Category: Album Reviews

Larry Campbell & Teresa Williams Announce Album “All This Time”, 5 Shows in New York on Upcoming Tour

Larry Campbell and Teresa Williams have announced their new album, All This Time, will be released on April 5. The pair will hit the road in 2024, bringing their music to Saratoga Springs, NYC, Amagansett, and Marlboro.

After releasing the upbeat and twangy song “The Way You Make Me Feel,” the pair shared a glimpse of their enviable love. Campbell reflects on the song’s history, saying, “The lyric was inspired by recalling when I first got together with Teresa. The song, about 40 years old, is as inspiring as ever.”

“The Way You Make Me Feel” pays respect to the legendary gospel quartet guitarist Lyndon Baines with a catchy guitar lick that Campbell wrote after working on a Dixie Hummingbirds record in the early 2000s. The end product echoes the spirit of Johnny and June Cash with a heartfelt and nostalgic ode to courtship.

Teresa shares in Larry’s enthusiasm, emphasizing the humor, groove, and lightheartedness of the album. “I got a brand new couch, and we can watch TV. Put an arm around you — we’ll see whatever you wanna see… Now that’s good flirting!” All This Time is a musical scrapbook of their journey, featuring heavy hitters including Grammy-winner Justin Guip, Bill Payne from Little Feat, and even a cameo by Levon Helm himself.

Larry and Teresa aren’t just dropping The Way You Make Me Feel; they’re hitting the road. These two are set to hop on a North American tour throughout 2024, with stops at Caffe Lena in Saratoga Springs, City Winery in Manhattan, The Stephen Talkhouse in Amagansett, and The Falcon in Marlboro. Moreover, fans will be able to witness the magic of their long-lasting musical partnership as the tour brings an intimate live experience. Find all upcoming tour dates below and on their website here.

Larry Campbell and Teresa Williams 2024 Tour Dates

3/17 – Northampton, MA – Academy of Music Theatre

4/11 – Marlboro, NY – The Falcon

4/16 – Boston, MA – City Winery

4/17 – Fairfield, CT – Stage One

4/18 – Ardmore, PA – Ardmore Music Hall

4/20 – Vienna, VA – Jammin’ Java

4/21 – Pittsburgh, PA – Thunderbird Music Hall

4/23 – Columbus, OH – Natalie’s

4/24 – Detroit, MI – Magic Bag

4/26 – Chicago, IL – Old Town School of Folk Music

4/27 – Minneapolis, MN – Parkway Theater

4/30 – Kansas City, MO – Knuckleheads

5/01 – St Louis, MO – Off Broadway

5/03 – Nashville, TN – 3rd & Lindsley

5/04 – Atlanta, GA – Eddie’s Attic

5/05 – Atlanta, GA – Eddie’s Attic

5/11 – Lexington, TN – Main & Monroe

6/07 – Saratoga Springs, NY – Caffe Lena

6/08 – Saratoga Springs, NY – Caffe Lena

6/11 – New York, NY – City Winery

6/13 – Red Bank, NJ – The Vogel

6/14 – Blairstown, NJ – Roy’s Hall

6/16 – Amagansett, NY – The Stephen Talkhouse

March 2, 2024
“Hidden in The Honey” Could Seek Out Some Big Things For Albany’s Atelo Songs

Hidden in The Honey is the latest release from Albany’s Atelo Songs. After performing across New York State for 15 years as Sam Gleason, Atelo Songs was “born” in 2020. According to the artist’s bio, embracing this new moniker was “marking a transformative phase in his artistic journey”.

Surviving an apartment fire, and an accident that would leave him with permanent injuries and brain damage requiring eighteen months of rehabilitation, Atelo Songs emerged as a “means of self-betterment and creative expression.” Atelo joined Albany Barn, an artist housing program, and has spent the last several years focusing solely on music.

Hidden in The Honey is interesting and artistic. There’s lots of substance to his lyrics and they are delivered with interesting melodies and smooth harmonies.

We all have those certain songs, albums and artists who have helped us get through trying times. Hidden in The Honey is an album about trying times and their aftermath. It sounds heavily influenced by Panic! At The Disco, almost as if it was their music that helped Atelo through his struggles. “Panic!” fans will hear lots of familiarities but it’s never copy-cat or cookie cutter. Atelo delivers his songs in his own style with a demeanor more Elvis Costello than Panic! At The Disco’s Brendan Urie.

Hidden in The Honey kicks off with the rocker “Not in The Mood”. Slide-Guitar and rollicking piano compliment the fast paced lyrics of the verses. The chorus is catchy and very relatable with Atelo singing that He’s “always trying to improve but today I’m just not in the mood.”

“Death Dead in The Eyes” has a Latin, jazzy sound. If Carlos Santana had invited Elvis Costello to perform a track on one of his collaboration albums, this may be the result.

“Go Meet The Trees” is a campy, sing a long song that sounds as if someone made a left turn leaving a Panic! At The Disco concert and ended up at a GratefulDead show. The melody sounds like it could belong in a modern day pharmaceutical commercial. Warning – You may find yourself singing along by the end.

The album’s final track, the trans-like “Final Door” closes with the line “There’s Nothing in Store” but there may be lots more in store for Atelo Songs. Don’t be surprised if You hear some of his music on modern rock radio or appearing on a movie soundtrack or in a Netflix series. Hidden in The Honey is a good listen and a musical journey, creative and striving for originality throughout, and may just take Atelo Songs from Albany to the national spotlight.

February 28, 2024
Hearing Aide: The Pit Brothers Band ‘Through The Fog’

The Pit Brothers Band has announced the release of their latest album, Through The Fog. The band consists of four members including two brothers, Eric and David Pitagorsky, who hail from Queens, NY. The album showcases the band’s multi-genre talents and intense groove.

Through the Fog is a testament to The Pit Brothers’ dedication to their craft and their commitment to delivering unforgettable live performances. This album serves as a milestone in the band’s journey to a new era while paying homage to their roots. Listeners can expect a captivating experience that showcases the band’s raw talent and vibrant energy.

The album is compiled of nine live tracks. Many of the songs on the album have very strong Grateful Dead and Allman Brothers Band inspiration to them that is very apparent. The sound that The Pit Brothers Band achieved is comparable to groovy, bluesy jam bands. A common theme throughout the album is a high intensity groove with various titillating sounds playing parts of their own.

The live album has unique and captivating energy and sound. The group displays compelling organ sounds, quick and witty guitar riffs, and a jovial vocal style that keeps the listener bopping. There is much Pink Floyd, Rolling Stones, and even Bob Dylan undertones sprinkled throughout.

To listen to The Pit Brothers Band’s latest album, Through The Fog, click here.

February 25, 2024
Hearing Aide: Elliot Moss ‘How I Fell’

Elliot Moss is a multi-instrumental singer and producer from NYC. His latest LP How I Fell is an emotional novel of his ups and downs as not only a musician but simply as a human. The 11-track LP boasts a variety of vibrant sounds coming together to form a meaningful, colorful, mix of musical talent.

The alt-pop album How I Fell begins with the floaty, intimate song “Altitude.” The track has ethereal vocals by Elliot, a punchy, powerful drumbeat, sprinkled saxophone pieces, layered guitars, and harmonies as well. The song reaches a powerful climax and then begins its soft descent before its ending.

“Lazy” and “Hearts Lose” keep a solid, chill, relaxed vibe in the musical journey that is this album. Autotuned vocals and low-vibration backing instrumentals keep the atmosphere melancholy but hopeful sounding.

“Magic” begins the same as the last two, down and relaxing. The tune later turns into a very alt-pop or pop-rock sound, showcasing Elliot Moss’s creative range. The remaining songs reflect this as well.

Elliot chose to add a variety of sounds to this album; the alternative heavy pop sound, the ethereal, floaty sound, the soft melodic down style, and other variety of sounds can be heard throughout.

How I Fell by Elliot Moss gives vibes of Sam Smith, with his vocal style, instrumentation, and the genre alone, as well as Tame Impala, The Score, and perhaps Green Day.

This album is a clear reflection of Elliot’s up and down moments as a musician and just as a person.

To learn more about Elliot Moss and to get your ears on How I Fell, click here.

February 17, 2024
Hearing Aide: Jed Luckless “Multiply”

New York City based musician Jed Luckless recently released his brand new album, Multiply on December 29, 2023.

Photo Courtesy of Jed Luckless

This marks Jed’s third solo record; his first solo studio release in over 8 years. His most recent, Roll Over debuted in the fall of 2015. Multiply features 9 songs all written and performed by Luckless. A musical savant, Luckless can be heard on lead vocals, background vocals, guitar, bass, keyboards and drums.

Photo Courtesy of jedluckless.com

Multiply blends familiar elements of folk and rock with traditional country and blues to create a fresh new sound. Luckless’s classical guitar style introduction on “Luna”, or his country blues playing on “Ungratefully Dead” are just two examples of the sonic exploration that is Multiply; seamlessly weaving through different styles, moods and time signatures.

Luckless is a very descriptive songwriter and lyricist, thoughtfully painting the scenes and emotions his songs portray like an empty canvas. This, paired with his lighthearted, playful-like story telling approach, provides him the foundation to tackle some heavy thematic concepts. Themes of the inevitability of time, inward self reflection and the overcoming of personal obstacles just begin to scratch the surface. “Live for today” is the message repeated by Luckless at the end of “Own”, a beautifully crafted ballad given an additional layer of depth and flavor by Jed’s percussion work.

Luckless joins artists like Prince and Paul McCartney, who are known for recording all the tracks on some of their past records. From the harmonized vocals on “Time & Tide”, to the distorted guitar solos on “Latest Craze” and the title track “Multiply”, to the featured organ on “Latest Craze”, Luckless’s multi-instrumental talent and musical expertise is on full display throughout.

Jed’s live band, The Jed Luckless Band (JBL), perform his original work, including his latest release, Multiply. Jed can also be seen performing live with acts Clueless Wallob and Star ‘69, a Phish and Grateful Dead tribute respectively. You can catch Jed Luckless live at Odeen’s at Spins in Carmel, NY on Wednesday, February 28th starting at 7:00pm.

You can also directly support Jed at his website where Multiply is available now for just $10! Every order includes the following: Jed Luckless Multiply CD (signed by Jed Luckless), signed guitar pick, bonus CD or Download Sticker (while supplies last) and other Surprise Mystery Items (like posters, cards, shirts, etc!)

Multiply is currently available on all streaming services [here].

Key Tracks: Multiply, Own

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February 12, 2024
Alice Coltrane’s Spirited 1971 Performance at Carnegie Hall to Be Released

In 1971, harpist/pianist Alice Coltrane performed at Carnegie Hall for a special gala benefiting the Integral Yoga Institute. Backed by an all-star group of musicians, Coltrane delivered a captivating set which will now be available in its entirety for the very first time.

On March 22, Alice Coltrane – The Carnegie Hall Concert (Impulse!), will finally bring the complete document of Coltrane’s Carnegie Hall performance to fans worldwide.

Held four years after John Coltrane’s untimely passing and recorded by Impulse!, this deeply spiritual performance marked Alice’s first as a leader at Carnegie Hall. The concert arrived at a pivotal moment in both Coltrane’s musical career and her spiritual journey. She had just released her fourth solo album, the universally acclaimed Journey in Satchidananda, and had deepened her spiritual quest over a five-week trip to India. Her band that night added two members from her teacher/guru Satchidananda’s circle — Kumar Kramer and Tulsi Reynolds, playing harmonium and tamboura, respectively. They provided a distinctly Eastern flavor to a large jazz ensemble largely comprised of collaborators with her late great husband, sax giant John Coltrane. The group included legendary saxophonists Pharoah Sanders and Archie Shepp, bassists Jimmy Garrison and Cecil McBee and drummers Ed Blackwell and Clifford Jarvis.

Coltrane’s set began with two transcendental tunes from the recently-released Journey in Satchidananda, the title track and “Shiva-Loka.”

The live version of the title tune is the perfect scene setter. It begins with a hypnotic riff by the bass duo of Garrison and McBee, followed by celestial waves of harmonic washes from Coltrane’s harp. Sanders follows with a wonderful flute solo, with hummed and vocalized harmony, before Shepp brings it home with a bluesy, chromatic excursion on his piercing soprano sax. “Shiva-Loka” is another one chord modal romp which gets deeper with each passing minute.. It is underpinned by a repetitive riff which seems a tribute/lift to/from John Coltrane’s “Equinox.” Alice’s harp casts a heavenly backdrop for a skronking sax solo by Sanders and then a thunderous drum duet.

The remaining two tracks, “Africa” and “Leo,” are covers of latter-day classics by her husband John. For these long journeys, Alice is at the piano providing chordal colors and the occasional solos. “Africa” stretches out to 27+ minutes, with another explosive drum duet, bass solos and plenty of frenzied soloing by Sanders and Shepp in the Trane tradition– a sound that closely captures what John and his crew were conjuring on latter-day recordings like “Live in Japan.”

This year Impulse! and Verve Label Group have partnered with The John & Alice Coltrane Home to launch the “Year of Alice,” a year-long celebration of Alice Coltrane’s profound work. At the center of the celebration are Coltrane’s groundbreaking recordings for Impulse!, and the label will be working in tandem with The John & Alice Coltrane Home for varied activations throughout the year. To kick off the year-long celebration, there will be special night of performers and speakers that include Ravi Coltrane, Michelle Coltrane, Brandee Younger and more at the legendary Birdland on February 22.

To learn more, visit ververecords.com

Pre-order the album HERE.

February 10, 2024
The Bones of J.R. Jones Goes to Hometown Country Roots in “Slow Lightning”

Jonathon Linaberry’s stage name, The Bones of J.R. Jones, conjures a haunting image that sets a melancholic tone fitting for the depths of his latest album, Slow Lightning. Linaberry’s first full-length release in five years, and the deluxe version, out February 9, plunges listeners deeper with covers of Bruce Springsteen’s “My Hometown” and a Bones of J.R. Jones original “Out For Blood.”

Linaberry’s cover of Springsteen’s 1985 hit “My Hometown” sets a clear expectation for the mood of the fourteen-track album. A heavy song to begin with, Slow Lighting’s producer Paul Kolderie substitutes lap steel for Roy Bittan’s Nord synthesizer, adding an atmosphere of pastoral mournfulness that makes sense for an artist from the farmlands of Delhi, New York. The wailing lap steel leads to a cinematic arrangement that rolls out of speakers in a dense fog.

Strong arrangements are a hallmark of Slow Lightning. The album sounds larger, and if you close your eyes, it’s easy to imagine a larger room of musicians playing whatever they have on hand, from steel top resonator guitar to a washboard. From its sound alone you would never expect that the titular artist is just one man, that is a credit to expert production from Linaberry and Kolderie who created a seamless soundscape for the album

“Blue Skies” exemplifies this bucolic folk sound. Through a reverberating banjo twang Linaberry’s echoes lyrics that come to a tragic climax of despair, overcoming a prayer for better days and blue skies. In the video for his 2023 Tiny Desk Contest Submission, Linaberry is joined by dual backup vocalists Hannah Milnes and Maggie McDowell who add a harmonic nature to the song.

With the exception of a few tempo-pushing moments, this is not an album you will dance to. While the album’s opening track, “Animals” has an upbeat, soulful groove, these songs sound more fitting for contemplation than celebration. A long drive through a sun-soaked countryside is a fitting place for this album, which presents itself as too dour to be enjoyed over a few drinks with some friends.

Slow Lightening is an album loaded with heartbreak. The lyrics echo with lovesick despair through lines like ‘All my love, Pouring out of my eyes, Is drowning me tonight’ on “Heaven Help Me” and ‘You ain’t good for me, And you ain’t ever gonna be, But I ain’t through with you’ from “I ain’t through with you.”

Misery Loves Company spoke Mephastophilis, so there must be a catharsis in repeating “love is the kind of thing that will keep you warm” alongside strangers. Maybe at Bones of J.R. Jones broken hearts come together to reform. Linaberry’s skillful guitar playing and melodic delivery certainly give you reason to believe.

Tickets for The Bones of J.R. Jones tour are available now.

February 8, 2024
Hearing Aide: A Legendary Composer Looks at his Greatest Work in “Philip Glass Solo”

A most-esteemed American composer, Philip Glass has released a new album, Philip Glass Solo, on January 26. The collection features his most enduring and beloved piano works, painting an intimate portrait of the renowned pianist.

Philip Glass Solo was recorded during the COVID-19 pandemic, a time when the world was undergoing a major shift and Glass was shifting from a busy tour and premiere schedule to spending time at home. Glass dedicated this time to revisiting some of his most critically acclaimed piano music, taking to them with a fresh view from his home studio in New York.

Glass’ most personal record to date, Philip Glass Solo offers a snapshot of his life, and a portrait of daily practice over eight decades through several cherished works.

Now 86, Glass reflects on his career and the new release:

“This record revisits my works for piano. From 2020-2021, I had time at home to practice the works I have played for many years. This record is both a time capsule of 2021, and a reflection on decades of composition and practice. In other words, a document on my current thinking about the music. There is also the question of place. This is my piano, the instrument on which most of the music was written.

It’s also the same room where I have worked for decades in the middle of the energy which New York City itself has brought to me. The listener may hear the quiet hum of New York in the background or feel the influence of time and memory that this space affords. To the degree possible, I made this record to invite the listener in.”
Philip Glass

Philip Glass Solo features “Opening,” originally written for the 1982 album Glassworks, which remains one of Glass’ most transfixing pieces and established a sound that quickly became a calling card, the masterpiece of “Metamorphosis” I, II, III, and V, the series of music Glass arranged for his first solo piano concerts in the 1980s; one of his most beloved pieces and longest performances on record (at 16:35), “Mad Rush,” which he composed as an organ piece in 1978 when the Dalai Lama made his first public address in New York; and a reworked version of “Truman Sleeps” from the soundtrack of the beloved 90s film The Truman Show, where Glass appeared on screen performing the piano in one of the pivotal scenes of the film. His changes speak to the heart of all artists’ evolution of both themselves, and their music, over time.

Born in Baltimore, Maryland, Philip Glass graduated from the University of Chicago and the Juilliard School. In the early 1960s, Glass spent two years of intensive study in Paris with Nadia Boulanger and while there earned money transcribing Ravi Shankar’s Indian music into Western notation.

By 1974, Glass had a number of innovative projects creating a large collection of new music for The Philip Glass Ensemble and for the Mabou Mines Theater Company. This period culminated in Music in Twelve Parts and the landmark opera Einstein on the Beach, for which he collaborated with Robert Wilson.

Since Einstein, Glass has expanded his repertoire to include music for opera, dance, theater, chamber ensemble, orchestra and film. His scores have received Academy Award nominations (Kundun, The Hours, Notes on a Scandal) and a Golden Globe (The Truman Show). Glass’s memoir Words Without Music was published by Liveright Books in 2015. Glass received the Praemium Imperiale in 2012, the U.S. National Medal of the Arts from President Barack Obama in 2016, and 41st Kennedy Center Honors in 2018.

Glass’s recent works include a circus opera Circus Days and Nights, Symphony No. 13, Symphony No 14, and Triumph of the Octagon, commissioned and premiered by the Chicago Symphony Orchestra. Glass is currently writing his 15^th symphony commissioned by the National Symphony Orchestra.

Philip Glass Solo is available in both digital and limited-edition condensed vinyl format. Listen and order here.

February 7, 2024
Selett Releases Breathtaking Self-Titled EP

NYC-based songwriter Selett just released her new EP on January 26, Selett. The EP features a total of four tracks and comes across just under 15 minutes that showcase the artist’s potential and the power of self-discovery.

Selett has been creating music and performing consistently, thrusting her sound into the spotlight and solidifying her mark in the NYC music scene. In the four track EP Sellet, the songs work together to create a message and the feeling of dread, worldly unknowns that lie ahead, and scars and memories from the past that one would prefer to forget. For instance in “Mourning Dove”, the theme takes form in the context of people’s relationships– both healthy and unhealthy– with one another and with themselves, intense vocals, and overwhelming yet amazing instrumentals backing each message.

Each song on the EP takes the artist and the audience in a striking direction while also staying consistent in theme and tone. In “Wheels Within Wheels”, the anachronistic tune starts a very lifting piano before the singer’s vocal introduce the track’s dizzying themes of infinite regression, while in the beginning moments on “Hey Hey”, Selett immediately grasps the listeners with an intoxicating beat that builds in each measure as the singer adds in one instrument after another.

In celebration of her self-titled EP release, the singer also released the visualizer for the subtly magnificent single. In the visually pleasing visualizer for “Hey Hey”, the artist notes the delving deep into the human quest for dignity and meaning. “It’s like a dance, intimate moments unfolding, kissing away fog, and passion expanding into the cosmos. There’s a lot of metaphorical guidance and searching. It’s a poetic journey, inviting you into this shared mystery, where each heart finds echoes of its own history. It’s emotional, it’s transformative, and it’s all about resonating with the messy, beautiful human experience.” Selett states.

In the self-titled EP, Selett shows a testament to the power of vulnerability, self-discovery, and just a taste of what the songwriter’s creative being is about. The singer/songwriter is known for working with artists like David Terranova who has been producing emotive and immersive voice, Charley Drayton, Parker Kindred and others whose artistry has enriched her layers of sound and meaning within each track.

Selett has been on a run which has given the singer various reasons to celebrate. Not only will the artist have new songs to perform to and share with her fans, but she will also be performing on February 16 at the Connolly’s Klub 45 in NY. Tickets and more information about the artist can be found here.

February 2, 2024
Hearing Aide: “Flight of The BumBillB” – A Few Laughs and One Very Uncomfortable History Lesson on The Latest Release from Buffalo’s Bill Bachmann

Flight of The BumBillB is the latest release from Buffalo native Bill Bachmann. This is the third full length album from the multi instrumentalist songwriter, who plays every instrument on the album’s 14 songs. Bachmann is a true wordsmith who expertly uses wit and humor in his music.

Flight of The BumBillB lands between Weird Al Yankovic and Bob Dylan and somewhere between the city of Buffalo and the heart of Appalachia – Bluegrass, Americana, DooWop, Blues and even a parody of a Christmas classic, it’s all in there.

“Size Don’t Matter on a Banjo” kicks off the album and is a tone setter for the humor and music that is about to come. In a song that would fit perfectly in Disney’s Country Bear Jamboree, Bachmann takes shots at lawyers, harmonica players (who only suck half of the time), and even himself.

The jazzy and funky sounds of “I’m a Real Man” are a stark contrast to the Bluegrass of the opening track. The lyrics are almost pure stand up comedy and some of Bachman’s finest on the album. Couples beware! You will relate to this one, and that’s where it’s beauty truly lies.

As the title suggests, “Telecasterbatur” is full of sexual innuendos and double entendres. Bachmann is not very subtle on this not for kids tune which features some nice slide guitar.

“Big Bad Josh” is a parody of Jimmy Dean’s classic “Big Bad John”. Big Bad Josh is in fact Buffalo Bills quarterback Josh Allen and this tune sounds like it could be heard around tailgates and bars in Buffalo. Bachmann professes his love for his hometown team and predicts The Bills in “The Big Game” and Josh Allen heading to The Hall of Fame…maybe next year.

Bachmann gets back to comedy through the middle of the album with parodies of “Turkey in The Straw” and “Blue Yodel”, the latter singing the laments of a big trust fund.

“Double Negative” has a classic folk sound and lyrics like “How Much I Do Not, Not Love You.” A simple ditty that’s either a grammar teacher’s dream or worst nightmare.

“Buffalo To Washington” is a musical journey from Buffalo, New York south through Pennsylvania and Maryland enroute to our nation’s capital and features a very catchy sing-a-long chorus.

Nine songs deep into the album “Full Moon” finally delivers a serious love song. The production on this one sounds very modern, almost garage band like or “band in a box”. The production, or lack of, seems to take away from the classic style of “Full Moon” which harkens back to great songs like “Blue Moon” and other classics from The Great American Songbook.

Things seem to get a little jumbled and repetitive heading into the final stretch of “Flight of The BumBillB”. “Girls and Boys in The Ivy” is a parody of The Drifters classic “Poison Ivy”, taking shots at Ivy League students “memorizing elements and fighting about statistics”. “Male in The Czech” sounds like it could be a Monkees song with a bad punchline and “Pissed Off at Christoph” seems to miss the mark.

What starts as a parody of “Ghost Riders In The Sky”, “Check Writers in Disguise” soon becomes a very uncomfortable and almost vulgar bio of The Kennedy Family. Blaming Marilyn Monroe’s death on her singing “or the drugs”, Hush Money, Harvard scandals, and the death of Mary Jo Kopechne in Chappaquiddick leading to a “permanent senate seat” for Ted Kennedy are just a few of the ways Bachmann shows his disdain for the Kennedy Family. A song that is irreverent at the least, crosses any line appropriateness with the songwriter’s account of a rape on the beach. This song is vulgar and politically incorrect with total lack of taste and empathy. It is the only track on the entire album which evokes any real thought or emotion other than the occasional chuckle. In today’s watered down, politically correct “Me Too” world is this true art or just shock value amid an album of fluff?

Flight of The BumBillB concludes with “Santa Claws Are Coming To Town”, Bachman’s dark twist on the holiday classic.

You can find Flight of The BumBillB on streaming platforms including Bill Bachman’s YouTube page and his official website BillBachmannMusic.com.

February 2, 2024