Rockaway, Brian Dunne (from the Kill Rock Stars release Loser on the Ropes)
Brian Dunne sets a clear tone for his latest album with its title. Loser on the Ropes chronicles life in a troubled world, focused on the personal rather than the geo-political. The characters in his songs are often taking stock of their lives, reflecting on past decisions as they try to define a path forward. They generally haven’t given up hope, even as they recognize that it may be hard to find.
“Rockaway” is a prime example, the singer putting things in perspective:
You know, not in the time that I’ve been on Earth
Have I taken such stock of what I’m worth
And I can’t help but feel a little hurt
To find out where I’m at
But whatcha gonna do, sit around and die?
Or grab yourself a bagel and say alright
These days bring tears to the hardest eyes
Might as well leave it at that
Dunne puts a positive spin on things in the insistent “It’s a Miracle”. “Little child in the candy aisle grabs a handful then he smiles,” he sings, “So don’t be so hard on ya, you got friends and stuff, dontcha?”
“Optimist” is the arguable lyrical album center point. “And I was angry for a little bit but it didn’t last,” he admits, “‘cause no matter what you’ve done to your life, everything must pass”. He digs deeper on the chorus:
I’m trying to shake out of the shape I’m in
Trying to believe in belief
And trying to make friends with my life again
But it’s harder than it used to be
And I’m trying to find a way to be an optimist
Searching on my hands and knees
Well I think there was a time when it seemed obvious
But it’s harder than it used to be
The title track is a captivating and restrained anthem about facing up to life’s challenges. “Cause of the two things I have learned in life while staring at my shoes,” he confesses, “You either learn to love the cosmic lie or you learn to love the blues.”
Musically, the album has a slight retro 1970’s rock feel that calls to mind the organic vibrancy of Big Star’s studio work. The heavy bass gives the songs a restrained urgency while Dunne’s knack for catchy melodies often stands in contrast with the deepness of the lyrics. Put it all together and you’ve got one of the great pop albums of 2023.
Today Is Mine, Carter Sampson (from the Horton Records release Gold)
Oklahoma’s Carter Sampson sure knows how to tell a story. The songs on Gold, her latest release, are filled with vivid characters and rich emotional perspectives. They reverberate with an overall sense of longing, a desire to find one’s place in the world while balancing dreams with reality.
The title track is an empowering ode to survival. “I’ve been working twice as hard as everybody else, I was running so fast I out ran myself,” she states before morphing her tone, “just trying to be heard stand out from the crowd, see what comes out of me when I’m turned up loud.”
“Home” is ostensibly the tale of a songwriter driving a hard and long road in pursuit of success but speaks to the need to find a sense of grounding and peace in one’s life. The topic continues with even more determination on “Can’t Stop Me Now”. Sampson reflects on countless bar room gigs but declares:
I traveled those miles and I’ve sang those songs
I never cut the line I paid my dues
You can’t stop me now
I’m gonna do what I’m gonna do
“Today Is Mine” is a wonderful acoustic ballad about savoring a moment of quiet contentment for one’s self and sanity. “Today is mine, you couldn’t take it if you tried,” she sings, “I’m gonna turn off my phone and cut the internet line.”
The genteel, piano laden closer “There’s Always Next Year” brings things full circle with another acknowledgement that things haven’t gone according to plan or desire, but with a reminder that things could change in the future.
I didn’t do great
I did the best that I could
I didn’t win when we thought we would
I played with heart and fought with no fear
Hallelujah there’s always next year
Hellelujah, indeed.
Daughter, Ellie Turner (from the self-released When the Trouble’s All Done)
Nashville by way of Dallas Ellie Turner is a welcome new voice in folk and Americana. Her new album is a quiet beauty, filled with genteel yet emotional folk songs.
Dealing with heartbreak is a recurring theme on When the Trouble’s All Done. Album opener “One More Day” is deceivingly upbeat as the singer laments a broken relationship. “Just one more day until tomorrow One more day you’re on my mind Just one more day, pack up my sorrow, give me one more day behind.”
“Daughter”, in which Turner reflects on a past love, is a particularly potent take on the subject. While Turner keeps it ambiguous on who ended the relationship, the song aches with nostalgia and loss.
“Holyoke”, inspired by a drive through rural Western Massachusetts, offers up more ruminations on lost love. “I’m tangled up in moments of a soon forgotten past, in a bed of shattered memories of a love gone by too fast,” she sings. The evocative “A Little Farther Down the Line” finds the singer trying to move on from a relationship. “You got me tangled up in memories of a soon forgotten past,” she admits, “I’m walking through the valley through the shadow that you cast.”
While much of When the Trouble’s All Done is brooding and reflective, Turner closes the album with hopeful expectation via the gentle waltz of the album’s title track. “We’ll sing of the good years and wait on that sun,” she shares, “’cause soon it’ll be here when the trouble’s all done”. On this song, as with the others, Turner’s breathy vocals infuse raw emotion that is captivating.
Monday Night, West Texas Exiles (from the self-released Volume 1)
The West Texas Exiles are the next in a wonderful line of independent songwriters who band together to prove that the sum can be greater than the parts. The group consists of singer-songwriters Marco Gutierrez, Daniel Davis, and Colin Gilmore, backed by the killer rhythm section of bassist Eric Harrison and drummer Trinidad Leal. As one would expect, each songwriter brings their own personality to the group, from the bluesgrass flair of Gutierrez’s “Sweet L.A.” to the Texas groove of Davis’ “Hotel Tomorrow”.
“Monday Night” is a particularly fun and freewheeling ode to going to a bar on said night. “No one’s out on weeknights anymore,” laments Gutierrez before confessing, “that’s alright, tonight feels lucky, all the empty seats are my favorite company”.
“West Texas Exile” – arguably the band’s theme song, has a great rollicking swagger. “You can call me the West Texas exile, call it the final retreat,” they sing in harmony, “well I’m out here out here trying to outrun my fate, but I still have my boots on my feet.”
If this debut EP is a taste of what’s to come, count me among those waiting with eager anticipation…
Light Ahead, Darling West (from the Jansen Records release Cosmos)
Norway’s Darling West lean into some glossy and dreamy pop on their latest release. The core, however, remains the same: catchy melodies and soaring harmonies. What impresses me most, however, is the album’s theatrical charm. Simply put, these songs beg to be turned into a musical.
Opener “Comsos” is, pardon the pun, somewhat ethereal. The song speaks to the natural beauty of the world and compares it to the euphoric moments of artistic creativity.
When all the stars strangely align
When cosmos draws me its design
Like that moment when you finally find the missing rhyme
Or feel a perfect bassline
From there the group shifts into “Light Ahead”, a song that is both lyrically and musically uplifting. A somewhat funky opening builds to an exhilarating chorus of the kind that can easily be found on a Broadway stage. “On your darkest day, there is light ahead,” they sing.
“Oh Love” has a similar effervescence. Despite its musical joyousness, however, the lyrics tell a different story. A close listen to the lyrics finds the singer anchorless and miserable, struggling to find the self-love to turn things around.
The group gets adventurous on “Old Man”, a song brooding with theatrical overtones. Strings add tremendous texture to the already rich storytelling of the lyrics.
They close the album with “Echoes”, a beautiful ode to the duality of life as a musician – the enjoyment of the road contrasted with the longing for home. Singer Mari Kreken, joined by Nashville’s Michaela Anne on harmonies, sings:
Out on the open road
I dream of coming back
My journey might sound tempting
But it’s hard to stay on track
There is a certain calm
In never standing still
A promise might be broken
But our bond, it never will
Set Down Fo I Fall Down, Howard Bomar (from the Sundazed Music release I, Who Have Nothing)
Music is a tough, tough business. For every talent that we’ve all come to know, there are so many more that toil in relative obscurity. Soul/R&B singer Howard Bomar is one such artist.
But now, many years after Bomar began his musical journey, his musical output has been packaged together in a glorious and soulful collection that will hopefully bring some of the recognition that has previously alluded him. The songs not only span his career but also offer up a survey of soul music in the second half of the 20th century.
Its finest moments hearken back to the 1960’s, ballads and rave-ups that fit perfectly alongside those of Otis Redding, Sam & Dave, James Brown, and even Booker T. and the MGs. Songs like the fiesty opener “Set Down Fo I Fall Down”, the impassioned ballad “Best of Luck to You”, and the dancing groove of “I’m Gonna Love You” are wonderful reminders of soul music’s glorious early days.
As the album progresses, the songs take on some of the slickness that marked the 1970’s and 1980’s. Examples of Bomar’s work in this era include his take on Prince’s “Purple Rain” and synth-laden ballad “Crazy Bout You Baby”.
Regardless of the era, Bomar’s voice shines throughout I, Who Have Nothing. it is a welcome reminder that there is – and always has been – tremendous talent all around us.
Damn the word, The Hackles (from the Jealous Butcher Records release What a beautiful thing I have made)
We don’t hear a lot about bands born of the pandemic but they’re no doubt out there. The Hackles are such a band. Neighbors Kati Claborn and Luke Ydstie of Blind Pilot and Halli Anderson of River Whyless/Horse Feathers filled their time writing, playing, and recording what became What a beautiful thing I have made. Not surprising for the times, it’s an album of discontent with occasional glimmers of optimism, or at least the possibility of change.
“Damn the word” wrestles with communication, more specifically the fear of being misunderstood. The first verse is about the words left unsaid; the second is about the ones that shouldn’t have been spoken.
The quiet title track describes a fictional meeting between a musician and a farmer. They debate the pains and virtues of their respective callings before ultimately reaching a draw, deciding, “find a reason and cling to it tight, anything that lets you sleep through the night.”
“Steve” is a song of discouragement, the song’s protagonist proclaiming “it makes no sense at all and if it does, I don’t like it”. The group continue the theme, albeit with a more optimistic outlook on “First Time for Everything”. “I’d hold my breath for things to change but I’m already blue,” they sing before adding “but there’s a first time for everything”.
The group’s juxtaposition of weighty and contemplative lyrics against warm and inviting melodies is extremely rewarding. The instrumentation is restrained and centered around acoustic guitar, but with a palette that brings in piano and clarinet for added depth and character. Then, of course, there are the group’s harmonies that give What a beautiful thing I have made an alluring charm.
Feather in a Hurricane, Michelle Malone (from the SBS Records release Fan Favorites Unplugged, Volume 1)
Michelle Malone’s latest was born of the pandemic. Like many artists, Malone was forced off the road and on to streaming platforms for acoustic shows. The experience – and fan feedback – led Malone back into the studio to record stripped down versions of songs from her vast catalog. The results are a welcome reminder of the depth of her talent as a singer, songwriter, and guitarist. Songs like “Debris” and “Strength for Two” are restrained but pack an emotion punch while “Love Yourself” and “When I Grow Up” have a captivating groove, Southern style. Here’s hoping that by calling this release “Volume One” that there will be a volume two on the horizon.
All Lies, Logan Springer & the Wonderfully Wild (from the self-released Crow)
There’s not much happiness in Logan Springer & the Wonderfully Wild’s latest album. That’s ok, though – sometimes you just want the cathartic release of some bristling rock and roll. And that’s what Springer and company deliver.
Although the group hails from Iowa, you’ll hear plenty of Southern rock in their sound. “Can’t Complain” wonderfully channels the Allman Brothers while “Crow” sounds like a revved up Black Crowes. Whether lambasting politicians as they do in album opener “All Lies” or plotting a bank heist to escape economic hardship (“Greenbacks and Gold”) or just fighting to survive (“The Rough”), there’s an electric guitar-fueled intensity to the group’s songs.
Which isn’t to say that there aren’t some moments of quiet and restraint. “Through the Blinds” finds the singer nursing heartache and a hangover but starting to feel like he’ll recover from both. Springer and the Wonderfully Wild close the album with the winsome banjo-laced ballad “Ballin’ the Jack”, commandeering the old railroad term to ask “If life’s so long, why’s it over so fast.”
Sunset Garage, Sun Room (from the self-released Outta Their Minds)
Sure, the Beach Boys got their start in a garage. But imagine if they stayed there – they’d probably sound like Southern California’s Sun Room. The group’s latest EP crackles with the grittiness that one would expect to emanate from the garage but with sugared melodies and harmonies that are a Beach Boys hallmark.
About the author: Mild-mannered corporate executive by day, excitable Twangville denizen by night.