Singer-songwriter and blues guitarist Samantha Fish’s third studio release, Wild Heart, is rife with powerful vocals, raunchy guitar riffs and thunderous drumming. Fish’s vocals will remind listeners of other female powerhouses like Grace Potter and Susan Tedeschi.
The album’s standout track, “Road Runner,” kicks off the 12-song collection and lays down the framework for what is to come—a 52-minute showcase of Fish’s soulful range backed by rocking guitars. “Go Home,” the first ballad on the album, features more delicate vocal work with hint of country to the sound. Returning to her roots in the hill country blues, she delivers a fitting cover of Charley Patton’s “Jim Lee Blues,” and it’s probably the most important tune on the record.
However, many of the tracks seem to fall flat with no real arrival. When one expects the song to progress to a climax, it simply continues along the same steady path where it started. Much of the drumming throughout the album is uninspired, not matching the intensity of the guitars or vocals. But many listeners will find this aspect of Wild Heart to be familiar and comfortable, as the simple backdrop beats let Fish’s rebel-twang steal the show.
Samantha Fish is currently on tour in support of Wild Heart, and she is scheduled to perform at New York City’s Cutting Room on Feb. 13.
Key tracks: “Road Runner,” “Jim Lee Blues,” “Bitch on the Run”
You know 2016 is starting out fine when word of a new My Plastic Sun EP emerges. jumping karma trains includes five songs, one re-do, a former single and three new songs, it’s their third EP. If you’re unfamiliar with My Plastic Sun, the Rochester duo consists of Johnny Cummings – lead vocals, piano, various keyboards, bass guitar, electric and acoustic guitars, and Roy Stein – drums, percussion, keyboards, backing vocals and studio engineering. This project spends most of its time in the studio, they excel there, each with deep writing, musicianship and live performance creds. They work under the radar, but their products continue to be way above expectations, which are extraordinarily high.
The timing of the news from My Plastic Sun couldn’t have happened at a better time, the morning of January 11th, the morning the music world was shaken by the loss of David Bowie. There are few things that could’ve brightened that day, but there it was, an e-mail from Roy Stein, sent the night before. I could see the excitement in his eyes and hear the enthusiasm in his voice, “It was great to press the send button and get it out to you.” Stein continued, “We wanted to make a gentler EP with a bit of a spiritual journey kinda undercurrent to it. Not sure how that will play out but we made the record we wanted.” Ultimately, it’s what they always do, make the record they want, it’s been a solid benchmark for them for years.
“Wheels Turn Slow” is an introspective opener. It begins the story with a longing refrain, a look back, a look forward, reflecting on the progress of change and enlightenment. Brilliantly built-up from a acoustic track, the Sam Snyder floating electric guitar feels wanting, the soft march speaks to determination, the vocal toward mistake, deceit and re-invention, the difficulties of momentum.
“Falling Awake” will be familiar to long-time fans. Stein said, “We redid “Falling Awake” in a new way we felt captured the essence of the song better.” “Falling Awake,” the source of the EP’s title, has it’s origins founded in Sgt. Pepper’s with Lauren Becker’s subtle french horn, but this remake is all Pet Sounds. The light orchestration from the keys and choral backing harmonies ring true to the concept of “gentler EP” and the singer/songwriter basis shines through clearly. “In The Moment” has a bit of Philly Soul like Hall and Oates, but Cummings’ play with words keeps hinting at something more spiritual. Something bigger, more true, just slightly out of reach, from hand and heart. It’s hymnal, it’s beautiful. It’s love.
Cummings voice has a distinct feel of Chris Martin and the production plays right into it on “Somethings Coming Over Me.” It reveals itself as he goes to falsetto and retains the strength of his full voice. The hoped-for undercurrent is on full display here, the piano, the choral backing vocals, the broad mix, the “Tears For Fears” opening and rhythm. A tall standard to accomplish indeed. John Viviani’s guitar track is perfectly placed and Bree Draper’s vocal speaks to spirituality, strongly.
“Couldn’t Love You More” wasn’t on any EP and we thought it fit well on this so it was in.”, Stein says. “Couldn’t Love You More” is as sweet as pop can be, Johnny’s light vocal reading and ukulele lilting with the emotions expressed then enhanced with the acoustic bass by Kyle Vock. This is well visualized by Stein’s multi-talented wife, April Laragy Stein and John Runkel in the video previously released with the single. (see below) This song is Revolver quality, the addition of accordion (April Laragy Stein), acoustic guitar and reversed electric are deftly applied with Snyder’s assistance.
jumping karma trains was produced by My Plastic Sun, recorded and mixed by Roy Stein and mastered by Brad Blackwood. EP artwork by April Laragy Stein. While this band has seen a few bright lights, they haven’t been nearly as bright as they deserve. They consistently deliver music that is way above their current recognition and if someone in the know actually listened, there is so much more ground for them to cover. My Plastic Sun continues to be among the clearest voices expressing true pop art music anywhere. Get on the train and learn more about the band on their website, Facebook, Twitter, Spotify and Youtube.
Key Tracks: Couldn’t Love You More, Falling Awake, In The Moment, Somethings Coming Over Me, Wheels Turn Slow
The Last Conspirators just released fourth album Hold That Thought Forever moves the band into new territory. While past releases’ lyrics have dealt with politics and the feelings towards how things have been moving along in the country, this album showcases a more personal side of the band. To go along with the lyric change, the music has also been toned down at times from the punk rock aesthetic known by their fans. The changes are welcomed and it is great to hear the band try something different and succeed in Hold That Thought Forever.
“Addiction” is one of the darkest songs on the record and the funk bass line that it follows goes right along with the subject material, taking the listener into the depths of what addiction can be. “1302” is the first track on the album to have the band start to rock behind Tim Livingston’s lyrics and constantly builds until the end when a fury of music takes over the proceedings and joins the voice in bringing the song to a fiery end.
“Two Days in May” is one of the tracks on the album that finds The Last Conspirators trying something new. The chorus almost comes out of an early Bruce Springsteen song when you could hear him and Steven Van Zandt harmonize with one another. The fact that The Last Conspirators have gone for a more eclectic sound on this record shows how many bands truly influence them as a unit and brings the history of music to the fore front as they continue to push on wish new tunes.
The song “Tracks” bring the punk attitude back, with Tim spitting the lyrics and Nick Bisanz laying down some dirty grungy guitar licks that would fit right in on an old Patti Smith record. “Alright” is great rocker with Mike Grundy and Al Kash constantly moving the song along with their fantastic bass and drum playing on what is sure to a great song to see live.
While most of the record isn’t political, “Truth and a Gun” hits the mark perfectly, especially with how crazy gun violence is gotten in the past year. The song easily makes clear which side of the argument the band is on and ends in a blaze of guitar work by Bisanz. Being a local Albany band, they may not get out of the state to play, but if you’re close enough they definitely are worth checking out. In the live setting their songs get you moving and thinking and this record does the same. Hopefully the band can keep the creative juices flowing and give us another collection of music soon.
Professor Louie & The Crowmatix, hailing from the musical history-rich Woodstock, NY, treats listeners to music and history on their latest album Music From Hurley Mountain, spinning tales of their home and surroundings, clueing listeners in to the rich history and lovely scenery we have right here in our backyard. A “super band” in a sense, with musicians in the band having played with such musical powerhouses as Bob Dylan, Van Morrison, Joe Jackson, and Levon Helm, Professor Louie & The Crowmatix are no slouches themselves. Covering a wide range of musical genres – perhaps leaning most heavily toward folk, zydeco, and gospel – listeners can expect to at times be knocked off their feet with the incredible instrumental collaborations and vocal harmonies, and at other times be glued to their seats just listening to all the local history that has seemed to seep its way into all of the band’s tunes. Song names such as “Hurley Mountain Road” and “Ulster Outcry” will garner reminiscent feelings from locals, and those who are unfamiliar with this region will be drawn to it after learning about all the Catskills and Hudson Valley have to offer.
Recording engineer and producer Aaron “Professor Louie” Hurwitz on vocals, keyboards and accordion, is joined by his songwriting partner vocalist/pianist/percussionist Miss Marie, drummer Gary Burke, guitarist/vocalist John Platania, and bassist/vocalist Frank Campbell, collectively making up the Crowmatix. To listen to this band’s latest album is to go on a musical journey that takes the listener from an Irish pub on “Four Farms,” to the Mississipi bayou on “Crop Dustin’ Blues,” to a spirited church service on “Hurley Mountain Road.”
This album has a particularly distinctive beginning, middle, and end. Starting off the album is the 36-second “Golden Morning,” beginning with a trilling accordion sound, which puts the listener right there at an outdoor café in Paris sipping coffee. Progressing through some more spiritual sounding and bluesy tunes, including “Ashton” and “Crop Dustin’ Blues,” the band chose to include “John’s Tractor,” which is essentially just a 30-second recording of a tractor, smack dab in the middle of the album. Given the band’s locale, this could actually be viewed as auspicious timing, as it is quite possible that this is a sound that the band might have had to contend with during the recording of its album in the agricultural surroundings. The album ends with “Goodnight Hurley Moon,” a jazzy/bluesy tune with a French flair featuring the accordion playing major chords juxtaposed against a backdrop of the other instruments playing in a minor key, giving the song a sort of melancholy feel while still remaining positive, a very effective song to end on because it kind of makes you feel like you want to start the whole album over again!
A folk band in the truest sense of the word, this group would fit in well at festivals like Clearwater and Falcon Ridge. Frequently touring throughout Upstate New York, including upcoming shows at Inquiring Minds Bookstore in Saugerties on January 15, and the Orpheum Film and Performing Arts Center in Tannersville on January 16, there is no excuse not to check out these guys. And for those of you looking for a taste of true Catskill Mountain folk music, you’ll definitely want to pick up a copy of Professor Louie & The Crowmatix’s latest album Music From Hurley Mountain, due out on January 15.
Key Tracks: Hurley Mountain Road, Ashton, Four Farmers
Singer-songwriter and blues guitarist Samantha Fish’s third studio release, Wild Heart, is rife with powerful vocals, raunchy guitar riffs and thunderous drumming. Fish’s vocals will remind listeners of other female powerhouses like Grace Potter and Susan Tedeschi.
