touch and emotion, never commanding, yet very present.

    Henry Mancini’s ‘Dreamsville’, from The Music Of Peter Gunn precedes ‘Nightmare’, Artie Shaw’s “theme song”, placing dimension on this continuing dream sequence. Doyle’s guitar rises right through the middle of the mix, just on top, right between the ears, precisely where it belongs. ‘Dream Baby’, made famous by Roy Orbison, gets a slower pacing, without the country feel. Not “updated”, but a different take, a saunter of sorts, with Doyle’s slide work and picking dictating the step. The second Doyle composition, ‘Dream Tiger’, gets a bit electronic with sampling running underneath, triggers being pulled and layers upon layers of melody allowing Dekaney to hit it hard. His percussion skills and sound knowledge are flat-out amazing. The band is running at top form, ‘Darn That Dream’ is a late thirties jazz shuffle by Jimmy Van Heusen that reaches deep into Doyle’s cache of tones, throw in the strings and it could be misconstrued as his own composition. ‘Still I Dream Of It’ (Brian Wilson) and ‘In Dreams’ (Roy Orbison) finish disc one. The expression in Doyle’s guitar-voice rides along the melody lines, casually reshaping them, changing tones to define them. One last reference to history and the band is off to break, listening to a rising ovation from the sold-out audience.

    The second set, or disc two, opens with ‘Tomorrow Never Knows’, the Lennon/McCartney gem from Revolver that brought the Indian feel to the experimentally minded band. Guitar Noir just rolls it, the Indian undertone as a drone, Doyle voicing the vocals through his fingers, pick and whammy bar. The Jazz Crusaders’ ‘Young Rabbits’ gives each member of the ensemble some individual space while staying tight to the groove of the original. The band doesn’t mind a little jazzy, funk stuff. The Boz Scaggs feel of ‘Invitation’ is such a classic sound. The theremin pushes through in parts, Doyle just soars, and the band is so far in the pocket that you can’t see them. ‘Guitar Noir’ expresses the virtuosity Doyle haunts this song with, the hollow-body whammy gives some surfer vibe, but the synth and pad parts are updated and push just slightly. The theremin entices like an old horror movie, just enough to keep you guessing until he tosses another emotive at you. ‘Out Of The Past’ is a monster. The Indian influences, both string and percussive, paired with the precision of the guitar work and tonalities, is just majestic. These two songs are Doyle’s personal contributions to disc two. It’s understandable why they’re the title tracks from the second disc’s featured albums.

    The Doors’ ‘The Crystal Ship’ is a time establishing riff that is just as strong, if not more strongly expressed through six strings. It provides the vehicle to go back, while still moving forward through Doyle’s interpretation. The Beach Boys’ ‘Warmth Of The Sun’ is read in similar terms, lush with strings and keys, the lead gently overhead. Both are so heartfelt, they’re nicely paired in the set and the ‘Surfer Girl/I Only Have Eyes For You/In My Room’ interlude is signature material for Doyle, perfectly placed and segued, setting the stage for a new song to the ensemble. ‘Jive Samba’ by Cannonball Adderly takes the slow jazz feel and uses guitar for the horns while the string ensemble echoes back to them, the bottom is unstoppable even when Doyle lights it up strong. Then, DiCosimo, Quill, Pagan and Dekaney each get several measures of solo space and their introduction to the crowd. Sometimes it’s hard to pay attention to each individual while the band plays, wanting to absorb the whole presentation, but the crowd surely showed their appreciation for each. The set ends with a Stones/Beatles mash-up, consisting of ‘Paint It Black/Eleanor Rigby’. The Caribbean rhythm intro of ‘Paint It Black’ morphs into a rocky, upbeat chorus, then transitions into a searing ‘Eleanor Rigby’ with a Chick Corea like break. DiCosimo rips another organ solo while Quill and Doyle pounce on the top, firing to a dramatic end with the audience standing and yelling for more. The encore is a seasonal piece considering the recording date. ‘Have Yourself A Merry Little Christmas’ and ‘The Christmas Song’ had the audience smiling wide in understanding the moment they were just a part of.

    While it isn’t considered professional or appropriate to personalize reviews, in this case and several others recently, these people are my friends. I’m very fortunate to have them. I write what I write because I want to, not for money, but for the love of music, especially when it’s made by people I respect and care deeply for. Check out more of Mark Doyle’s music on his website, youtube and his band, Mark Doyle and The Maniacs’ facebook page and website. There is a rich history there that continues to grow, it should be noted and explored, please do.

    Key Tracks: Out Of The Past,  Dream Tiger,  Guitar Noir

  • Hearing Aide: Consider the Source ‘World War Trio Parts II + III’

    coverIf pop music is reading at an elementary level, Consider the Source‘s latest release, World War Trio Part II + III, is at least a 400 level college course.

    For someone only exposed to American music, the concept might be lost. That has always been the case with Consider the Source though who has always pushed global boundaries. Never before though has the band done it this masterfully and with such vision. This isn’t just food for thought, but a feast, with such lush sonic depth that can’t simply be explored in one pass. This is music that commands focus in a time when fans are more flippant than ever. You could say the band is fighting a natural progression, but I applaud the effort and what they force a willing listener to listen to. The continuity between songs is beautifully orchestrated and only possible with an overall delivery being kept in perspective from the onset.

    Consider the Source continues to improve upon the layered depth the trio creates. Most bands employ a second guitarist or a keyboard player to fill in some of those aural gaps the ear senses. Consider the Source somehow rarely leaves those though, instead filling the air with enough character and integrity on both the individual level and collectively as the full body of work.

    It’s difficult to break this album down like a typical review because it lends itself more to a movie score than an actual music album, weaving rhythm and melody like a story line. This certainly isn’t a movie for everyone though. Hell, it might not even be for most, but for those willing to spend the time, this album is certainly capable of hitting you places wouldn’t think music could.

    Staying with the movie parallel, this is no comedy, but a serious drama. It’s the type of movie that’s meant to make you think and not entertain per say. While there are plenty of parts where the band digs into a danceable groove, the vast majority is a complex structure meant to unlock pieces of your imagination and brain that may have been untouched otherwise.

    In terms of sound, the band has always had their Middle Eastern and Sci-Fi elements, and while I would say the former is true on this album, the latter has now been pushed outside of this galaxy. The Middle Eastern elements underscore all of these other directions the band is going in. You can hear heavy metal influences this time around and that’s not a bad thing as they use it tastefully for emphasis throughout. I also heard Latin rhythms and a tonal landscape that covers so many other cultures. To someone with chromesthesia, these guys are coloring with the big box of crayons. Again, it must have taken an impeccable vision to be able to weave a thread through all of this the way they do.

    On the individual level, these guys are simply incredible musicians in their own right and have found a chemistry that allows them to have a musical conversation. Jeff Mann should be commended for his uncanny ability to keep these two explorers on track, while bassist John Ferrara pulls double duty holding the rhythm and providing a sturdy base for Gabriel’s melody lines. Ferrara isn’t just support though and steps out many times throughout to take the reins and lead with the low. On guitar, Gabriel’s tonal breadth is equal parts beautiful and haunting. His understanding of timbre and where and when a tone should be called upon is literally right at his fingertips with his instrument’s flexibility. For example, when he needs a xylophone, like the solo on “Up to, But Not to Exceed…Whoa,” he does and he makes that perfect call every time. The three have hit a stride on this like they’ve never hit before.

    The album ends on a dream-like wave of layered tones. The beautiful blend has a very natural and earthy feel to it that slowly draws this masterpiece to a close. The play between the various instruments perfectly compliments one another and the gentleness of the track is a great counterpoint to some of the more aggressive playing that proceeds it. This is not a loose collection of songs, but a score. The tracks below were some gems, but it really deserves a full listen to understand the concept.

    Key Tracks: This Dubious Honor, Up to, But Not to Exceed…Whoa, I’ll Fight for the Imp, You Are Disappearing

  • Hearing Aide: Imagine Dragons ‘Smoke & Mirrors’

    Imagine Dragons has released their newest album, Smoke & Mirrors. With the huge success of their first studio album Night Visions in 2012, selling more than 2 million copies to date, Imagine Dragons took the world by storm and by doing so set the bar pretty high for themselves when it came to following up with their second studio album. They had fallen into the proverbial trap of having such a huge success right out of the gate, that anything following was bound to be held to a higher standard.

    imagine dragons Smoke & Mirrors
    Imagine Dragons Smoke & Mirrors

    So with this dilemma, how did this Grammy Award winning band follow up their first hit album? They did it like they should, with an album written for themselves. After all, isn’t that what music is about? Personal messages paired with instrumentals to express themselves.

    Writing continuously while on the road touring , the band compiled and recorded demos and as the Night Visions Tour ended, they purchased a house in Las Vegas, converted it into a studio, and for the next 8 months put together a story of sorts from experiences on the road that were laden with a roller coaster of personal emotions. After all, the whirlwind of life on the road from local venues to sold out arenas, had to take a toll on them emotionally. What better way to share than through song?

    Hailed as one of rock n roll’s greatest newcomers in the 2013, their new found popularity and accolades brimmed over the top as America welcomed them with open arms. As new artists trying to achieve success, was the photo in their mind exactly what they pictured once achieved, or was it writ with unbeknownst angst they would encounter throughout the tour and along the way? I believe it may have been some of the latter. As I listened to the new album the creative differences between the two albums were not as apparent as other seemed to say.  I still saw the same vocals and rhythmic distinctions still shining through.

    Smoke & Mirrors

    I love Imagine Dragons, and I believe it’s their unique sound and truthful lyrics that caught my attention initially and holds it still today.  It’s not their commercial success that makes them stand out. They are not mainstream music, they are not mainstream artists, and their unique style and sound is representative of who they are and how their creative process. Yes, their sound has been compared to a mix of The Killers, U2, Coldplay, Mumford & Sons, and Arcade Fire; taking bits and pieces from each band when making that generalization – influences have that kind of effect on you. You tend to find yourself creating similar sounds because, well you like them in the first place.  They have been criticized for using every technical instrumentation trick known to mankind in their new music, and my reply to that is, ‘so what?’ That’s why it exists: to use it. Artists are known for creating something from their souls. It doesn’t have to be what you would want it to be. If that was the case, it would be your creation. So the fact that they use any or all technical tricks doesn’t lessen their musical creations to me in the least. I feel it has an energy to it. Although the lyrics on this album brim with a deep dark almost undaunting edge, the pulsating rhythms and melodic vocals give it an upbeat sound that over plays the underlying message.

    Working along side Alex Da Kid on this album, his reputation for bringing out the creative sides of artists like Eminem and Christina Aguilera, demonstrates the perfect example why he’s a perfect match with Imagine Dragons on each of their studio albums.

    As I listened to this album I had to do so a few times before I could collect my thoughts to develop a constructive opinion. In true Imagine Dragons style you have the strong percussions and amazing vocals and harmonies with a mix of synthesizer in there throughout the album, but with this particular album you got something else. You get variety in sounds that represent their travels with the first album. What the audience had become accustomed to (vocal/harmonies/percussion/synth) from Imagine Dragons was there in songs such as “Shots” and “The Fall”, but you also got a hint of some R&B with “Friction”, mixed with a flair of the Middle Eastern sounds in there as well. In “Hopeless Opus” you’ll see a flavor of Asian sounds intermixed with a bit of rapping, guitar solo, synth. Heck you pretty much get a bit of everything in that song. Same goes for “Summer”. The beauty though is how well they were all mixed together seamlessly. In fact in most of the songs you’ll see a variety of sounds and tempos within the songs that without the expert help in mixing could have been a disaster. This is where the expertise of Alex Da Kid played a huge part.

    I have to say my favorite tracks were “I Bet My Life” and “Trouble” demonstrating their folky sounds mixed with a huge helping of underlying percussion. Just love their take on this sound. Running close second would be “It Comes Back To You” and “Dream” where I can definitely see influences from Coldplay and U2 in this song. It was the upbeat tempo and lyrics in this song that hooked me; “…all the things you had lost will find their way to you… am I a shadow you drew.” I can definitely see a commercial success with this release.

    Criticized by others on this album, I definitely can see a darker side in their lyrics though with an underlying message perhaps of life on the road wasn’t all they expected, but I can’t understand the criticism. Music is an expression of life and everyone’s message is different. Give me a break negative Nellies. In both “Gold” and “Polaroid”, focus should be on the mixing of sounds, not the lyrics. “Gold” was another example of expert mixing. “Polaroid” to me was a little disappointing but only because as a photographer I had hoped this track would be as upbeat a message that the tempo held. But hey, everyone sees something different in a photo hence the saying “a picture is worth a thousand words”, and the message was something totally different. But still, it was a good song. No one is going to like every song on an album; you can’t expect every album to be Sgt. Peppers Lonely Heart Club Band.

    The title track “Smoke and Mirrors” and “I’m So Sorry” give the listener a true rock and roll feel to the songs. These will be great live songs with the guitar and percussion in them.

    After listening to the whole album several times, I came one conclusion: it’s a great album. Was it what the public anticipated from them? Perhaps not. Was it the mix of techno sounds with anthem rock and pop beats they are known for? Yep. With so many negative reviews and plays on words with the title, I find Smoke & Mirrors nothing but honest and forthwith. I can see the growth within the band, and the influences of experiences of the last few years in their lyrics. It’s the honesty on this album though that makes it the perfect second album. As far as commercial success, I believe those that loved Imagine Dragons will agree with me that this was a great album. It may not be a mainstream as some expected, but when it came to making an album that is true to themselves, this definitely met their expectations. This is one of those albums I think that when you listen to it initially you may not get it right away, so listen a few more times. Read the lyrics and see the messages. Then go back and listen to the music once again, and you will see that this really was a great album and will play out even more so as a great live performance.

    As they roll into town this week to the First Niagara Center in Buffalo, they will be joined by Metric and Halsey.  Show starts at 7pm and tickets can be purchased through Live Nation.  Hope to see you there.

    Key Tracks: Shots, I Bet My Life, Dream

  • 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.

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    “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.

  • Hearing Aide: Yonder Mountain String Band ‘Black Sheep’

    Black SheepYonder Mountain String Band will release their 12th album, Black Sheep on June 16, with a new sound and two new additions to the band. This album is unlike previous albums with a Yonder 2.0 feel with Allie Kral and Jake Jolliff making their recording debut. Black Sheep is Yonder’s move from a jamgrass boy band to a traditional sounding bluegrass ensemble.

    There is no doubt that change and growth have effected this band in a very positive way. By adding Allie on the violin Yonder has embraced the power of a soulful female voice matched with her epic jams. Her violin was the missing link in their music previously in my opinion, I have felt this way since the beginning. Allie does a remarkable job of adding in her feminine touch.

    While Jolliff is also a fantastic addition to the band, his mandolin playing is a completely different sound than Austin’s — making the transition virtually seamless without actually trying to ‘replace’ Austin or to duplicate his style. Jolliff brings a highly technical but light sounding vibe to the group.

    Another change heard on Black Sheep is the lead that bassist Ben Kaufman has taken in many of the songs. No longer will you hear the energy that was once shared by Kaufman and former mandolinist Jeff Austin. The energy is still there, it’s just headed in a different direction, a direction in which I am happy to follow as a long time fan.

    Black Sheep’s opening track is titled “Insult and an Elbow,” is a precursor to how Kaufman takes lead vocals to another level. He told RollingStone this is a reflection on his younger days when he was “… drinking and smoking for all the wrong reasons. But it is also written from the perspective of a person who is on the brink of a moment of growth and self-awareness.” This album most definitely debuts that growth.

    On the album’s third track Yonder Mountain hits another cover out of the park musically, once again. The cover of punk rock band the Buzzcocks, “Ever Fallen in Love with Someone You Shouldn’t Have,” is reminiscent of their cover of the Misfits, “20 Eyes in My Head”. YMSB has a knack for taking these punk songs and masterfully turning them into bluegrass jams.

    Bringing listeners back to a more recognized sound is “Analee,” reminiscent of Kaufman’s Bolton Stretch series — with less boyish shenanigans. He speaks of true love and deep heartache. Jolliff’s mandolin is gentle and a light presence.

    “Landfall” is an Adam Aijala song. For the first time on the album, Kaufman has taken a backseat on vocals and lends his signature thumping bass line. Again, this song is a much more mature version of this band.

    The songs on this album have a sense of deep thought and maturity, a refection of their lives — becoming men, husbands, fathers, has brought YMSB to a new level.

    Finally on “I’m lost,” Allie starts light and feminine in her playing, then jamming hard to the end, a true moment for her to shine on this album. Allie also makes an impression with her soulful vocals on “Love Before You Can’t”.

    It seems as though these boys have gained and lost love and friendships over the last year and half and they are expressing themselves lyrically in a much deeper philosophical way. This album definately is not a band of young bluegrass boys paving the path for the jam grass scene and telling stories of smoking weed and drinkin beer, they have grown up, they are men — and one woman.

    As much as I love the new sound, this isn’t a Yonder album that I would jump out of my seat to dance to. It’s more for listening to in its entirety on a road trip to nowhere.

    This album sounds like a romance novel reads. Given the level of energy that has been happening at Yonder shows lately, this album creates a very low-key vibe. One that makes you think, about your own love and regrets and how we all grow out of the ashes like a Phoenix and we carry on after tragedy, we don’t stay the same, we grow towards the light. YMSB has opened up their entire souls on this album while simultaneously exhibiting remarkable maturity in their musicianship.

    Black Sheep will be available in stores and on iTunes on June 16 but you can get it now online and at tour merch shops.

    Also worth noting is the updated website for the band which now includes bios for Allie Kral and Jake Jolliff, officially making them a part of Yonder Mountain String Band. Cheers!

     Key Tracks: Insult and an Elbow, Analee, I’m Lost, Around You

  • Hearing Aide: Sean Rowe ‘Her Songs’ EP

    Upstate NY / Troy native Sean Rowe recently released a very well received full-length album, Madman in 2014 which showcased his songwriting ability. This year he tried something a little different, going for an EP of his acoustic translation and resonance of works from some well-known female artists. This six song EP from Sean Rowe, under the title Her Songs recently made its debut April 28, 2015. It features Rowe’s take on songs by Regina Spektor, Neko Case, Sade, Lucinda Williams, Feist, and Cat Power.

    Rowe’s uniquely baritone voice grabs our attention from the start of the EP just as with his previous releases. It’s just as much an instrument as his guitar, driving melody and emotion into the vehicle that carries the story of each song, embodying the tradition of a singer-songwriter folk performance. For just one singer and one guitar the EP is remarkably full-bodied in sound and character.

    The EP is almost equally divided into two parts, at least in terms of the nature of the arrangements. On “Ode to Divorce,” Let It Die,” and “Color and the Kids,” Rowe maintains the similar simple sound of the original recording and relays the song and its emotion through his own style without much rework of the original. The other three songs take on a new life of their own. It wouldn’t be fair to slight the originals by calling Rowe’s take on them better; rather they are fresh, wholesome, and creative parallels to the originals. “Hold On, Hold On” is given a psychedelic feel through rhythm and “By Your Side” gets stripped down and smoothed from the original’s pop-ballad feel. Perhaps the most profound song is Rowe’s rework of Lucinda Williams’ “Soldier’s Song.” Already a strongly emotional song, Rowe takes it intangible to a new level. Williams herself remarked that “this is the best cover of any of my songs that anyone has ever done.”

    It is worth noting that the composition of the EP renders a better listen through ears connected to the mind and not as the background music to your evening tasks. At just under 22 minutes it makes for the perfect break from whatever your hectic pace might be; listen from start to finish in one sitting.

    Key Tracks: Hold On, Hold On; Soldier’s Song

    Grab a digital copy of Her Songs on iTunes.

    Track Listing (original artist in parenthesis):

    1. Ode to Divorce (Regina Spektor)
    2. Hold On, Hold On (Neko Case)
    3. By Your Side (Sade)
    4. Soldier’s Song (Lucinda Williams)
    5. Let It Die (Feist)
    6. Colors and the Kids (Cat Power)

  • Hearing Aide: Coal Chamber ‘Rivals’

    After being away for over a decade plus, Coal Chamber has rediscovered their furious chemistry and unleashed Rivals, released by Napalm Records and produced by Mark Lewis who has worked wonders with bands like Trivium and DevilDriver. This album delivers and lives up to the hype that was brought forth, however, does it enhance Coal Chamber’s legacy even further?

    It starts off with a fast stylish track “I.O.U. Nothing” which appropriately opens with screeching guitars from Meegs with a fast nu metal beat from Mikey Cox, and Dez Farara’s brutal vocals hasn’t aged one bit. The second track “Bad Blood Between Us” has a slower tempo but everything gets dark and haunting with “Light In The Shadows” something you would expect from vintage Coal Chamber. I saw an interview with Dez Fafara a few weeks back where he stated that this album isn’t a “throwback album” but honestly to me, it is. I’m not saying it sounds like the previous three albums, but it certainly sounds like classic Coal Chamber and everything you would expect from this band, however, they tastefully made this album for 2015 because it is more mature sounding.

    The track “Suffer In Silence” is a real behemoth track. Ministry’s Al Jourgensen makes a guest appearance on this track to make this one a real stand out. Another real stand out track is “Another Nail In The Coffin” because it’s a heavy and erratic. It speeds up, it slows down, it breaks down and Fafara’s vocal tracks are arranged all over the place. Kudos to producer Mark Lewis for being tactical on mixing this track. After the title track and single “Rivals,” the track “Wait” is a fun and catchy song with a real nice groove to it.

    Towards the end of the record “Fade Away (Karma Never Forgets)” is really catchy then it ends hard and fast with “Empty Handed” thus marking an album that is candidate for one of the best albums of 2015. This album proves Coal Chamber is back with a vengeance, picks up where they left off and has us all wanting more. I would highly recommend picking this one up and catch Coal Chamber play these songs live.

    Purchase Rivals here.

    Key Tracks: “I.O.U. Nothing,” “Suffer In Silence,” “Another Nail In The Coffin”

  • Hearing Aide: Eastbound Jesus ‘Hollerin’

    EBJhollarinIt was a long winter for all of us, especially with Eastbound Jesus in hibernation, dedicated to working on their third studio album, Hollerin, set to drop this weekend. Eastbound Jesus spent the cold days at Edie Road Studio in their hometown of Greenwich, NY with producer/engineer Marc Fuller to bring fans the best sounds of their northern rock music to date. The 10 track album captures the essence of an EBJ live rowdy performance as well as representing a more mature sound. Hollerin features special guests musicians Chris Carey (Sean Rowe, Rodeo Barons) and Lowell Wurster and Jaime Armstrong (Lucid) helping to elevate the jamgrass fusion.

    The album begins with blaring guitar rifts, beloved banjo strumming and rebellious lyrics from “Keep on Hollerin” that Eastbound Jesus is known for. Showing a softer side is “Better Things” more of a romantic ballad with an upbeat melody and gracious harmonious with a steady rhythm. “Shoes” features fast string picking, splashing tempo and flowing vocals with a erupting brass solo that is sure to be a crowd favorite. “Cold and Snow” perfectly captures the winter season in Upstate New York with a howling harmonica, diesel rhythm and bitter lyrics such as, “There’s nothing like the cold and snow to make you feel at home.” Hollerin has themes of the simple life about working hard and playing hard, with tales of heartache, good friends and the weather always playing a key role. Their music feeds to your frustrations of the world, forcing you to clap, stomp and howl with grand joy and relief. Get ready to holler for more!

    Eastbound Jesus will be throwing one heck of album release party this Saturday May 30 at Putnam Den in Saratoga Springs with special guests, Lucid. Tickets are available online (click here) for $12 and will be $15 at the door to the 18+ event with a showtime of 9:00pm. Be sure to catch Eastbound Jesus this summer as they will be touring all over Upstate NY to promote their new album.

    Key Tracks: Keep on Hollerin, Shoes, Better Things

    You can stream “Keep on Hollerin,” their first single off of Hollerin via soundcloud.