Rina: “Rina” (2020) CD Review

Rina Yamazaki is a pianist and composer born in Japan, and currently based in New York. Her self-titled debut full-length release contains all original material, composed by Rina. Rina is already an accomplished pianist, with several awards and nominations to her name. She studied with renowned pianist Makoto Ozone, who produced this album. Joining Rina on this album are Yasushi Nakamura on bass and Jerome Jennings on drums.

The album opens with “Tale Of Small Wishes,” which begins like a dream, or like the memory of a dream, a dream from childhood, a fantasy, a dancing thought that surfaces, emerging from the back of the mind, then growing in power and stature. This is a delightful solo piano piece. Then Yasushi Nakamura and Jerome Jennings join her on “Shadows Of The Mind.” This piece goes through several different sections, as our thoughts do as we are confronted with various obstacles and challenges throughout our day. I particularly like that fast-paced, relentless bass line in the middle of the piece. There is also a cool lead on bass following that section. This becomes a lively track that moves with a city pulse, an east coast pulse. Then “Journey” certainly starts out pleasantly, with an eager eye and a light step, a sense of wonder, and one of appreciation too. Soon this track takes us to a cool place, about a minute in, led by the bass, and it’s like there is a confidence now that we can handle whatever we may encounter on the way, that nothing will be too tough. There is also some expressive drum work on this track, including a few brief solos. Ah, if only the journey of all our lives could sound like this.

There is a sweet and gentle and loving tone to “With You, Always” from the start. It will likely make you think of the people that mean the most to you. And while it is sweet and gentle, these musicians also keep it interesting. I really like that lead on bass. That’s followed by “Foxglove,” a fun track with a Latin vibe and a delicious sense of movement. This one had me smiling pretty quickly, in part because of Jerome Jennings’ work on drums. This track is named after the flower, though truth be told, the first thing I thought of when I saw the title was a big fox fur mitten. While listening, however, I thought of neither of those things, and instead imagined a complex and erotic dance, the participants all with their own desires and designs, coming together and separating and coming together again. Then “Eternal Eyes” is a beautiful piece that feels both romantic and sad, a combination of memory and the present. Ah, don’t we all feel a touch of melancholy when we compare such things? The piano and bass sound like a duet, like two people revisiting the past with slightly different thoughts on it, slightly different emphases, but together nonetheless. This piece becomes even more beautiful and moving toward the end, the way it swells and breathes. This track ends up being my personal favorite.

“J.J.’s Painting” is a delight from its opening, with the focus on the percussion. Jerome Jennings uses brushes; thus, the title. There is a light, playful quality, particularly to Rina’s piano work. And then in the second half, things begin to really move, to fly, and we are just happy to be along for the ride. That’s followed by “Run And Rise.” At the beginning, it feels like someone preparing to accomplish some wonderful feat. And it isn’t long before things are cooking. This track includes a good drum solo just before the end. This album began with a solo piano piece, and it concludes with a piano solo piece, this one a beautiful, gentle, warm and encouraging track titled “Hope.” What better way to leave us?

CD Track List

1. Tale Of Small Wishes
2. Shadows Of The Mind
3. Journey
4. With You, Always
5. Foxglove
6. Eternal Eyes
7. J.J.’s Painting
8. Run And Rise
9. Hope

Rina was released on May 15, 2020.

Ted Russell Kamp: “Solitaire” (2021) CD Review

A new release from Ted Russell Kamp always me happy. I’ve definitely come to rely on him to provide some well-crafted, meaningful and engaging songs, songs that speak to us on that human level that is both intimate and universal. His new album, Solitaire, was recorded mostly at his home during the pandemic, and mostly alone. Thus, the title, which of course is a perfect title for these strange days of isolation. And certainly Ted Russell Kamp can create an album with a full sound all on his own, for he plays bass, acoustic guitar, electric guitar, dobro, dulcimer, mandolin, banjo, organ, accordion, drums and percussion, in addition to providing the vocals. He also wrote or co-wrote all the material. Yet he does get some help from other musicians and singers on various tracks, the collaboration accomplished remotely and safely. This album follows 2020’s Down In The Den.

Solitaire opens with “My Girl Now,” a song with a bright sound and positive vibes, which I imagine most of us are looking for. It’s a love song for those of us who have a bit of age and some experience. I can’t help but think of my girlfriend when I hear lines like “Can’t imagine if I never got your number/If we let the past get in the way/‘Cause if we never took the chance to save each other/Can’t imagine where we’d both be today.” This song seems to look forward to a wonderful future. It’s followed by “Path Of Least Resistance,” one of those beautiful folks songs that offer a shoulder and a friendly ear, as well as a friendly voice. “You keep one eye on the rearview and the other on the road/Sometimes the path of least resistance is the only way to go.” It is a song of perseverance. Then “You Can Go To Hell, I’m Going To Texas” has a spirited, full band country sound. And indeed, Ted Russell Kamp gets some help on this track from Jim Doyle on drums, John Schreffler on pedal steel, and Vanessa Olivarez on vocals. “You can call me crazy, you can say I’m reckless/But you can go to hell, I’m going to Texas/I’m going to say it one more time, so I know you won’t forget this/You can go to hell, I’m going to Texas.” And of course that title is catchy and memorable.

“Birds That Sing At Dawn” has a gentle, pretty sound, and some damn fine, serious lyrics about a love that is gone. Lines like “And the quilt her mama made us, it don’t bring me comfort now” and “But there ain’t no laughter now because she’s gone” stand out. And yet there is some hope in this song, for it is about waiting for the birds at dawn, waiting for the new day, and whatever that might bring. “So I’ll sit here drinking whisky/And listen for the birds that sing at dawn.” Well, that describes perfectly how a lot of us have been coping lately, right? That’s followed by “As Far As The Eye Can See.” Though Ted Russell Kamp plays a pretty wide variety of instruments, it is the bass he is probably best known for. He plays bass for Shooter Jennings, and when he sits in with other musicians, it is often on bass. And on his 2015 release, The Low And Lonesome Sound, the bass is the main instrument accompanying his voice. On this song too, the bass is the main instrument. There is also some prominent finger snapping. He is joined on vocals by Matt Szlachetka, who also co-wrote the song. “If I could feel your every sorrow/If I could know your every fear/I’d comfort you through each tomorrow/And I would hold you oh so near.”

Mark Mackay joins Ted Russell Kamp on electric guitar and vocals for “The Hardest Road To Find,” a song they wrote together. This song has a sweet, easygoing sound, the guitar work reminding me of some 1970s folk music. This song lets us know we are not alone in our struggles, even if our personal troubles are not those of the character of this song. We can probably all relate, to some extent, to these lines: “What I miss the most is the piece of me I left behind/The way back home is the hardest road to find.” Who hasn’t changed and lost something of himself or herself along the way? That’s followed by the album’s title track, “Solitaire,” and fittingly, there are no guests on this track. This one is vocals and guitar. “Been fighting with the feeling like I’m alone inside a maze/Don’t know what’s in the cards, but I’ve been circling around for days/Well, I could try to start again, but it won’t get me anywhere/Either way, the game I play is solitaire.” In subsequent verses, we learn that he is not alone in feeling alone. Then Shane Alexander and John Schreffler join Ted Russell Kamp on vocals for “Western Wind,” bringing us together again. Shane Alexander also co-wrote this song with Ted Russell Kamp. “Won’t you carry me away/To another day/Make my journey safe/That I may see the world.” Ah yes, that sounds so good. And toward the end there is a section that is delivered a cappella.

Ted Russell Kamp gets bluesy with “Be Your Man,” a song that he wrote with Tony Scalzo, and one that has a cool, kind of sexy vibe. There is always something sexy in those promises of what you’ll do for your woman, when she makes you feel you can do and be whatever she needs. “I’ll be everything you want if you say I can/I’ll be anything you need if I could be your man, that’s right/I’ll be your high-beam headlights to help you find your way/I’ll be a full tank of gas when you want to drive all day.” Then “A Rose Or Two” reaches out to those of us listening, offering this bit of advice: “We waste so much time doing what we need/You gotta make time for what you love/A life without a dream ain’t nothing at all/So hold on to what you’re dreaming of.” And check out this line: “The things I thought I needed cost me what I love most.” What a strong and excellent line. This is a seize-the-day type of song, that message being one we could all stand to hear more often, I bet.

On “The Spark,” Jim Doyle is on drums, and John Schreffler is on pedal steel. Brian Whelan joins Ted Russell Kamp on vocals. This track has a steady rhythm, and something of a haunting sound, for a man who himself seems haunted. “My lover’s sleeping next to me, my head is filled with fear/And my gas tank is empty, and I’m running out of luck/I’m tired of living without passion, just working for a buck.” That’s followed by “Only A Broken Heart,” which features a groovy, catchy bass line and finger snaps, a track ready to raise our spirits, telling us “It’s no use trying to understand what’s in somebody’s heart/If you were me, you just might see you’re tearing me apart/No more looking back, no more wearing black/‘Cause I know it’s only a broken heart.” Ed Jurdi then joins him on slide guitar and vocals for “Exception To The Rule,” a gentle, tender song. I like that instrumental section in the second half. “Who play among the stars and sail above the oceans/The wind might blow, but it won’t stop us, no.” The album concludes with a lively, rowdier, fun number, “Lightning Strikes Twice,” a catchy song with a bluegrass vibe (I could totally see Yonder Mountain String Band covering this one). Don Gallardo co-wrote this one, and joins Ted Russell Kamp on vocals. “You can put your money in on a card that just won’t win/But a bluff is just a dream in disguise/Well, I’m gonna stand my ground, let the rain pour down/Because lightning’s striking twice.”

CD Track List

1. My Girl Now
2. Path Of Least Resistance
3. You Can Go To Hell, I’m Going To Texas
4. Birds That Sing At Dawn
5. As Far As The Eye Can See
6. The Hardest Road To Find
7. Solitaire
8. Western Wind
9. Be Your Man
10. A Rose Or Two
11. The Spark
12. Only A Broken Heart
13. Exception To The Rule
14. Lightning Strikes Twice
    

Solitaire is scheduled to be released on May 7, 2021.

Jon Klages: “Fabulous Twilight” (2021) CD Review

Known for his work in The Individuals, Jon Klages is a singer and guitarist and songwriter who travels freely among different musical realms, using elements from pop, soul, blues, jazz and rock to create his own sound that is simultaneously classic and fresh. His new album, Fabulous Twilight, features all original material, written or co-written by Jon Klages. Joining him on this release are Neil Larsen (whom many of us saw play with Leonard Cohen during those final years) on keyboards, Davey Faragher on bass, and Pete Thomas on drums. (You probably know both Faragher and Thomas from Elvis Costello And The Imposters.) He gets some help on vocals from Arnold McCuller (who has toured with Bonnie Raitt and James Taylor) and the Honey Whiskey Trio, made up of Courtney Gasque Politano, Ann Louise Jeffries Thaiss and Christina Wilson. So, yes, a seriously talented and accomplished group of musicians performs on these tracks.

The album opens with “Best That We Can,” a smooth, soulful number with a strong beat and a really nice lead on guitar in the second half. Here he expresses a sweet longing in the opening lines: “All the days that have passed since I last held you near/And all the ways that I miss your touch, wish that you were here.” That’s followed by “Rosalie,” which also has a kind of smooth sound and vibe. But the lyrics are what pull me in. Check out these lines: “Would you look in my eyes/And tell me that you see/The same sadness you fought to keep from me/So much older now/If only I had taken the time to ask about the dreams you had/But cast aside/What else did you hide, Rosalie?” Those are some excellent lines. And that brief vocal play in the second half makes me think of the Beach Boys. Wonderful. There is also another interesting guitar lead.

“The Fabulous Twilights” is not quite a title track, but close enough. The title comes from Nathaniel Mayer’s early 1960s group, and the song looks back at the time, both in the lyrics and its sound, the backing vocals here sounding like the doo-wop groups that dominated the era, and the lyrics making reference to that band’s song “Village Of Love.” This track features a beautiful vocal performance, and I absolutely love that work on keyboards. We then get a cool instrumental track titled “Too Cool For Spy School.” And, yeah, there is a spy movie vibe here. You might think of James Bond more than once as you listen, the music being inspired partly by the work of composer John Barry. That’s followed by another cool track, “Long-Tailed Cat,” this one co-written by David St. John. I love the backing vocals, particularly when they deliver observations like “It’s a little peculiar.” And of course that stuff on keys delights me. Then “Red-Dirt Country” is a bluesy, mellow number. Check out these lines: “The sky lost control/Thunder so loud it hurt.” What a great line, “The sky lost control.” This album has many striking, memorable lines.

Things get funky with “Kazoos Are People Too,” which is an instrumental track until near the end, when there is a playful conversation with the kazoo, which clearly wishes to join the band. That is Jon Klages on kazoo. By the way, I checked, and no, kazoos are not people; at least, not yet. That’s followed by “God Bless The Columbia House Records Club,” a song about a childhood love of music and records, something I suspect that anyone reading this will be able to appreciate. We all remember those ads that read, “Ten albums for only a penny.” Who among us didn’t jump at that opportunity at least once? There is some humor in the delivery of this song, particularly as he recounts the specific records he ordered, including “Bob Dylan: ‘Blonde On Blonde,’ that one counted as two.” Then in the chorus he sings, “God bless the Columbia House Record Club/Even though it led us down the road to ruin/God bless the Columbia House Record Club/We were kids, we didn’t know what we were doin’.”  And he of course is singing from the perspective of an adult who now has crates of records, something else we can all relate to. This is one of my favorite tracks.

“Remains” is an unusual song that quickly started to grow on me, in part because of lines like “Two bodies touch in a driving rain/What was lost, what remains” and “Secrets and sins we tried to hide/Chain the lover to the bride,” and also that cool vocal delivery. This one was co-written by David St. John. That’s followed by “1133 Ave. Of The Americas (For Enoch Light),” a strangely soothing and pretty number with vocals, but no lyrics (at least until the end, when he repeats “Kites are fun”). The album concludes with a short track titled “Goin’ Home,” on which Jon Klages plays piano. Songs about going home are always appealing, aren’t they? “When I get to the end of my day/A little tired, but I’m okay/There’s one thing that I know/I’m goin’ home.”

CD Track List

1. Best That We Can
2. Rosalie
3. The Fabulous Twilights
4. Too Cool For Spy School
5. Long-Tailed Cat
6. Red-Dirt Country
7. Kazoos Are People Too
8. God Bless The Columbia House Record Club
9. Remains
10. 1133 Ave. Of The Americas (For Enoch Light)
    
11. Goin’ Home

Fabulous Twilight is scheduled to be released on April 1, 2021.

Brief Notes On New Jazz Releases

In these crazy times when we need to be coming together to heal the nation and put an end to racism and gun violence, the Republican Party continues to favor voter suppression and death. Are they criminally insane or what? While they continue to divide and infuriate us, musicians continue to inspire and unite us. Here are some notes on a few new jazz releases you might be interested in.

Eric Goletz: “Into The Night…” – I love when an album pulls me in right from the beginning of its opening track, and this disc did just that. As the first track begins, there is some sexy, kind of moody work on trombone, leading me to think it’s going in a certain direction, and then the other musicians come in and things are suddenly funky and groovy and bright, a delightful surprise. There is a delicious, though brief, percussion section toward the end, but what really stands out is that excellent and energetic work from Eric Goletz on trombone. That tune, “Say What?,” is an original composition, as are most of the tracks on this album. It is followed by one of only three covers, John Coltrane’s “Mr. PC,” which begins with a cool bass line and just takes off from there, and features some really nice work on piano. “Into The Night,” the disc’s title track, is an exciting piece, commanding our attention with its intriguing opening, then developing a funky rhythm, feeling at times like the theme music to some cool crime film from decades past, and then going in some wild directions before surprising us with a mellower, more introspective section. As for the album’s other two covers, Eric Goletz delivers an exciting and unusual take on Cole Porter’s “What Is This Thing Called Love” (here titled “What Is This Thing…”) that swings and moves, featuring some great percussion, and a tender rendition of The Rippingtons’ “Lullaby,” which closes out the disc. The band on this album is made up of Eric Goletz on trombone and keyboards, Henry Heinitsh on guitar, Mitch Schechter on piano, Mark Hagan on bass, Steve Johns on drums, and Joe Mowatt on percussion, with a horn section joining them on certain tracks. This album is scheduled to be released on April 2, 2021.

Hennessy Six With The Colorado Springs Youth Symphony: “The Road Less Traveled” – The new album from The Hennessy 6, this one with The Colorado Springs Youth Symphony, conducted by Gary Nicholson, features all original material composed by band members Sean Schafer Hennessy, Cully Joyce and Colin McAllister. The opening track, “Pneuma,” written by tenor sax and alto flute player Cully Joyce, begins with some beautiful, contemplative work by Brad Bietry on piano. After a couple of minutes, the other musicians come in, and the piece takes on a different flavor, becoming quite lively and exciting at moments. The liner notes contain some brief thoughts on each track, and regarding this piece, they tell us, “In ancient Greek medicine, pneuma is the form of circulating air necessary for the systemic functioning of vital organs,” which of course feels relevant these days. This track features the addition of vocals by Krista Joyce in certain sections, which feels pertinent and integral to the theme. Then “Haunted Eyes” commands our attention from its intriguing opening, and soon becomes a sexy, timeless, bluesy number, that basically oozes Cool. There is even an excellent bass solo by Jason Crowe in the second half. This one was composed by trumpet player Sean Schafer Hennessy, and is one of my personal favorites. Of course the bass also plays an important role in “Funky Winkerbean,” which, as its title promises, is a funky tune. That track also features some wonderful work by Colin McAlister on guitar. And hey, is that a little nod to the “Axel F” theme toward the end? And then the briefest of nods to theme of The Twilight Zone? That’s followed by a gorgeous love song, “O & D,” which features some wonderful work on both trumpet and alto flute. Then “Desert Fever” features some great work by Chris Gaona on drums. “Dos Mil Uno” is the only track on the album written by Colin McAllister, and it begins with some interesting work on guitar, and becomes a rather exciting number, one that feels alive and contains some surprising moments. I love that groove toward the end. The strings then open “Stacy’s Arabesque,” a rather sweet number, and play an important part in the overall vibe and style of the piece. The strings likewise begin the disc’s title track, which closes out the album. At its beginning, this one feels like standing on some high plateau, and seeing the whole world open before you, its beauty, its majesty. And then we start our journey, and the work begins, a groove is developed, and we are immersed in the process. This album was released on January 29, 2021.

Joseph Howell Quartet: “Live In Japan” – The music on this album was recorded back in May of 2018, without the aim of an official release, but rather as a way for the musicians to remember and revisit their time together. But fortunately for us, drummer Kenichi Nishio decided to have friends professionally mix the recording, which led to this release. The group is made up of Joseph Howell on clarinet, Keigo Hirakawa on piano, Kenji Shimada on bass, and Kenichi Nishio on drums. They open the album with a delightful rendition of Joe Henderson’s “Serenity,” with Keigo Hirakawa shining right away on piano. His lead both flows and hops, over that great, loose groove, and it seems he could carry on like this forever. But eventually he gives way to a lead by Joseph Howell on clarinet, which has a wonderfully playful quality, like a sprite or some other fanciful creature dancing in bright sunlight. The track then mellows a bit as Kenji Shimada begins his lead on bass. But there is a great cheer to his playing, which keeps the energy moving. “Serenity” is the first of three Joe Henderson compositions on the album. The other two are “Jinrikisha” and “Mamacita,” both from fairly early in the saxophonist’s career. “Jinrikisha,” in fact, is from his debut LP, Page One. The version here features some excellent work on piano, which moves with a wonderful sense of freedom. And then Joseph Howell’s lead ends up soaring and flying. “Mamacita” is an inherently fun number, and these guys do a great job with it, Kenji Shimada getting it going on bass. They get into the spirit of the music, cutting loose, and I particularly like Kenichi Nishio’s work on drums. This track has something of a playful ending. This group also delivers a version of Tadd Dameron and Count Basie’s “Good Bait” that should have you smiling before too long. The joy these musicians take in their craft is obvious. They wrap up the album with a tender, gentle, beautiful rendition of “My Foolish Heart” and a cool version of “Take The A Train” on which each of the musicians really shines. This album was released on February 11, 2021.

Zoe Scott: “Shades Of Love” – Vocalist Zoe Scott turns to bossa nova on her latest release, Shades Of Love. As you might expect, there is some Antonio Carlos Jobim material here. But there are also some surprising interpretations of pop songs. The album opens with Jobim’s “Quiet Nights,” this version featuring Daniel Jobim (Antonio Carlos Jobim’s grandson) on piano. Zoe Scott provides a wonderful vocal performance, somewhere between sweet and sultry, and is backed by strings. That’s followed by one of the album’s more surprising choices, a cover of The Pretenders’ “I’ll Stand By You,” a moving song from the band’s 1994 release Last Of The Independents, here delivered in a bossa nova style, which actually works quite well. And this is a song we need in these dark and depressing days. In the original, Chrissie Hynde sings, “I get angry too/Well, I’m a lot like you.” Here Zoe Scott changes the line to “I get angry too/‘Cause I’m alive like you,” which seems fitting these days. She also presents an easygoing, sweet version of “Baby It’s You,” which features some good work by Jesse Sadoc on flugelhorn, and a romantic, luscious rendition of Stevie Wonder’s “My Cherie Amour.” I also really like her take on The Beatles’ “In My Life,” which is one of my favorite Beatles songs. Of the Jobim material, Zoe Scott also delivers a really good rendition of “Wave” that features Daniel Jobim on vocals, as well as a gorgeous version of “Once I Loved.” And I love how she dips into her lower register when delivering the line “Because love is the saddest thing when it goes away.” The final Jobim song she presents here is “Triste,” and she does a wonderful job with it. The album then concludes with a totally cool rendition of Amy Winehouse’s “You Know I’m No Good.” This album was released on January 15, 2021, though made available digitally on October 2, 2020.

Lauren White And The Quinn Johnson Trio: “Ever Since The World Ended” – Yes, the title is part of what got me excited about this release. Because, honestly, doesn’t it feel like the world ended a while ago, and we’re just adrift on some of its broken pieces? I know a guy who believes the world ended at some point in the 1980s. Anyway, that wasn’t the only thing that got me interested in this album. I’ve been enjoying vocalist Lauren White’s output since I heard her 2015 release, Experiment. As with that album, here she performs with The Quinn Johnson Trio, which is made up of Quinn Johnson on piano, Trey Henry on bass, and Ray Brinker on drums. There are also some guests on certain tracks. The album opens with “If You Never Fall In Love With Me,” which she gets swinging and moving with her bright vocal performance. This track also features some really good work on bass, and an exciting lead on piano. “This little tragedy could turn into a rhapsody.” Ah yes, I think she can turn everything around with just the positive energy of her voice. That’s followed by an interesting rendition of “Just The Two Of Us” that features Kevin Winard joining the group on percussion. It seems to have hints of darkness at certain points, particularly in the verses, creating a greater contrast with the vibe of the chorus. And the title track is a total delight, a bluesy gem with a sense of humor, its first line being “Ever since the world ended, I don’t go out as much.” Understandable. This track is absolutely perfect for our time, and Lauren White is joined by Dolores Scozzesi on vocals, the two of them doing a fantastic job with it. It is my personal favorite of the album’s tracks. “It’s just as well the world ended/It wasn’t working anyway.” On “Remembering The Rain,” Lauren White is joined by Kevin Axt on bass, Alex Budman on flute, Grant Geissman on guitar, Chris Wabich on drums, and Kevin Winard on percussion. I particularly like Grant Geissman’s work on guitar on this track. Another of the disc’s highlights is “Take Love Easy,” in part because of Ray Brinker’s work on drums, but also because of Lauren White’s vocal approach. This album was released today, March 26, 2021.

Megan Lacy: “Salvation” (2021) CD Review

Megan Lacy is a singer and songwriter based in Austin, Texas. Salvation, her debut release, contains all original material that she wrote or co-wrote. The focus here is on her well-crafted lyrics, delivered with honesty and heart, sometimes betraying an endearing vulnerability. Joining her on this release are Christopher Cox on bass and keys, Aaron Parks on drums and percussion, Justin Douglas on pedal steel and dobro (Douglas also produced the album), and Jordan Burchill on guitar.

Salvation opens with its title track, a haunting and compelling song, as powerful in its pauses and breaths as in the delivery of its lyrics. And sometimes a simple line is incredibly effective, packing a punch, lines like “I know I could be better than I am” and “I welcome the dark.” There is also some nice, rather subdued percussion, striking even though restrained. “Salvation” was written by Megan Lacy and Gil Gaus. That’s followed by “Don’t Rest,” which begins with the beat, a sort of easygoing rhythm. Then Megan’s voice comes in, telling us “I lost it/It’s been missing so long/Oh, but the trouble is/I didn’t know it was gone.” And because she has not identified or specified what it is she speaks of, perhaps each of us thinks of a thing that we are missing, that we have lost, and so the song becomes personal for us almost immediately. And the lines about not resting even while asleep certainly ring true in these days of anxiety. Later she asks, “How troubled/Do I gotta be/To get some sympathy.” This is a beautiful song, and we hear her vulnerability in the lines “I’ve been lost/I’ve been had/I’ve been down/Shouldn’t I know something by now?”

“Carolina” was released as the EP’s first single. It is a song about leaving, about wanting to leave. Leave a person, a place, a situation. “If there’s a road, I’ll take it/I’ll drive miles away/I never told her anything/I couldn’t think of what to say/She won’t listen anyway.” There is a quiet, intimate beauty to this one, and it too includes some good percussion. That’s followed by “No Better.” In the EP’s first song, Megan Lacy sang “I know I could be better than I am,” and in this one she sings in the first line, “Baby, I could’ve done better.” Perhaps this album is providing her a chance to take stock, to look back with honesty and clarity, and to build a stronger present, even if at times she still feels powerless, apparent in lines like “Now I can see/The house always wins.” She delivers a beautiful and moving vocal performance, and this track is my personal favorite. The EP then concludes with “Watch This,” a song of battling personal demons. This one begins with percussion, which remains steady in the background, as if to provide some strength, some support as she opens up to us. “Watch this/I’m gonna get out/I’m gonna fly up/Somewhere above the clouds.” There is determination in her voice, and yet we also hear something on the edge of tears at moments. And so we wonder which way she’ll end up, though we expect she’ll hold it together and triumph in the end.

CD Track List

1. Salvation
2. Don’t Rest
3. Carolina
4. No Better
5. Watch This

Salvation was released on March 5, 2021.

James Holvay: “Sweet Soul Song” (2021) CD Review

In these uncertain days, there is an undeniable appeal in music that takes us to a different time. James Holvay’s new EP, Sweet Soul Song, with its classic, soulful sound, does just that. This release features all original material from the man who is best known for his songwriting. He wrote and co-wrote pop hits like “Kind Of A Drag,” “Don’t You Care” and “Hey Baby (They’re Playing Our Song),” all of which were recorded by The Buckinghams. Here he also demonstrates his talent on guitar. Joining James Holvay on this disc are James Manning on bass, Stu Pearlman on keys, Les Falconer on drums and backing vocals, James Graham on drums, and Cliff Curtis and Ron Douglas on backing vocals.

The EP opens with “Working On It,” which features a good rhythm and a nice guitar hook. In this song, he sings to a longtime romantic partner: “Girl, I know it ain’t been easy/Living with me for so long/And we’ve had our disagreements, baby/Some right, and some oh-so-wrong/You see, I was young and foolish/And I didn’t appreciate what I got/So I took your love for granted, baby.” And when he sings, “But now I’m older, baby/And I’ve learned from my mistakes,” we can hear the age and experience in his voice, and so we believe everything he has to say here, and we can’t help but silently urge the person he is addressing to give him that one more chance he’s asking for. We’re all working on it, aren’t we? Trying to be better people, especially for the ones we love, the ones who have stayed with us even during our darker days. There is a hopeful tone here, a positive vibe, making us feel that it is possible for all of us to improve ourselves.

The EP’s title track, “Sweet Soul Song,” is a tune that takes us to Chicago in the mid-1960s. It is a song of innocence and music, mentioning “Duke Of Earl” and Curtis Mayfield in its lyrics, and capturing the joys of a time that should never really be the past. “And we fell in love (fell in love)/As we danced ‘til dawn/And we fell in love (fell in love)/As the night played on/To a sweet soul song.” Those lyrics should apply to folks now as well as then (well, at least as soon as this pandemic is over). That’s followed by “Still The Fool,” which directly mentions the past in its opening lines: “Twenty years ago today I overheard you say/That you didn’t love me no more.” This is a mellower, pretty number with a string section arranged by Duane Benjamin. In this one, he tells us, “I’m still the fool/I’ll always be the fool.” He is not alone in feeling that way.

The joy is apparent right from the start of “Love Has Found A Way,” a song that James Holvay wrote with Gary Beisbier, who also co-wrote “Don’t You Care,” “Susan” and “Hey, Baby (They’re Playing Our Song).” This track has a great rhythm that seems designed to lift our spirits and get our bodies shaking. It is a delightful, optimistic, bright number, just the thing to keep us from dropping into despair. “Yes, love has come to rescue me/Ah, listen to me now/I’d been spending all my nights alone/My heart is mending because you’ve come back home.” James Holvay keeps those bright vibes alive with “Talkin’ About,” a love song which concludes the EP, one that includes hand claps. “She makes me feel just like a man/Accepts me for who I am/She doesn’t change my ways/Plan my days.” And how about these lines: “The girl’s got so much class/Never wants to spend my cash/She always pays the check/With no regret/And never brings up the past.” Those lines occur approximately halfway through the track, and after them, the song kind of kicks in. It is interesting, for before that, it has something of a relaxed, low-key vibe. And at that moment, the joy seems to grow and spread and become stronger leading to the end of the song. It is also interesting that that comes right after the words “the past,” for this whole EP is a revisiting of an earlier time, or at least a look back.

CD Track List

1. Working On It
2. Sweet Soul Song
3. Still The Fool
4. Love Has Found A Way
5. Talkin’ About

Sweet Soul Song is scheduled to be released on April 16, 2021.

Badfinger: “No Matter What – Revisiting The Hits” (2021) CD Review

Badfinger is a band that was championed by The Beatles, the first group to be signed to Apple Records, and with a sound similar to that of the Fab Four. In fact, Paul McCartney wrote one of the band’s early hits, and George Harrison produced some of their material. Members of Badfinger also played on several solo albums by Beatles members, including George Harrison’s All Things Must Pass and John Lennon’s Imagine. Badfinger might have stretched the connection a little too far when they wrote a song called “Love Me Do.” But no matter. Things were going really well for the band, and should have continued that way. But then the band’s manager cheated the members out of most of their money, and there were disputes over royalties, and two members ended up committing suicide. Certainly one of the more depressing stories in rock. But they left behind some excellent music. The surviving members have reunited at times, and Joey Molland has continued the band as Joey Molland’s Badfinger. Now that group is revisiting some of the biggest hits on the new album, No Matter What, getting help from special guests on each track.

The album opens with its title track, “No Matter What,” a song from the band’s 1970 LP No Dice. Here Badfinger is joined by Mark Stein (of Vanilla Fudge) on vocals and keyboards, delivering a good version, with just the right kind of energy, and including the hand claps and that brief pause toward the end. That’s followed by “Come And Get It,” which was written by Paul McCartney and included on Magic Christian Music. This is the song that first jumps to mind whenever Badfinger is mentioned. It is such a great song. “Did I hear you say that there must be a catch/Will you walk away from a fool and his money.” This version features Rick Wakeman (of Yes) on piano.  One of the most memorable and fun elements of the song is that addition of “Sonny!” after the “fool and his money” line. Don’t even try to tell me you don’t shout along with that one word whenever you hear this song. Carl Giammarese (of The Buckinghams) then joins Badfinger on guitar and vocals for “I Don’t Mind,” another track from No Dice, one you might not be as familiar with, but one that is more interesting. This is a mellower, cool tune written by Tom Evans and Joey Molland. And the more I listen to this disc, the more drawn I am to this track in particular.

“Day After Day” is a song that was produced by George Harrison, and it has always felt like a George Harrison song to me, though it was written by Pete Ham. This one was a big hit for the band, reaching #4 on the chart. The version on this disc features Ian Anderson (of Jethro Tull) on flute, Terry Reid on guitar and backing vocals, as well as the Manchester String Quartet. This track is one of the disc’s highlights, in large part because of Anderson’s presence on flute, which gives this version its own distinct sound. Rick Springfield then joins Badfinger on guitar and vocals for “Love Is Gonna Come At Last,” a song from a little later in the band’s career, originally appearing on the 1979 LP Airwaves, the first album released after the death of Pete Ham. It was written by Joey Molland. And though this song might be considered a little cheesier than the other material, this is a sweet rendition.

“Baby Blue” is another of the band’s most popular songs, this one coming from the 1971 LP Straight Up. This song is about a woman that Pete Ham dated, and she is directly named in the lyrics. Must be odd to have a popular song written about you. Anyway, Matthew Sweet joins Badfinger on guitar and backing vocals on this track, helping to make this another of the disc’s highlights. Edward Ka-Spel of The Legendary Pink Dots is on keyboards for a pretty rendition of “Midnight Caller,” a song from No Dice. This is another of the band’s more meaningful tracks. Check out these lines: “She’s got no saint to follow/She’s got no place to go/Too proud to ask an old friend for help/Too proud to let him know.” It was written by Pete Ham. “Suitcase” has more of a 1970s rock sound, and is from Straight Up. It was written by Joey Molland. For this rendition, Sonny Landreth offers some great work on slide guitar. Then Albert Lee joins Badfinger on guitar for “Sweet Tuesday Morning.” Interestingly, this song also follows “Suitcase” on Straight Up, and was also written by Joey Molland. It is another pretty track.

For a long time I assumed that Harry Nilsson had written “Without You.” After all, Nilsson was a phenomenal songwriter, and his version was a #1 hit. But no, it was written by Pete Ham and Tom Evans, and originally recorded by Badfinger, and included on the band’s No Dice album. It is an absolutely wonderful and heartbreaking song. “I can’t live/If living is without you/I can’t live/I can’t give anymore.” The song’s two writers, Ham and Evans, are the members of Badfinger who committed suicide. And apparently Evans’ suicide was brought on at least in part because of lack of royalties from this very song. On this version, Badfinger is joined by Todd Rundgren on guitar and vocals. Rundgren interestingly worked as a producer on the band’s Straight Up album. This is an excellent and moving rendition, and features some really good work on guitar.

CD Track List

1. No Matter What
2. Come And Get It
3. I Don’t Mind
4. Day After Day
5. Love Is Gonna Come At Last
6. Baby Blue
7. Midnight Caller
8. Suitcase
9. Sweet Tuesday Morning
10. Without You
    

No Matter What – Revisiting The Hits is scheduled to be released on March 26, 2021 on Cleopatra Records, and is going to be available on both CD and vinyl.