Author: falconi5

A place for musically minded folk to get together and share ideas, reviews, and basically spread the word.

Quarantune of the Day: Dave Mason and the Quarantines – Feelin’ Alright

Our leader in the clubhouse for the Quarantune of the Year goes to Dave Mason and his band of Quarantines. This Band consisting of The Doobie Brothers, Dave Mason, Sammy Hagar, and Mick Fleetwood is so cool even Dave Mason can’t spoil the broth.

Album of the Day: Stephen Dale Petit – 2020 Visions

Stephen Dale Petit (4.5 out of 5)

It seems that California based guitar player Stephen Dale Petit has waited for his entire career to produce this record that is a mini-masterpiece and a master class in what modern Blues Rock should be, and where it is headed. And this, complete with album artwork from Klaus Voorman, the artist who created The Beatles’ Revolver cover, is, by all accounts, his own personal best and has the potential for Grammy consideration in the Blues category. Joe Bonamassa may get all the press these days, But this guitar slinger that has already made a name for himself on the other side of the pond can easily stand fret for fret with his idol.

With about as diverse a palet of songs as you will find, every Blues nugget presented here stands alone. One second the sonic wonder of Stevie Ray hits you between the ears on “Tinderbox,” and in the next breath all hell breaks loose with the snarling Clash influenced title track on “2020 Visions.” The nuanced slow burn of “The Ending of the End” brings to mind both Kings, Freddie and B.B., and “Steppin’ Out” would hold up quite spectacularly at the crossroads battling it out with the devil for the soul of the song.

Anthems are not left out of the mix, and “Soul of a Man,” a song that features Shemekia Copeland, shares a lot of DNA with “Beds are Burning” and will be a call and response staple on the festival circuit this year. If there is a festival circuit this year, that is. There are no throwaway tunes on this one. “Zombie Train” may be the weakest of the lot, not surprising given the song title, but beyond that, this album is a real page-turner. Stay with all nine minutes of “The Fall of America” churning, burning apocalypse-blues plays as legit at it can get.

Album of the Day: Richard Davies & The Dissidents – Human Traffic

Richard Davies & The Dissidents – Human Traffic (3 out of 5)

There is no rocket science being studied here with Richard Davies and his band of dissidents on this his debut solo record, but none the less, there are plenty of sweet sounds to sink your ears into. The template that is thrown down here on Human Traffic is no-nonsense, straight forward, Brinsley Schwartz Pub Rock and Roll. Cutting his guitar teeth as a guitar slinger sideman for the likes of Peter Perrett and Glen Matlock as well as with his own band The Snakes, Davies more than holds his own with a solid set of self-penned tunes and to add to the coolness factor “Heartbeat Smile,” an Alejandro Escovedo cover song is thrown in for good measure admirably performed with a Post-Punk flair.

With “21st Century Man” sounding like a new wave Tom Petty, and (“Long Road) To Your Heart” carrying a Billy Idol meets Greg Kihn mojo-sound, there is enough sonic diversity to keep things interesting and to warrant several more trips to the musical well.

 

 

Album of the Day: Marker Starling – High January

 

Marker Starling – High January (3.5 out of 5)

There is a certain ’70s singer-songwriter pathos to just about every song on this latest release from Marker Starling, also known as keyboardist vocalist Chris A. Cummings. The stark and enveloping Bedroom Pop on this record not only transforms you into a bubble of butterfly ribbons but also lays you down in a field of Steely Dan and Todd Rundgren influenced musical Nuggets. “Starved For Glamour” could have been on a deluxe edition of Aja, and “A Little Joy” is tailor-made for inclusion on an early-era America record. Produced by Sean O’Hagen of The High Llamas, High January is a fully formed full-band affair giving the proceedings a warm feeling made, even more, intoxicating with the presence of Laetitia Sadler classing up the joint on guest vocals.

The song structures and the use of vintage instruments in the production process only prove to enhance the vintage AOR vibe of the record. If anything is wrong with this album it would be the sameness that starts to creep in around the twenty-minute mark or so. The vocals aren’t overly active, maintaining the same mellowness for most of the 34 minutes. But, if you are looking for a kick-back sort of listening experience while you knock down a couple of Bombay Saphire martinis then this just might be your escapist jam.