Review: The Reason “Fools”

The Reason is a modern rock band that calls Hamilton, Ontario home. Back in August, they released “Fools”, their third album. Trying to make the third one the charm, the band recruited producer Steven Haigler (Pixies, Brand New, Quicksand) to assist with the effort. Recorded at North Carolina’s Echo Mountain Recording Studio, “Fools” shows the band maturing, settling into a sound that they can truly call their own.

The Reason is Adam White (vocals, guitar), James Nelan (keyboards, vocals, guitar), Jeremy Widerman (guitar, vocals), Ronson, (bass) and Steve Kiely (drums, percussion). Drawn together in early 2003 by their love of music and the impetus to forge their own musical path, the powerhouse quintet first caught the attention of audiences and music critics across Canada with the release of their debut album “Ravenna” in 2004. Coming off the release of Ravenna, the band focused on the goal of crafting memorable songs with hooky guitar lines. Their 2007 sophomore album, “Things Couldn’t Be Better” added greater dimension to their sound, and “Fools” aims to combine the best elements of each of its predecessors.

Generally, the results are pretty good. “Fools” has a very modern sound that would fit comfortably on radio these days. The album gets off to a puttering start with “Come and Go”, which jogs around the track but never takes off. Much more satisfying is the radio-friendly pace of “Where Do We Go From Here”, which could almost be mistaken for Panic! At The Disco. Equally energetic is the closing track and first single, “The Longest Highway Home” (video below). The driving verses and cool chord changes in the chorus make for a winning combination. My favorite in the bunch, however, is “The Ending of Us All”, which features a smart lyric, innovative guitar effects, and the catchiest chorus out of all eleven tunes here – everything comes together perfectly on this song. The near folky feel in the chorus of “I’ll Be Around” makes this another tune worth repeating. Some good intentioned experiments are conducted on “Fools”, but ultimately they come up short. “Dogs” provides a needed break from the heavy riffs with acoustic guitar front and center, but unfortunately it is an impotent song. Similarly, “Work With Me” also veers from the band’s formula, sounding like it would be more fitting on a 70s movie soundtrack. Some songs can agonizingly close to being great, such as “Run” and “Cry Like The Rain”, but in the end they’re missing that magic something.

The Reason has come a long way, and “Fools” is a noble next step, but short of a great leap forward. The band has found their niche and their chemistry is strong. If they continue to devote themselves to writing stronger hooks, The Reason will break out. The Reason is a logical choice for fans of Kings of Leon or Fall Out Boy.

iPOD-worthy: 2, 5, 6, 9, 11

The Reason on MySpace. Official site.

Check out the video for “The Longest Highway Home”:

Kneejerk: Alter Bridge - Bon Jovi

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...


Alter Bridge “AB III”

I haven’t really gotten into Alter Bridge all that much, despite my admiration for Myles Kennedy, the lead vocalist with one of the best voices in rock today. The band always seemed to be a bit restrained, still tethered to Creed and uncertain where their niche was in the musical climate of the day. If anything can be said about “AB III” is that the band sounds a lot more confident of its footing. “Slip To The Void” is a seductive way to kick off the record, luring you in with a slow pace that you know is going to explode at any moment. “Isolation” is pure shredding rock, what you would expect from a band that recently moved to the Roadrunner music label. But for me, the band is at its best on more melodic tracks like “Ghost Of Days Gone By” and “All Hope Is Gone”. Other standouts include “I Know It Hurts”, “Breathe Again”, and the remarkable ballad “Wonderful Life”. An ambitious 16 song opus, “AB III” should satisfy its fan base, and with their inclusion of more accessible radio-ready tunes this time out, may even expand that base.


Bon Jovi “Greatest Hits/Ultimate Collection”

Considering the number of 80s hard rock bands that have gone down in flames never to be heard from again, it is quite the miracle that Bon Jovi not only escaped unscathed, but emerged to rack up a whole new consortium of younger fans. By softening their sound and going for the commercial jugular, the band deserves a lot of credit for successfully navigating the choppy and uncertain waters of the present musical tide. The band has been around for over 25 years cranking out hit album after hit album, so one disc really isn’t enough to fit all of their hits. And in recent times, the criteria for what makes a “hit” are less clear. Either way, I’d recommend you go for the 2 CD collection rather than the single disc – more of the hits, plus four new songs (whereas the single disc only gives you 2 of the new songs). Even with the two CD set, there are some unfortunate omissions. There are no songs from the albums “7800º Fahrenheit” or “Bounce”, and the songs “Never Say Goodbye”, “Misunderstood”, and “Living In Sin” should be here rather than “When We Were Beautiful”, “Someday I’ll Be Saturday Night”, or “Blood on Blood”. Even Jon Bon Jovi’s solo tune “Miracle” was technically a bigger hit than these (and yes, they do include his monster solo smash “Blaze Of Glory” from the same soundtrack). But beauty is in the ear of the beholder, and it is easy enough these days to make your own Bon Jovi playlist – in that context, I’m not sure why bands even bother with these compilations anymore. In terms of new songs, “What Do You Got” is a sluggish but melodic tune and “The More Things Change” would have fit nicely on “Lost Highway”. I liked the arena-ready “This Is Love This Is Life” better.

Review: Melee “The Masquerade”

“The Masquerade” is the latest from Melee, a hugely talented pop rock band from Orange County, California. The record is the long-awaited sequel to the masterful “Devils and Angels” from 2007. “The Masquerade” follows in the tradition of “Devils and Angels”, delivering more synth-driven pop rock with Chris Cron’s soaring vocals.

In many ways, the music of Melee sounds a lot like the 80s – they manage to use synths without sounding cheesy, and produce dance ready music that can still be enjoyed by those who can’t shake a leg to save their life (like me). The title track eases us back into the world of Melee, conjuring up images of Keane. The song is a pleasant and catchy invitation to the record, but the high energy Melee steps up to the plate next with the awesome “Girls Wanna Rock”, which features one of the most infectious choruses this time out. “On The Music Screen” (video below) gears back down to a mid-tempo pace, resulting in a pretty radio friendly track, but not the strongest effort on the album. “The Ballad Of You and I” obviously slows things down even more – a sweet but relatively boring song. I find “Freeze” to be a much more compelling ballad, and “Someday You’ll Be a Story” is awe-inspiring. “You won’t know peace without a fight” is a sample of the lyrical gems you’ll find in this beautiful, sweeping opus. Some of the additional standout tracks include “Wedding Dress”, “What Good Is Love (Without You)”, and “Towers”. In short, I found the back half of the record to be better than the first.

In general, the band crammed in a lot of slower tracks on their latest effort, but they are no less catchy and enjoyable. Not sure this one is better than “Devils and Angels”, but that is a high bar to surpass. “The Masquerade” is available on CD overseas, but in American you have to go to iTUNES to get it for now.

iPOD-worthy: 1, 2, 5, 7, 8, 9, 10, 11

Melee on MySpace. Official site.

Check out the video for “On The Music Screen”:

Classic melodic rock CD of the week - Icon

By Stephen Kasenda

ICON "Icon" (1982)

Icon was unlucky to have to compete with giants like Dokken or Motley Crue back in the early 80s and, thanks to a lack of huge promotion from the label, Icon was pretty much estranged from the herd, if not forgotten. I consider them as among the second wave of glam metal, bringing up classic heavy metal hooks with some melodic touches…some of us call it melodic metal. To simplify things, imagine a combination of early Dokken, Keel, WASP, and Scorpions, and that would be a good definition of Icon's music.

There are four superb tracks inside. "Killer Machine" has a stampeding rhythm with a gorgeous verse/chorus composition. "On Your Feet" is the real deal of heavy metal and the solo guitar is just stunning. "World War" is melodic and heavy at the same time. "Under My Gun" is a blast - the roaring guitars behind Clifford's furious vocal is perfectly blended - this is Icon at their best. Now, the reason why they can't compete with Crue or Dokken is because the rest of the tracks aren’t as strong as these four. Take a look at "Hot Desert Night", "Iconoclast", or "It's Up To You", they're totally disposable. Luckily, the opening track, "Through The Night" and "Rock And Roll Maniac" are accessible and quite good.

I'd say Icon's debut might not be a really important release, but for hardcore fans of glam, melodic metal, or even traditional heavy metal, this band has something good to offer. The production isn't satisfying and that's a shame - if they release a remastered version with an upgrade in audio quality, the disc would be rated better. But for the music alone, I guess 4-stars is acceptable.

Read more of Stephen’s features at MetalMusicArchives.

Rare Trax - Winger "Seventeen (Live, Unplugged)"

Every Saturday at BMF we present rare or deep tracks from my collection for your listening pleasure, or perhaps for your amusement!

This week’s track is by Winger from the album "Metal Mania Stripped Volume III". Ever wonder how aging rockers deal with performing fan favorites that just don't seem appropriate to sing anymore due to their age? Showing their good sense of humor, Winger deals with this by changing the lyrics "She's only 17" to "She's only 35"!

Review: Sho “I Don’t Want To Go” [EP]

Sho is an emerging band rising from Dubai’s underground music scene. Sho began with the meeting of two like-minded musicians: Rizal (lead guitarist) and Zara (a powerful female vocalist). They recruited some top notch players to round out the band, which has the simple mission to get their music into as many ears as possible. Sho, which means ‘What?’ in Arabic, features an amalgamation of different genres of music strongly influenced by the amazing multicultural mix that is Dubai. Rizal uses 6 and 8 string guitars and a variety of pedals to give their music a unique sound. Zara's lyrics focus on the message of nonconformity, standing up for what you believe in, and fighting for what you want.

The “I Don’t Want To Go” EP features four songs of high intensity sure to please fans of modern hard rock. A song by the same name of the band kicks things off, coming at you forcefully and demanding your attention. “Sho” is a great song to get you moving on those days you have trouble getting out of bed. The title track blends some reggae into the heavy riffs, providing some interesting dynamics in this arena-ready rocker. “Phride” and “Winter” are more on the darker, unmelodious side and did not maintain my attention as strongly as the first two tracks. Check out this promising band if you like the music of Damone, Paramore, or Evanescence.

Sho – official site.

Listen to “Sho”

Review: Greg Koch Trio “From The Attic”

It is always a pleasure to discover outstanding new talent, even if that talent has been around a long time unbeknownst to me! Such is the case with guitarist extraordinaire Greg Koch. Hailing from Milwaukee, Wisconsin, Koch’s guitar playing perhaps received the highest form of flattery after being noticed by another guitar virtuoso, Steve Vai. Consequently, Vai signed Koch to his Favored Nations label in 2001. “From The Attic” is Koch’s 12th release, and skillfully misses blues, rock, funk, jazz, and rockabilly. Rounding out his trio is bassist Tom Good and drummer Del Bennett, both of whom do a superb job to accompany the guitar phenom.

“Leg Up Foot Out” is a feisty way to start the record, coming at you with gusto and dazzling guitar licks that will drop your jaw to the floor. You’ll instantly hear that Koch sounds like a throatier David Lee Roth, which suits this song particularly well. The lyrics on “Leg Up Foot Up” pretty much sum up the main theme Koch likes to explore, which is righteously questioning the darker side of human nature that blocks the road to nirvana for all. But the magic in Koch’s playing is so immense that words are not always required to convey complex emotions – take the instrumental piece “Sleep Light” for example. The jazz infused blues just wraps around you like a warm blanket. I’m not much a fan of instrumentals, but what Koch can do is nothing short of amazing. “Picked On” is less enjoyable…more of an exercise in “let’s see how many notes I can play before my fingers fall off”. Consequently, the song offers little to anyone who isn’t impressed with speedy fretwork. He rebounds with “Trouble”, which is a track sure to please fans of Big Head Todd, and the sunny “Here We Go Again” sounds like it could have been lifted from Eric Johnson’s commercial masterpiece, “Ah Via Musicom”. “Agree To Disagree” is another standout, with timeless and sensible lyrics that should be required listening before any session of Congress. I also like the lyrics of “Happy Versus Right”, but the verses are quite redundant and uninteresting. The record closes strong with a driving roadhouse rocker that reminds us to “take the punch of life and spike it”.

With enough fiery licks and infectious grooves to make Eddie Van Halen envious, “From The Attic” is not to be missed. Greg Koch is essential for guitar geeks and highly recommended for everyone else. Adding “From The Attic” will instantly up the “cool” factor on your collection – you’ll rock and like it.

iPOD-worthy: 1, 3, 5, 6, 7, 10

Greg Koch Trio on MySpace. Official site.

Listen to “Agree To Disagree”

Review: Chapa “Creation Room”

Brazilian natives, the three Fagundes brothers have been active in the music scene since the early 90s. Now based in London, they have released their latest effort, “Creation Room”, named after the very room where the brothers first played together back in Brazil. The music of Chapa is largely piano based, accentuated with rock guitar and harmonizing vocals. Siblings naturally sound great when harmonizing, and the Fagundes brothers are no exception.

The upbeat opener “Before You Go”, which happens to be the first single, is a quirky and choppy composition, and consequently is a shaky way to introduce us to the band. Chapa’s strong suit comes with the following piano ballad, “Just A Dream”, a much more conventional arrangement and the band’s best performance on the record. Some other highlights include “Somebody Is Crying For You”, “Killing Time”, and the bouncy powerpop of “Highs and Lows”. Unfortunately, the melodies crafted for the other songs don’t go anywhere interesting and the lyrics are pretty pedantic.

Chapa has a lot of style, but I find them lacking in substance. Underneath the shiny veneer, most of the songs simply aren’t good enough to be memorable. I believe the talent is there, but the brothers need to work on their chemistry and songwriting.

iPOD-worthy: 2, 6, 8, 10

Chapa on MySpace. Official site.

Listen to “Just A Dream”

Kneejerk: Saw 3D Soundtrack – Good Charlotte

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...


Various artists “Saw 3D Soundtrack”

What type of music comes to mind when you watch the wildly popular slasher flick, “Saw”? We don’t have the eerie orchestral stabs of Psycho, or the chirp chirp –pa pa pa sound of Friday the 13th, or the frantic and haunting piano of Halloween...we have blistering hard rock. Whatever you think of this tired movie series, “Saw 3D Soundtrack” may as well be a “Now: That’s What I Call Hard Rock” CD. The “Saw 3D Soundtrack” is packed with great artists, some of whom we have previously reviewed on BMF like Krokus and Kopek (why Kopek is not huge by now I have no idea). Others on this record even better known to modern rock fans include Saliva, Hinder, and Saving Abel. There is even a smattering of progressive bands like Karnivool and techno-rock bands like Nitzer Ebb. The key question – are these tracks just sloppy seconds by these artists or do they synergize and make for a good soundtrack from start to finish? I’d have to argue for the latter – this powerhouse of a soundtrack is more consistent than most, with the worst “songs” (virtually just abrasive noise) tacked onto the end as almost an afterthought. Best tracks are Hinder’s “Waking Up The Devil”, My Darkest Day’s “The World Belongs To Me”, Default’s “Turn It On”, Adelita’s Way’s “Scream”, and of course Kopek’s “Love Is Dead”. Tracks by Saliva and Boom Boom Satellites were disappointing.


Good Charlotte "Cardiology"

I’ve always enjoyed this Maryland band, ever since their breakthrough hit “Lifestyles of the Rich and Famous” from 2002’s “The Young and the Hopeless” tore up the charts. Good Charlotte is classified by some as emo, pop punk, or what have you…but it is safe to say they specialize in radio-friendly pop rock with an edge. “Cardiology” is the band’s fifth effort and is supposed to sound like Blink-182. Well, why not just sound like Good Charlotte? The record gets off to a reasonable, albeit predictable, start with staples like “Let The Music Play” and “Counting The Days”. The middle of the record is quite lame with cliché by-the-book tunes like “Sex On The Radio” and “Last Night”, and an occasion misstep into dance rock territory with head scratching songs like “Like It’s Her Birthday”. Saving the record somewhat is the inspirational power ballad “Standing Ovation”, the jovial acoustic strumming in “1979”, and pop rocker “There She Goes”. Lyrically, the album is surprisingly empty and dull. “Cardiology” is good – but not heart stopping good. For a band that is heading into their second decade, a little more growth than this is expected.

Review: Dom De Luca “A Bell I Gotta Ring”

Dom De Luca is a singer/songwriter based in Ontario, Canada, who has released “A Bell I Gotta Ring”, a record following his 2008 folk effort called, “Birds Of Worry”. Influenced by the likes of Bob Dylan, Townes Van Zandt, and Wilco, De Luca croons his way through acoustic-driven stories of love and hardship. As the album cover suggests, De Luca is all heart, and it is obvious these songs are his babies and mean the world to him.

The problem most people are going to have with De Luca is that he is not a polished singer. His tone is a mix of Jack Johnson and Eddie Vedder, which will charm for a song or two, but doesn’t have the appeal that will get you through an entire record in one sitting. He sings with all the enthusiasm of Ben Stein. The voice does better when the music is full, but when a song that is stripped down (like on “Such A Good World”), the vocal shortcomings are too pronounced. The strong suit that De Luca brings to the table is that he does write some catchy and memorable folk rock songs. First single “Brother, Brother” is the standout track possessing a winning combination of melody and solid production, providing an environment that suits De Luca’s vocals. Unfortunately, there isn’t much else on the record that thrills like this track. Fans of reggae might want to check out “Lovin’ You So”, and if you need an encouraging pick-me-up, check out “Chin Up Babe”.

All the heart in the world is no substitute for vocal talent, and I think this is what is going to keep “A Bell I Gotta Ring” largely unheard. But don’t miss “Brother, Brother”.

iPOD-worthy: 1

Dom De Luca on MySpace.

Check out the video for “Brother, Brother”:

Classic melodic rock CD of the week

By Stephen Kasenda

BANGALORE CHOIR “On Target” (1992)

Bangalore Choir is a short-lived melodic rock act comprised of former Accept frontman, David Reece, and also ex-members of Hericane Alice. Playing with the typical sound of Bon Jovi and commercial Whitesnake, "On Target" is a sanctuary for melodic ears, but the real strong element inside is the Coverdalish singing style of Reece. His vocal performance is blazing and flawless on many varied tracks inside, from the fast-tempo rockers to the acoustic ballads.

"Angel In Black" will grab your attention instantly. This unreleased Autograph track was enhanced with the band's uplifting rhythm, and somehow turned out to be surprisingly awesome. "Loaded Gun" is the band's MTV-hit, a great commercial tune. "If The Good Die Young" is really a wonderful power ballad, one of their strongest tracks. The other ballad, "Hold On To You", is also quite okay, even though not nearly as great as the former. "All Or Nothin" and "Slippin' Away" are definitely their best tracks. The quick pace of intense hard rock rhythms combined with superb choruses and beautiful hooks are simply genius. The last track, "Just One Night", is also an underrated gem with an unbelievably majestic chorus. "Doin' The Dance", written by Jon Bon Jovi and Aldo Nova, ironically is the worst of a bunch.

After folding the cards, Reece resurrected the band in 2010 with their latest release, "Cadence". Apart from the fact that it's a good album and showed the band's heavier side, there's no doubt that "On Target" remained their best release. For fans of Bon Jovi, Warrant, or 80s Whitesnake, the recently remastered disc should be on your top-priority buy list if you don’t have it yet.

Read more of Stephen’s features at MetalMusicArchives.

Rare Trax - Bricklin "Fear of Life"

Every Saturday at BMF we present rare or deep tracks from my collection for your listening pleasure, or perhaps for your amusement!

This week’s track is by Bricklin from their self-titled debut album. This underrated 80s band had a great pop rock sound and even landed a song on the soundtrack to Bill and Ted's Excellent Adventure. The brothers Bricklin later became Martin's Dam and released a couple great CDs under that name.

Listen to "Fear of Life"

Review: Archie Powell and the Exports “Skip Work”

Archie Powell and the Exports impressed us in 2009 with his “Loose Change” EP, a terrific little romp through roots rock and pop territory (review here). Archie and the gang are back with a full-length release entitled “Skip Work”, which, despite having four songs cc’ed from “Loose Change”, is markedly more towards the powerpop end of the spectrum.

There is still plenty of that raw, do-it-yourself attitude coming through on “Skip Work”, so longtime fans should not feel alienated. And while the record’s title might indicate that these guys are slackers, one thing that they take very seriously is their music. As rough and boisterous as it sounds, these melodies are very meticulously crafted – to the point where I’d almost think they came out of Squeeze’s songbook. Speaking on the concept of the new record the band states, “The material bears many faces with raucous garage rock, pop sensations and slow burners abound. All of which are held together by a pervasive sense of dark humor and twentysomething restlessness.”

The amusing tale, “Milkman Blues”, starts things off before some grungy guitar driving “Enough About Me” introduces us to the more traditional Archie Powell sound (video below). “Enough About Me” has great sing-a-long quality, with a close second being the gritty pop anthem, “Moving To The City”. “Skip Work” is one of the catchiest tunes against the 9 to 5 world and the midtempo “Follow Through” has an irresistible melody too. But almost as if Powell purposely saved the best for last, “Down and Out” is my favorite in this remarkable batch of songs.

Powell’s vocals are well-suited to this rambunctious pop rock, even reminiscent of Paul Westerberg at times. There is only one minor complaint – the use of distorted vocals! A little on occasion – when well placed – can be effective, but Powell uses it too often and throws in so much distortion that he is virtually incomprehensible. But the band’s sound is consistent from start to finish, making “Skip Work” one of those rare albums you can play straight through without skipping a track.

Check out Archie Powell and the Exports if you like Fountains of Wayne, Weezer, or The Replacements. So call the boss and say you’re sick, take a holiday, and get lost in this record.

iPOD-worthy: 1, 2, 4, 7, 8, 9, 10, 11

Archie Powell and the Exports on MySpace. Official Site.

Check out a video of “Enough About Me”:

Enough About Me - Archie Powell and the Exports from Jon Kline on Vimeo.

Review: Matt White “It's The Good Crazy”

Matt White seems destined to make musical history - his grandmother was the first female orchestra leader in the country and his great grandfather was responsible for giving Frank Sinatra his first violin. White is fixing to climb to a higher branch on the family tree to pop rock stardom, and his new sophomore releases, “It’s The Good Crazy” might just get him there.

The son of a psychiatrist, White has a deeper understanding over human nature than most, and this is reflected in his lyrics. Vocally, White’s voice is on the higher end of the spectrum, allowing him to effortlessly slip up into an angelic falsetto that he frequently puts to good use. His vocals are similar to Adam Levine (Maroon 5), but White lacks the high polished pop sheen, resulting in a more authentic and less processed sound. But the real standout talent is White’s ability to tap into our emotions through song, and his instrument of choice is usually the piano. The result is a superior collection of tunes that make you think as much as they make you feel.

Opening track, “And The Beat Goes On”, is by far and away the favorite for me, an ambitious crowd pleaser in the style of “Bennie and the Jets” - could be one of my favorite songs of the year. White quickly shows another side with his comparatively mellow single, “Falling In Love (With My Best Friend)”. The song is driven more by acoustic guitars, addressing a universal subject with finesse. Even tenderer is the chilling ballad, “Taking On Water”, which allows White to showcase the vulnerability in his vocals. Other highlights include the easy going groove of “Colorblind” and “Honeymoon Phase”, which sounds like it was written by Paul Simon. Be sure to stick around to the end, because “Sunshine” is another perky piano rocker - White doing what he does best.

“It's The Good Crazy” is not without its missteps. Despite a rousing vocal delivery, “She’s On Fire” does little to ignite the soul, and the quirky verses combined with the sustained falsetto in the chorus of “Off My Wall” wears on the ears. But all in all, this album is a very impressive effort. Fans of The Fray, Sara Bareilles, and Elton John…do yourself a favor and check out Matt White.

iPOD-worthy: 1, 2, 4, 5, 7, 11

Matt White on MySpace. Official site.

Listen to “And The Beat Goes On”

Review: Will Hoge “The Living Room Sessions” [EP]

About this time last year, I was listening to the latest from roots rocking road warrior Will Hoge called, “The Wreckage” (review here). He’s back again so soon with an EP aptly entitled, “The Living Room Sessions”, which consists of new versions of five songs from “The Wreckage” as well as the tune “All Night Long”, a favorite from Hoge’s 2003 landmark record, “Blackbird On A Lonely Wire”. And yes, they were all recorded in his living room.

The six songs are stripped down to bare essentials, but by no means do they sound boring or dull. The organic nature of this format is perfectly suited to nearly every song Hoge has ever put to tape. Indeed, one could argue that his songs sound better this way than with a full blown band and highly polished sheen. “The Living Room Sessions” is like a love letter to fans, but also serves as an appropriate introduction to the world of this talented yet criminally underrated Nashville rocker.

“I like acoustic recordings that try to be different from the album version,” says Hoge. “We just got together and camped out at my house for a couple of days…it’s not a home studio, no real fancy set-up or multi-tracking. The console was a laptop on a card table, and that same table also served simultaneously as the keyboard stand. There were no real overdubs or re-dos or pitch correct. We just did it ‘til we liked it and let it be…not out of laziness, it just seemed to fit.”

Don’t miss Hoge on the “Anything and Everything” tour with (!) Shinedown (an unintuitive combination if I’ve ever heard one) from November 4 – December 9. “The Living Room Sessions” EP is available now.

Will Hoge on MySpace. Official site.

Listen to “Favorite Waste of Time”

Kneejerk: Fran Healy – Elton John and Leon Russell

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...


Fran Healy “WRECKORDER”

“WRECKORDER” is the solo debut from Fran Healy, the lead singer and songwriter of the Scottish rock band Travis. Travis made quite the splash in the late 90s and early 2000s with their breakthrough CD, “The Man Who” and equally excellent follow-up, “The Invisible Band”. Little did we know how prescient that title was, as Travis quickly fell off the radar. The good news is that Healy’s first solo outing is more or less a return to what made Travis successful back in the day. While not a perfect record, it feels more like the legitimate successor to “The Invisible Band” than the gloomy “12 Memories”. Healy’s vulnerable voice charms on melodious tracks like “In the Morning” and “Holiday”. “Sing Me To Sleep”, a duet with Neko Case, is another atmospheric gem. “Anything” is my favorite track in this 10 song collection, a sweeping piece beautifully sung and well orchestrated. The first single, “Buttercups” is a close second, featuring crisp acoustic guitar that pairs perfectly with Healy’s vocals. Not all of “WRECKORDER” is light and easy on the ears - tunes like “Fly in the Ointment” and “Shadow Boxing” are distinctly darker in tone. Ironically, they are less interesting and forgettable. Healy begins a tour with Brandon Flowers of The Killers on November 10.


Elton John and Leon Russell “The Union”

Everyone knows Elton John, but I doubt half the number know of Leon Russell. Russell has played for just about everyone in the music business across multiple genres and had a string of modest chart successes in the 70s. Although he’s been more behind the scenes than Elton John, Russell has earned an esteemed reputation as a session player and songwriter. These two icons, both having their heyday in the 70s, have teamed up to create this record with T Bone Burnett producing and a boatload of guest talent including Neil Young, Brian Wilson, and Don Was. “The Union” generally captures many elements from 70s piano rock, and continues along the path that Elton committed himself to with the outstanding back-to-basics ethics of “Songs From The West Coast”. The two seem to play off one another, rejuvenating their vigor in the performances, which can best be felt on Elton’s enthusiastic singing of “Hey Ahab”, Russell’s sly delivery of “If It Wasn’t For Bad”. With a couple country-flavored tunes (“Jimmie Rodgers' Dream”), honky tonk (“Monkey Suit”), and the typical Elton John balladry (“Never Too Old (To Hold Somebody)”), there’s a little something for everyone here. The fun these two had in making “The Union” is contagious, providing the listener with a thrilling experience, especially those fans of 70s era rock.

Review: Dimestore Buddhas

Dimestore Buddhas are a new indie rock formed just this year in New Jersey. Led by Gene Pompilio, they are fans of “three-chord, sugar-coated bubblegrunge”.

Dimestore Buddhas are busy working on their debut release, but in the meantime they sent me an advance copy of two tracks, “Oh Yeah Baby” and “Sci-Fi Girl”. “Oh Yeah Baby” is ear candy all right, starting off with Beach Boy style harmonies that sing the title of the song. We move into an easy going verse with pleasant lead guitar interjecting between the lines. The chorus is a bit redundant, but the catchy melody is the main reason you’ll find yourself singing it all day. “Sci-Fi Girl” is another mid-tempo powerpop gem not far removed from something The Smithereens or The Knack might write. And I have a gut feeling that most of my readers will relate to the lyrics!

Be on the lookout for these guys! If these two tracks are any indication, the full-length CD promises to be huge.

Dimestore Buddhas on MySpace. Official site.

Listen to “Oh Yeah Baby”

Classic melodic rock CD of the week

By Stephen Kasenda

SIGNAL “Loud and Clear” (1989)

The late 80s rock music industry was heavily populated by many young bands trying to capitalize on the trend and, unlucky for Signal, they were lumped together with those bands, getting dropped soon under the radar without label's support. The band vanished with the wind, but to us, "Loud And Clear" never faded. Mark Free's victorious vocal on top of the sparkling compositions and flawless performances made this album a great find for the glam and AOR society.

"Arms of A Stranger" is definitely the best track and truly sensational. The incredible voice, the dreamy composition, the climatic chorus…almost everything from A to Z on this song is just perfect. For those who are looking for uptempo tracks in the vein of this track – you’re probably going to be disappointed. Signal chose the tender path by stuffing a lot of ballads inside, such as "Does It Feel Like Love", a typical pop-rock ballad, "This Love, This Time", which sounds like a lost Foreigner track, or "Could This Be Love", an immaculate power ballad that is stunningly beautiful. The remaining songs are also pretty much enjoyable, from the potential hit power of "You Won't See Me Cry" to the Toto-meets-Bon Jovi tune, "Go". The only exception is "My Mistake", which is the worst track of the album.

"Loud And Clear" is a feast to the ears, especially if you like songs that are immersed in abundant melodies and catchy choruses. Most of the tracks are memorable and emotional. Not until 20 years later has the world been able to listen to this again, thanks to a string of high-quality Frontiers release, including the highly-anticipated return of Mark (now Marcie) Free with Unruly Child in 2010 (read the BMF review here). “Signal” belongs on the short list of classic AOR releases - a remarkable achievement, and it is a shame they never got the appreciation they deserved. Superb!

Read more of Stephen’s features at MetalMusicArchives.

Rare Trax - Europe "Wish You Were Here"

Every Saturday at BMF I plan to present rare or deep tracks from my collection for your listening pleasure, or perhaps for your amusement!

This week’s track is by Europe from their 2009 album, "Almost Unplugged". How many of you knew that they did a cover of Pink Floyd's "Wish You Were Here?" Check it out...

New Rock The Vote video from Neil Nathan - "So Much More"

Neil Nathan, a former high school history teacher, may no longer work at New York's Martin Luther King, Jr. High, but he's still always looking for opportunities to inspire and educate. The upcoming Election Day is just one of those opportunities. "So Much More" was written for "the angels of American democracy" and is all about the power of individual citizens to bring about positive political change. The video is filled with inspiring images that make any viewer want to rock the vote. "So Much More" can be found on his debut LP, "The Distance Calls".

Nathan was featured on the cover of American Teacher magazine for directing Martin Luther King, Jr. High School's Arts Education program and providing inner city kids with opportunities to intern and attend performances at New York City Opera, Guggenheim Museum, and Jazz at Lincoln Center. His favorite teachers turned rockers are Gene Simmons and Bob Pollard.

Read our review of Neil Nathan's latest record, "The Distance Calls" here.

Review: Brooke Fraser “Flags”

New Zealand-born singer/songwriter Brooke Fraser is running a new one up the pole called “Flags”. Once called "The Kiwi Norah Jones”, Fraser signed with Sony Music in 2002 at just 18 years of age and her debut record, “What To Do With Daylight” went to number one on the New Zealand charts and quickly went gold, then 8x platinum. She toured in Australia and New Zealand with John Mayer and David Bowie. She is pinning hopes that “Flags” continues to expand her audience, and she seems poised to do so with a debut on the Billboard Top 200 Albums Chart at #59.

Fraser has an angelic soprano voice that floats upon dreamy soundscapes as she spins yarns of varied characters. “I’ve never used as many characters or as much narrative in my songwriting as I have on this record,” Fraser says.

The upbeat opener, “Something In The Water” is the standout track (video below), combining straightforward pop with a bit of country folk swing. The chorus is catchy, helped by a memorable chant from backing vocalists. Unfortunately, most of the rest of the record generates about as much excitement as that boring cover art up there. The tunes are beautifully sung and the record has fine production value, but the songs are just far too sleepy. Even “Here’s To You”, presumably a celebratory drinking song, comes across with weighted melancholy and insincerity – Fraser must be a real party pooper. Fans of Aqualung will want to check out “Who Are We Fooling?”, a duet co-written by Matt Hales. “Who Are We Fooling?” is one of the most earnestly performed, and will pull at the heartstrings of those stuck at similar romantic crossroads. Another highlight is “Sailboats”, which features a sparse acoustic and string arrangement that allows Fraser’s delicate voice to shine throughout this lovely piece.

Check out Brooke Fraser if you are a fan of Sarah McLachlan, Dolores O’Riordan, or Paula Cole. “Flags” is a record best played for relaxation or if you are suffering from insomnia.

iPOD-worthy: 1, 4, 8

Brooke Fraser on MySpace. Official site.

Check out the video for “Something In The Water”:

Review: Jonah “The Wonder and The Thrill”

Three years ago the Portland band Jonah won over fans and critics alike with their second record, “Trust Everyone Before They Break Your Heart”, even getting a nod in SPIN magazine. After starting some families and replacing their bassist, Jonah is back with “The Wonder and The Thrill”, a new record that is described as having a more mature sound with intentionally sparser arrangements.

“The Wonder and The Thrill” will be released November 9 and is a wonderful autumn soundtrack. Generally the songs are low key and overeasy, gentle on the eardrums yet retaining enough pizazz to thrill. Frontman Henry Curl exhales the lyrics like Matt Hales (Aqualung), sculpting his vocal performance to match the mood of the song. The record was recorded and engineered by Jordan Leff at Secret Society Studios and mastered by Kevin Nettleingham, who has produced similar records for Elliot Smith as well as Spoon and Hollipollock. The music falls like leaves on the windshield during an October drive through the park.

While most of the record is on the softer side, with tracks like “Please Let Go” and “No One Left To Blame”, there are some tunes with muscle, like the superb songs “The Old High School” and “The Wonder”. Then there are tracks like “Bees”, which lacks sting at first but starts to sound like honey after a second listen. Other highlights include “New Start” and the slow burning closer, “Sycamore”. My favorite track is the most accessible, “Diamond”. “Diamond” shines as a pleasant mid-tempo track with a strong hook and lush chorus that you’ll have in your head for days.

The hooks are subtle and take a few spins, but their harmonies alone will make you want to come back for repeated listens. Check out Jonah if you enjoy Dan Wilson, Coldplay, or Travis.

iPOD-worthy: 2, 3, 4, 6, 8, 9, 11

Jonah on MySpace. Official site.

Listen to "Diamond":

Review: Fantazzmo “Enter The Fantazz”

If there is one message made abundantly clear on the debut record from Fantazzmo it is that he loves himself. The question is – will anybody else love him as much as he loves himself?

Songwriter, guitarist, and vocalist Sergio Bedolla christened his alter ego Fantazzmo, which I thought was one of the characters in Mario Brothers, but perhaps not. Bedolla used to be in an L.A.-based band called Anima/Idle, who was featured in Spin and even secured a slot opening for Blink-182. As Fantazzmo, Bedolla is out to mix just about every rock, pop, soul, and hip-hop genre together. Some of the music on his debut record “Enter The Fantazz” is compelling, but most of it is going to be unappealing to people expecting consistency in their music. Listeners should be prepared that “Enter The Fantazz” is a wildly schizophrenic record.

While the musical styles are all over the map, the lyrics are not – Fantazzmo has a one track mind that is limited to sexual conquest. The tracks that don’t involve sex are either instrumentals (the Pink Floyd-like “Eternal Abyss” and “Cancion De La Gitana”) or a glorification of violence (the horrifying “Fear In Me”). There’s nothing wrong with writing about sex and violence of course, but Fantazzmo is simply too blunt and pornographic – there’s none of Steve Tyler’s humorous innuendo or Mick Jagger’s machismo. Fantazzmo’s lyrics are shockingly juvenile, degrading, and cringe-worthy.

The only two tracks that work here are the radio-friendly “I Know You’re Mine”, an excellent pop rocker, and “Drown Your Lies”, a reggae rocker that sounds like the single 311 has been trying to write since their last hit. If Bedolla can focus the energy and innovation in his music and write more with his brain instead of his hormones, maybe the rest of us will get a rise out of hearing Fantazzmo.

iPOD-worthy: 2, 3

Fantazzmo on MySpace. Official site.

Kneejerk: Rod Stewart – Phil Collins

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...


Rod Stewart “Fly Me To The Moon: The Great American Songbook Volume V”

The resilient, forever young Rod Stewart is back again to serenade us yet another chapter of the Great American Songbook. This is the fifth one to be exact and you’re probably thinking what I am thinking…WHEN WILL IT END? There is no disputing Stewart is a pillar in the classic rock world and even put out some decent stuff in the 80s and early 90s, but his trashing of the Great American Songbook has gone on far too long. I have the same problem with volume V (!) that I have with the other four – his gravelly voice is simply not suited to the crooner genre. Would you wash your car with a Brillo pad? Use a hoof rasp to file your fingernail? Use sandpaper to wipe your eyeglasses clean? This time around he is adrift on “Beyond The Sea”, steps all over “I Get A Kick Out Of You”, and growls like a werewolf on “Moon River”. A part of me is happy that Stewart has been able to reinvent himself to remain commercially viable, but please please…somebody fly him to the moon.


Phil Collins “Going Back”

Perhaps taking a cue from Rod Stewart, Phil Collins takes a stab at covering classic Motown tunes on his latest, “Going Back”. Not an unreasonable idea considering that his cover of “You Can’t Hurry Love” (originally performed by The Supremes) conquered the chart back in 1981 and helped launch his solo career. The instrumentation on “Going Back” is of high quality, but as soon as Collins sings you’ll wish they kept it to instrumentals. What happened to his voice? Most of this sounds like Alvin and the Chipmunks Sing Motown. If I didn’t know better, I’d almost think Collins was joking. But seriously…you only need to listen to his near laughable cover of Stevie Wonder’s “Uptight (Everything‘s Alright)” to see what I mean. Collins also butchers “Heatwave”, “Papa Was A Rolling Stone”, “Ain’t Too Proud To Beg”, and, sadly, much more. “Going Back” is an unfortunate addition to an otherwise outstanding discography.

Review: Taylor Locke and The Roughs “Marathon”

How many people can put out 3 great albums in a single year? Virtually no one…no one but Taylor Locke, that is. Locke is best known as guitarist in the powerpop band Rooney, but he is quickly making his mark as a talented solo artist. It was only back in April when we reviewed his outstanding debut, “Grain and Grape” (review here). Then in July we reviewed Rooney’s latest CD, “Eureka” (review here). Now he throws a collection of 10 new songs at us on “Marathon” (review here…you’re reading it!). The most astonishing thing is that his work has been phenomenal throughout. To say the guy is on a roll is an understatement.

While most of “Marathon” is brilliant, it does get off to a false start – the epic opener, “The Honor Role” sounds like 3-4 completely different songs loosely patched together. I presume they were going for something that rivaled McCartney’s “Band On The Run” or a Jellyfish opus, but the disparate parts just don’t work together. They quickly get back into the race with a peppy acoustic driven rocker called “Jenny”. Things really start to pick up, ironically, when the band slows it down for the gorgeous “Don’t Forget”. “Don’t Forget” features moving chord changes and a terrific vocal performance from Locke. “My Only Drug” is my favorite track – powerpop at its best performed with gusto. Another highlight is the undeniably catchy “Badfinger”, which also gives the band a chance to nod to a major musical influence.

Some other tracks come close to being great, but have an irritating element or just feel like they’re missing something. For example, I would love to hear Locke slip up into his graceful falsetto on “One More Time” rather than struggle to scream it out. In fact, he screams too much on “Marathon” in general, as if he’s trying to prove he’s got what it takes to rock. You don’t need to do this, Taylor.

While not as immediately mind-blowing as “Grain and Grape”, “Marathon” is no slouch and stands heads above most of the stuff we’ve heard in 2010. But after hearing “Marathon” so soon after the debut, one is tempted to coach Taylor Locke and The Roughs to pace themselves. The band could have made a single record this year that combined the cream of the crop from each, and that record would have been an instant classic.

iPOD-worthy: 2, 4, 5, 6, 8

Taylor Locke and The Roughs on MySpace. Fansite.

Classic melodic rock CD of the week

By Stephen Kasenda

LITA FORD “Dangerous Curves” (1991)

After the somewhat blunt release of "Stiletto", I didn't expect Lita Ford to make a great return to form considering the musical climate had begin changing, but "Dangerous Curves" proved me wrong. Deliberately injected with a big amount of commercial fluid, Ford's style was stripped down to a more AOR feel rather than the typical hard rock outfit, but with around 8 enjoyable songs out of 11 presented, I guess the formula worked fine.

"Larger Than Life" begins the journey with an anthemic chorus - this track is probably the sleaziest tune and definitely an adrenaline pumper. Too bad she threw "What Do Ya Know Bout Love", which I think is far too decent compared to the next big hit, "Shot of Poison". This is one of her best songs as far as I remember and, together with "Playin' With Fire", they made a wonderful radio-friendly chart-conquering combo. "Black Widow" is also great, "Little Too Early" is good midtempo AOR, and "Holy Man" is like a lost Bon Jovi track.

While the album still suffered with some flat and dull tracks such as "Bad Love", "Tambourine Dream", or "Little Black Spider", I think this one is beautiful, especially if you can accept the commercial-fueled hard rock common in the late 80s/early 90s. Fantastic stuff!

Read more of Stephen’s features at MetalMusicArchives.

Review: Vinyl Candy “Dirty Third”

Everyone’s favorite California power pop band is back with their third release, aptly titled “Dirty Third”. The third part is obvious, but the “dirty” part also applies, as this record strikes me as a tad darker than the band’s first two releases, which required sunglasses they were so bright and sunny. I’m not saying that Vinyl Candy has gone Goth or anything, but let’s just say some of the songs feel more partly cloudy than previous efforts. And that is not necessarily a bad thing.

“Human” kicks things off, exploring human nature as only Vinyl Candy does – with an optimistic perspective. It is a rapid reminder why we love Vinyl Candy so much – instantly memorable choruses, compelling chord changes, and plenty of 70s-styled bubble gum harmonies. “Fallen” follows and, while not quite as remarkable, will appeal to members of the Vinyl Candy army. Then the clouds move in with a haunting ballad appropriately entitled “Ghost Of You” – some fans are going to dig this change of pace from the band, but others will want to skip to more predictable fare like “I Want To Be Just Like You” or “Shine”. “Just Another Movie” is a ballad bookended with a sparse acoustic arrangement with an eruption of electric guitar in the middle – the dynamics keep this song engaging. One of things I enjoyed about this track was how well Matt Corey’s vocals are suited to the acoustic sound. “On Again Off Again” is another highlight with a signature sing-a-long chorus. Of course, it wouldn’t be a Vinyl Candy record without a song about their home state, and the driving “California Georgia” does the job this time out.

Just in time for Halloween, Vinyl Candy’s “Dirty Third” is another bag of sweet treats – and a few tricks.

iPOD-worthy: 1, 4, 5, 6, 7, 9

Vinyl Candy on MySpace. Official site.

Review: Dot Dot Dot “II” [EP]

The latest EP from up-and-coming band Dot Dot Dot, simply called “II”, is a blast of fresh air. You may have caught them on “The Next Great American Band” in 2007 but, if not, one listen should be enough to convince you that they are true contenders to become a household name.

To be honest, I almost thought the opening track, “Walking In A Straight Line” sounded a bit to clubby for my tastes. Indeed, Dot Dot Dot bills themselves as a “union of rock elements cloaked in dance beats with synthy frills.” “Walking In A Straight Line” had just enough of a gritty rock edge to keep me interested…and I am very glad for that. The other four songs on “II” turned out to be some fantastic pop rockers, each with a screaming hook and full throttle rhythm section that makes you want to get up and go. “Around The World (And Back)” even has a playful 80s vibe and some “Sha la la” vocals that make it a particularly sweet guilty pleasure. “Stay” is the current single, a strategic pick that has the most cross-over potential. “Antidote” is one of the meatier tracks with heavy guitar riffing between the 80s style synths and backing vocals. “Hold You Tonight” wraps things up, another track of pop rock perfection. Any and all of these tracks could easily create a buzz at radio.

With huge choruses, superb vocals, slick production, and catchy songs, Dot Dot Dot delivers the whole package. Rock, pop, and dance may seem like a bunch of disparate dots, but this band connects them well, leaving us with a picture of what the future of music holds.

Dot Dot Dot on MySpace. Official site.

Check out the video for “Around The World (And Back):

Review: Unruly Child “Worlds Collide”

After disbanding over sixteen years ago, the original members of Unruly Child have reunited to produce a brand new album entitled “Worlds Collide”. Marcie Michelle Free (vocalist - King Kobra, Signal), Bruce Gowdy (guitarist – Stone Fury, World Trade), Guy Allison (keyboardist – Lodgic, World Trade, Doobie Brothers), Jay Schellen (drummer - Hurricane, World Trade, Asia), and Larry Antonino (bassist - Pablo Cruise). This is the team that crafted the self-titled debut from 1992, which has become an underground classic among fans of melodic hard rock.

The rebirth of Unruly Child in 2010 is going to take a lot of people by surprise. On “Worlds Collide”, the band springs to life with all the excitement and energy of a newborn. The first two tracks did little to excite me, but then “When We Were Young” kicks off a six song string that 1990 radio would have been all over. “When We Were Young” has a nostalgic theme perfect for a reunion of this kind and is surely going to relate to older fans. “Love Is Blind” is another great tune that fuses the classic Unruly Child sound with that of contemporary hard rock, all helped by a huge sing-a-long chorus with great backing vocals – reminds me a lot of the new Foreigner record. “When Worlds Collide” is an engaging tune with interesting time changes and another memorable chorus. Things stay strong as we move into the final stretch of the album with terrific AOR candy like “Read My Mind” (very modern Bon Jovi) and the rugged cry to be forever young in “Neverland”. The first single is “Very First Time” (video below) – an excellent choice with one of the most instantly enjoyable choruses on the album. If power ballads are your thing, there are a couple of winners such as “Tell Another Lie” and “Talk To Me”, the latter featuring one of the more chill-inducing vocal performances by the great Marcie Michelle Free.

Undoubtedly one of the most thrilling comebacks for a melodic hard rock band this year, “Worlds Collide” is essential for new and old fans alike. The band has brought their sound to the 2010s without alienating loyal fans. Don’t miss them if you like Foreigner, Journey, or Bon Jovi.

iPOD-worthy: 3, 4, 5, 6, 7, 9, 10, 11

Unruly Child - Official site.

Check out the video for “Very First Time”:

Review: Fun With Atoms “Smart”

The nucleus of the power pop band Fun With Atoms is comprised of three particles: Rick Smith (vocals, guitars, keys), Dan Collins (vocals, bass, keys), and Curt Lefevre (drums, vocals). They are packed together tight, emitting a steady stream of sound waves that will electrify listeners.

Fun With Atoms hails from Green Bay, Wisconsin and has released two acclaimed records already – their indie debut “Main Street” was produced by none other than Butch Vig (Nirvana, Garbage). Their sophomore set, “Northern Distortion” saw power pop icon Jeff Murphy (Shoes, Material Issue) at the helm. Infusing Beatles inspired songwriting with multi-layered harmonies quickly garnered the band plenty of college radio airplay. Now they are back with “Smart”, perhaps partly named after being mixed and mastered by Mike Zirkel at the legendary Smart Studios in Madison.

It doesn’t take a genius to figure out that “Smart” is a record that promises to please the band’s fan base and expand it considerably. The band prides itself on writing great song hooks, surrounding them with inventive guitar arrangements and harmonies galore. According to Smith, “we wanted this record to capture the energy of our live shows, without a lot of overdubs and additional instrumentation”. If that was indeed the band’s goal, I say they have accomplished it – “Smart” sounds more like raw, garage rock then your highly polished, overly processed million-dollar sound. But they key thing is that the boys have created a truly “fun” record in every sense of the word.

Opening track “Walking the Razor's Edge” is a perfect mid-tempo starter with cool chord progressions and a satisfying hook in the chorus. Things really get moving with “Really Happy”, a sunny song with a memorable wah-wah vocal that you’ll fight singing aloud all day long. Additional highlights include the Cars-sounding “Restless Kind”, the bluesy mid-tempo ballad, “Feels Like Rain”, and the pop rock perfection of “Mystery”. The record closes with “Jones”, a notable fable of a song about those striving for empty pleasures by struggling to keep up with the you know whos.

If you like Gin Blossoms, Del Amitri, or Urge Overkill, don’t miss Fun With Atoms.

iPOD-worthy: 1, 2, 3, 5, 7, 8, 10

Fun With Atoms on MySpace. Official site.

Kneejerk: Sister Hazel – Willy Porter

Welcome to the latest edition of KNEEJERK, where we preview some new releases and give our short, "kneejerk" reaction...


Sister Hazel “Heartland Highway”

The prolific Sister Hazel is back with another serving of their brand of organic pop rock. Sister Hazel is best known for their smash hit “All For You” from the 90s, and if you ask most people they probably think the band dropped off the face of the earth after that breakthrough – not true! Sister Hazel has been quietly but consistently delivering some of the best guitar driven rock ever since, and “Heartland Highway” keeps that spirit alive. No autotune, no synths, no synthetic anything…just pure music based on a mix of acoustic and electric guitars, mandolin, and strings. As usual, the band continues to write about positive things to match their sunny musical disposition – “Stay Awhile” is about hanging in there, “Great Escape” is about taking time to absorb the things that make life worth living, and “Far Away” is an anthem of reassurance to a loved one. There are so many likeable tunes on this one, but the upbeat “Let The Fire Burn” is the one I find myself wanting to go back to the most. True to the record’s name, there is a palpable flavor of heartland rock, especially on “The Saddest Song” and “Where You’re Going”. The band does something new on this one, too – a three song saga at the end entitled “Lessons in Love, Hope, and Faith”. In short, another winner from my brothers in Sister Hazel.


Willy Porter and Carpe Diem “Live at BoMA”

Take an extraordinary talent like Willy Porter and pair him with the acclaimed Carpe Diem String Quartet and you have a match made in heaven – or at least something that rivals the Reese’s chocolate peanut butter cup. “Live at BoMA” captures this magical collaboration, featuring seven previously released fan favorites rearranged with the quartet. The beautiful performances from Carpe Diem do not take away from the jaw dropping skills of this extraordinary acoustic guitarist, who plays a 9-string guitar custom designed by him, but synergize and elevate the songs to new heights (you can read our review of Porter’s last effort, “How To Rob A Bank” here). “Live at BoMA” marks his eighth release and is a perfect introduction to Porter’s gift, and makes a great addition to any fan’s collection.