Category: A Rock and a Roll

Album of the Day: Jet Jaguar – Endless Nights

Who knew that one of the newest and most exciting New Metal bands to come around in a heck of a long time would be from Cancun, Mexico. On this, the band’s much-anticipated debut album, the band is more than meeting the lofty expectations set for them after becoming the first-ever Hispanic-American group to win the Wacken Open Air Metal Battle in Germany.

Drawing influences from the ’80s themed Metal bands with a pinch of Glam and Melodic Rock threw in to satisfy the faint of heart, the DNA of MTV bands the likes of Dokken, Kiss, Winger, Motley Crue, early Skid Row along with Judas Priest in their heavier moments, is the order of the day. The singer Max Mendoza with the looks of a Hispanic Michael Hutchence throws his voice out there in the Axl or Myles Kennedy range and takes total command of the stage in their live performances. “Blinding Lights,” the first single out of the gate is a scorcher, and even the two songs on the record sung in Spanish are ear-catching and cool with “Tormenta” as one of the highlights of the record that will be a clear favorite when the band hits the road for their South American tour in 2021.

 

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.

Album of the Day: Michael Parrett – Influence This

Michael Parrett – Influence This (5 out of 5)

With Luke Spiller and his band, the Struts, relaxing in that between album no man’s land, Adam Lambert performing brilliantly filling in for Freddie Mercury, not so much so with his solo efforts, Scissor Sisters Jake Shears MIA for the last couple of years, and The Biters Tuk Smith trying to get his Mojo back after having to dissolve his band, it is quite understandable that in theses pandemic funky feeling days that one could be left to wonder where the next Marc Bolan Ziggy Stardust is coming from.

Well, the question asked, question answered. The man to put the Glam in Wham Glam, Thank You, Ma’am, is Michael Parrett courtesy of his latest highly excellent slice of wax, Influence This. The swaggering heir apparent of the London Glam and Psychedelic Rock scene, this debut release takes no prisoners with its genre-bending Austin Powers Mojo display of ’60’s Donovan spirit love, Marc Bolan with a better driver metal guru guitar prowess, Suzi Quatro swagger, and Garage Rock rambunctious innocence.

The highlights here are, really, too many to mention, but we will give it a go. “Checkbook Charlie” is a guitar-laden propulsive Mojo-Rockin’ epic gem of a song in the Flamin’ Groovies mold, “Last Years Model is The Struts meets Love, and “Tattoos and Whiskey” carries a Tremolos by way of Ty Segall energy, and “Bad For You” is classic England’s Latest Hitmakers Rolling Stones in all its retro glory.  And, let’s not forget “Sugar Lover” a song that is on a planet all its own.

Album of the year? Let’s give it time to marinate a bit, but damn this is a fantastic debut effort from a force to be reckoned with.

 

Album Of the Day: Pop Co-Op – Factory Settings

Pop Co-Op – Factory Settings (4 out of 5)

Your ears only need to do a sound check of the influences that the band calls out for themselves when asked what was in their record selection growing up and you will know instantly the joie-de-vie inherent in this intoxicating North Eastern Band.  Among others, the key contributors to their musical DNA would be The Beatles, Squeeze, The Beach Boys, The Kinks, Rockpile, and Elvis Costello, just to name a few. The vibe is mostly Power Pop with a healthy dose of Americana and Psychedelic dustings dropped in just to make things even more interesting. On this, their sophomore effort, the band offers a more mature set of songs with more concise songwriting courtesy of Steve Stoeckel and Bruce Gordon. With shining examples including “Catching Light” and “Underworld” demonstrating the band’s Power Prop proficiency. They also cut a mean rug on the ballad front, case in point “Sleeve,” a solo Mccartney era-inspired stunner.

There is nothing not to like on this record with “The Price of Admission” complete with preamble cowbell, the Chuck Berry inspired “Won’t Be Me,” and “Requiescat”, a song that could have been a single on George Harrison’s All Things Must Pass, as clear genre-diverse winners.

 

Album of the Day: The Corner Laughers – Temescal Telegraph

The Corner Laughers – Temescal Laughers (4 out of 5)

It is somewhat difficult to comprehend that a band that centers itself around a lead singer that wears cat-eye glasses, plays the ukelele and cites bird watching as one of her hobbies could be cool, let alone hip, but that is exactly what this band is, and even more so. The lyrics and melodies are catchy as hell and the songwriting has a complexity about it that separates the group from most of the hipster Power Pop bands of the day. While on previous records, the ukelele is the star of the show, here, Karla Kane’s go-to instrument is used as sort of an accent piece, hummingbird-like floating and landing in just the right places making its presence known at just the right time. Every track on this immensely underrated record is brilliantly constructed and immensely ear-pleasing. Whether it is “Sisters of the Pollen” with a sort of vim and vigor that is sorely lacking in today’s music or “Goodbye Sun,” a shimmery pastoral beauty that is perfect lounging in the garden sweetness, every nuance of this record will make you wonder why you have never heard of this band before.

Quarantune of the Day: White Reaper – Real Long Time

White Reaper is one of our new favorite bands and their 2019 record You deserve Love was one of the best albums of 2019. With their we’re coming to your town, we’ll help you party down attitude this gang of Louisville rock and rollers should be on your musical radar. Here, they perform an at-home version of their hit single “Real Long Time.”

Cool Album of the Day Archives: The New Barbarians – Buried Alive: Live In Maryland

The New Barbarians – Buried Alive: Live In Maryland

The band The New Barbarians was formed in 1979 as a means to promote Ron Wood’s most recent album Gimme Some Neck. The album was a minor success peaking at number 45 on the Billboard charts and was the first to feature Wood’s own artwork on the album cover including a self-portrait. The band and the subsequent eighteen gig U.S. tour may have gone largely unnoticed were it not for the exceptional musicians that accompanied Wood on the tour. The stellar line-up included Ron Wood and Keith Richards on guitar, Stanley Clarke on bass, former Faces keyboardist Ian McLagan, Rolling Stones saxophonist Bobby Keys, and Joseph Zigaboo Modeliste drummer for the extraordinary N.O. funk band The Meters.

This line-up first appeared as the opening act for The Rolling Stones for a charity concert put on in Toronto as part of the fulfillment of Keith Richards’ sentence on Heroin possession in 1978. You and I go to jail for twenty years, Keith Richards puts on a concert and takes more drugs. What started as a benefit concert ended up being an 18th-month “guy’s night out” with the two hardest partying Stones setting off on a “Thelma and Louise” type adventure across The United States.

The tour began immediately after the charity concert and the good vibes were soon marred by a riot at one of their shows in Milwaukee in April of 1979. When the lights came up at concerts end and the rumored and hinted-at guest stars, Neil Young, Mick Jagger, and Bob Dylan, were a no-show, a small riot broke out. Actually, the audience wrath was understandable, because if any band needed to borrow a singer the New Barbarians were at the front of the list. As an attempted make-up to help the promoter recoup some of the damages caused by the riot, a revised line-up with Andy Newmark, Reggie McBride, MacKenzie Phillips (yes THAT MacKenzie Philips), and Johnnie Lee Schell replacing Clarke, Modeliste, and Richards. Shockingly, another riot did not break out.

The group never did make a proper studio album but did record a live double album called Buried Alive: Live in Maryland. The album, a double cd release included a mix of rock, country, and blues numbers along with a healthy dose of Ron Wood solo material, Keith Richards’s solo material, and some Rolling Stones songs for good measure. The album recorded in 1979 was finally released by Ron Woods’s record label in 2006.

The album opens up appropriately enough with the Chuck Berry penned “Sweet Little Rock ‘n’ Roller”. The guitar work as you would expect is stellar on the songs, however the Wood vocal here as well as the subsequent Keith Richards vocals led one Rolling Stone critic that was reviewing the tour to write “Ron Woods Dylan-esque wheeze had all of the nuances of a busy fingernail file, and Keith Richards’ ragged moans, however fervent, needed his legend (Mick) to prop them up”. In other words, these blokes can’t sing. I had a sudden flashback as to how great this band might have been with Paul Rodgers of Bad Company fame on vocals.

But they sure can play, and the chemistry between the two guitar whizzes perfectly complements the rest of the band when they go on their mid-song playing sprees. The third song” F.U.C Her”, a Ron Wood tune is a perfect example of the band showing their chops and sounding like they had been together for years rather than the reality which was they were hastily brought together at the beginning of this tour with little time for rehearsal. The Bobby Keys solo mid-song is tremendous.

“Rock Me Baby” lets the band get down and dirty, with the two guitars talking to each other, you almost expect a catfight to break out between the two instruments. The gritty, dirty vocals actually work on this. This is not a song that should be sung by Freddie Mercury. The vocal needs to be strained and come from the gut. And it is both on this stand out blues tune.
The biggest audience reaction seemed to come from the Stones songs. “Love in Vain” is a good “sway in the audience and light one up” slow blues number, but you really appreciate the Mick Jagger vocal after listening to this version.
Kith Richards gets his Gram Parsons “country jones” in with the David Alan Coe penned “Apartment No. 9”, a slow tear in your beer type of song delivered with passion.

The highlight is probably the snarly version of “Honky Tonk Woman”. Slowed down just a touch it works and allows each musician to stretch their chops in the spotlight.

“Am I Grooving You” provides a brief glimpse of the brilliance of Stanley Clarke with his bass lines holding up the groove side of the song quite nicely with a grand bass solo thrown in for good measure.

The set closes with the Richards classic “Before They Make Me Run” which is a more ragged whiskey and cigarette soaked version than you are probably used to hearing, and Keith appears to wander away from the mike at times, but it is still exciting to hear Keith belt out his own stuff.

The last song of the disc “Jumping Jack Flash” has a feel to hit similar to when you are at a party and the guy with the guitar keeps wanting to play when he has drunk too much, smoked too much, and you haven’t done enough of either and you are ready to go home. It is ragged, the sound quality seems to be diminished on this track, but the energy is certainly there.
Rolling Stones fans will find this album enjoyable and a nice addition to their music collection. Fans of live music will like this because it captures perfectly the 70’s concert experience with the “never know what you are going to get” type of listening experience that was common back in the day.

For me, this album was like the scene in One Flew Over The Cuckoo’s Nest where McMurphy breaks the patients out of the hospital and takes them on a field trip. You like the fact that they have escaped from authority and are singing, laughing, and having a good time, but you also want to see their safe return back to the hospital and the safety of their caretakers.

— Walt Falconer