Favorite Albums from April 2019

OK, I think I like this format of posting what I've been listening to over the past month. So, we'll see how this goes.

There was a lot of good stuff to come out in April, but these three albums really stuck with me.

First up is Rod Melancon's Pinkville. It's at times manic, laid back, country, rock, punk and uncatergorizical (I may have made that word up). Melancon has a unique voice that one could either love or hate. A few times, there is more narrative telling than singing, but it works. The closest comp I can come up with is John Mellencamp deep tracks. Here is "Westgate":




I've been a Melissa Etheridge fan since her first self-titled album came out in 1988. Her latest release, The Medicine Show, may be my favorite since that debut. For this listener, this album seems to recapture the feel of her first two albums. It's not as raw as those first two, but for whatever reason, the edge is back.




The third album is the self-titled debut from Jade Bird. This was not even on my radar until my fellow blogger Megan clued me in. And I'm so glad she did. The 21-year-old singer/songwriter from the UK weaves together a perfect amalgam of country, roots rock, folk and young angst. Think of an Amanda Shires/Lucie Silvas/Alanis Morisette mashup. Yeah, it's diverse and interesting, if you're into that.

Album Spotlight: Bri Bagwell - In My Defense

First of all, full transparency. Bri Bagwell granted me a Q&A. I've met her a couple of times. We've had exchanges on the tweeter machine. I like her. You can accuse me of bias, and that would be fair. But I also thought when I started doing Q&A's I would not write about an artists music after because of perceived bias. I've changed my stance.

In My Defense, Bagwell's latest album, is too good not to write about. She's got hooks. And more hooks.y

It's a country album from start to finish with tinges of Southern Rock sprinkled in, but it's mostly country from instrumentation to style.

It's an album that is personal and cohesive from start to finish. I know, you've heard it all before "this is my most personal album ever." In this case, it seems legitimate. Bri told me in an email that she wrote a party song, which she said she performs live, but it didn't fit the album.

That's what I mean by cohesive. How many times have you listened to an album and wondered why the hell this song was included? There's none of that here.

I usually focus on sound here, leaving the listener to interpret the lyrics in their own, however I will expound on one song this time. "Cheat On Me" is a song most people can relate to at some point in their lives. Bagwell does an excellent job of telling it from a female perspective, but it's very relatable for the dudes in the audience. I've been there.

Go buy the album. Stream it. See her live. You won't be disappointed.

A live version of my favorite song. Even with technical difficulties and bad camera work, it's good.

Album Spotlight: Jessica Meuse - Halfhearted

I've been sitting on this for a while. Why? Because, for the most part, it's a lot of the same song, thematically, over and over. And it's 15 songs long.

The theme? I'm better off without you since you treated me like garbage. The length? Nine to 11 is the sweet spot for me as far as album length, but since this was four years in the making...

I could easily dismiss Jessica Meuse's debut album Halfhearted on either of the aforementioned premises. But here's the thing: The songs are so damned good musically.

Halfhearted definitely leans Country. But not in the way one would expect. There are songs that would comfortably fit into the modern definition of Country Radio (though she has no chance, because she's a "she"). Then there are the songs that would nestle nicely into late 70s/early 80s country. That and the Southern Rock influence.

Jessica's voice is not soaring vocal gymnastics ala Carrie Underwood, but it suits the songs. Much like Stevie Nicks.

Probably not the best way to introduce an album that I really, really like. But despite what I said above, Jessica Meuse has put together a great album.

Halfhearted is diverse (and regular readers know how I love diversity), And here is the thing, I'm an album guy, and this album, you can put it on and listen to it start to finish and be satisfied. Does that sound like a ringing endorsement? Nope. But it is.

I like the album. Here are some songs. Judge for yourself.

Album Spotlight: Kate Vargas - For The Wolfish and Wandering

Kate Vargas doesn't follow any of your silly rules or conventions.

Song structure? Screw that, let the song go where the song goes. Don't clean up the string noise. Leave in the imperfections. Let the songs speak for themselves.

For The Wolfish & Wandering is a masterpiece of imperfections and genius. And we haven't even gotten to the voice. That voice.

Kate Vargas has one of the most unique voices in music today. Combine the voice with the weird, trippy songs and just enjoy.

I could write 500 words on each song, but that would be going too deep in the weeds.

Kate Vargas cannot be placed in any genre, except maybe the genre of good music. She is weird, trippy, spooky, elegant, beautiful, raw, real and current.

Here is the vid for "Affliction". Enjoy

Album Spotlight: Amanda Shires - To the Sunset

Amanda Shires put out a damned rock album. Deal with it because To the Sunset is great.

I could go into details here, but I have something in the works. A collaboration.

Here is what I'll say now because I've heard some rumblings that producer Dave Cobb has gone outside his box to produce a rock album. Cobb produced the last two Europe albums (yes, "The Final Countdown" Europe), and he has also produced Southern rockers Whiskey Myers.

Amanda Shires, rock goddess. In the realm of Janis Joplin, Joan Jett, Stevie Nicks and Grace Slick.

Here's a vid:

Album Spotlight: The Amorettes - Born to Break

We all listen to music for different reasons at different times because of different circumstances or moods. Maybe something takes you back to a distant memory that you don't want to forget. Maybe a song or album is something you really relate to and helps you get through a difficult time. Maybe the lyrics speak to you and make you think. Maybe it's a gloomy February day and some mood music is what you need. Maybe it's a sunny spring day and you want something light and peppy. Music can inspire, music can heal, music can fit any situation you find yourself in. That is the beauty and power and magic of music.

Why did I waste so many words on that? Because sometimes music just needs to be fun. And enjoyable.

The Amorettes' latest album Born to Break is fun. It's, to me, AC/DC meets the Go-Go's. That sounds fun, right?

This Scottish trio is unapologetically rock. And they tug at my heartstrings because they do it late 70s/early 80s style. Guitar, bass and drums. No frills. Straight up hard rock.

Don't look for any deep meaning in the lyrics. As Eric Church once penned "that's damn rock n roll".

There is not much variety on Born to Break. It's twelve in your face songs rock songs. That's not a bad thing. AC/DC made a hell of a career out of doing just that. I respect artists who know who they are/want to be and just go for it.

And, just a head's up, with newish bands like the Amorettes making killer rock music, rock ain't dead in reality, it's just dead on mainstream American radio. It's alive and well and flourishing elsewhere.

Enough words, here is "Everything I Learned - I Learned From Rock and Roll":

Album Spotlight: Ashley McBryde - Girl Going Nowhere

Ashley McBryde's latest album Girl Going Nowhere has a lot to like. There is some straight up country, some Americana (however the hell you want to define that), some heartland rock (mid 80s style) and some swamp.

The lyrics on the album are chock full of personal stories, imagery, and nostalgia. Lyrics are for each listener to interpret for themself, which is why I rarely go in depth on that front. For me, the lyrics are irrelevant until the music grabs me.

Speaking of the music, Girl Going Nowhere is a collection of 11 very well crafted songs, both instrumentally and lyrically. "Radioland" is a fun. nostalgic, John Mellencamp-type heartland rocker. "Southern Babylon" is dark and swampy and something I'm sure prime Tanya Tucker would have been eager to record. If I did "Song of the Year" type stuff, this song would be the early frontrunner.

There is a cool Tom Petty vibe on "The Jacket", which is another nostalgia song. I don't know, but I hope "Livin' Next To Leroy" is based on a true story, even if not McBryde personally. This song is also the closest McBryde comes to Southern rock. Especially that guitar solo, which I'll get back to later.

"A Little Dive Bar in Dahlonega" is simply a great country song. As is "Tired of Being Happy", which has the added bonus of a great play on words. Self-deprecating and clever lyrics.

The songs and songwriting on this album are exquisite. I need to see Ashley McBryde live, because I think all the songs would pop. My thing on this blog is to promote stuff I like, so you won't see very much criticism here, but there is one element on this album that warrants it.

While I appreciate that the vocals are up in the mix (I hate when I can't understand the vocals), the instrumentation is buried on this album. That solo on "Livin' Next To Leroy" should have been brought way up in the mix. And that's not the only one.

I don't know who in the camp was scared, but someone was and it hurts the album as a listening experience. Fortunately, the quality of the songs overcome the poor mixing judgement.

Anyway, here is my favorite song:

Album Spotlight: Blackberry Smoke - Find a Light

There are going to be a lot of words written about Blackberry Smoke's new album Find a Light. I'm going to save some bandwidth.

If you're a fan of Blackberry Smoke, you'll be pleased. If you've never heard Blackberry Smoke and you like Southern Rock, you'll be pleased. If you don't like Southern Rock, skip.

It's really that simple. Go buy the album, download or pay for your streaming.

So here's some pirate metal from Alestorm:

Album Spotlight: Danielle Nicole - Cry No More

Danielle Nicole's sophomore solo album Cry No More is a sweaty, sultry blues rock album that is the epitome of my definition of "swamp". The Kansas City native would be right at home in the blues scene of her hometown as well as as the Mississippi Delta, or Memphis, or Texas.

Pulling double duty as not only lead vocalist but also bassist for her band, you know the music is going to feature the bass prominently, and that's a good thing. Too often, the bass gets buried in the mix, not here.

Danielle Nicole started playing bass in order to keep her former band, Trampled Under Foot, a family affair. When she ventured out on her own, no way she was giving up the bass, for the betterment of us all as fans of music.

Is there anything particularly innovative or unique on Cry No More? Not necessarily. But that's not a bad thing. There is absolutely nothing wrong with knowing your wheelhouse and going with it and making kickass music. In fact, that's what I love about the album. It knows what it is and it's going to be as good as or better than anything else you hear.

Her voice is not going to blow you away. It has some Bonnie Raitt qualities, maybe some Melissa Etheridge. However, her voice is perfect for the type of music she plays. It just fits like a glove.

If you start listening and don't like the first song, "Crawl", then stop. But if you do, you're in for a treat. Not a bad song on the album.

I'm going to post a live version of the song "Save Me", because as good as the studio version is, this is better. Which I think every song would be.

Album Spotlight: Dorothy - 28 Days In The Valley

For anyone wanting Dorothy's second album 28 Days In The Valley to be ROCKISDEAD part two, well, it's not. What it is though is a much more diverse and, in my opinion, better album. And that's saying a lot, because ROCKISDEAD was one of my top albums from 2016.

The title 28 Days In The Valley refers to how long it took to record the album, produced by, and some songs co-written by, Linda Perry. If that name sounds familiar, it should. Perry was the singer and primary songwriter for 4 Non Blondes.

Dorothy Martin, which is whom the band is named for, also got sober and removed herself from a toxic relationship and put together an entire new band for this album. As a result, some of the songs on 28 Days In The Valley seem cathartic while many others are almost spiritual in nature, reflecting her new outlook on life.

I usually don't get into background information this much or comment on lyrics (that is up for the listener's interpretation) but I thought it was important this time. It matters to how I interpret the music in this case, which, to me, is the most relevant thing; Is the music good?

After a couple of cursory spins of the album, I listened with a purpose. This is an album that is a veritable homage to classic rock. It has everything. I first fell in love with Dorothy on the debut album because of all of the swamp. 28 Days In The Valley still has that swamp, but so much more.

There is really no easy way to describe the music. From start to finish, the easiest thing to compare it to is Southern Rock. The album has so many elements of that music running through the course of the songs, but it's much more nuanced than that.

The title song is a vignette that could be on a western movie soundtrack that evokes thoughts of tumbleweeds and dust. "Mountain" is a Southern Rock, almost gospel song. "Freedom" is a Southern Rock song with hints of psychedelia. "Ain't Our Time to Die" has a strong, groovy Tom Petty vibe to it. "White Butterfly", which Dorothy said in an interview is essentially a prayer, has an Allman Brothers meets Pink Floyd to it. "Philadelphia" is reminiscent of Debbie Harry in Blondie.

This is not to say that any of the songs are cheap knock-offs or dated. It's just that those influences (if they are) come through in the songs and execution. I also get hints of Grace Slick, Heart and Sheryl Crow in different parts of the album.

I'm also I big fan of how this album was recorded/produced. It has that 70s feel where all the instruments are prominent and nothing gets buried in the mix.

28 Days In The Valley is an unapologetic rock album that should resonate with any fans of what rock was in the 70s, 80s and early 90s. And thankfully we still have artists like Dorothy making kickass rock music.

Here are some songs that represent the diversity of the album, but I would suggest listening to it all:

New(ish) Video: Jessica Meuse - Love Her Better

One of the happiest cheating/breakup songs I've ever heard.

Album Spotlight: Ruby Boots - Don't Talk About It

Australian rocker Ruby Boots (real name Bex Chillcot) has led an interesting life. She's been living independently since the age of 16, worked on a pearl farm and took a three year break from singing to repair vocal nodules. Those are just the highlights, but we're here to talk about her latest album Don't Talk About It. Yes, I realize the irony in that last sentence.

I'll admit it, maybe nostalgia has clouded my judgement, but save for one song, this reminds of the stuff I would hear on popular mainstream radio in the late 80s/early 90s. Can I compare Ruby Boots to anyone from that time? Not exactly, she has her own unique sound that is reminiscent of the time when radio was not filled with electronics and manufactured music.

There are elements of rockabilly, rock, country, punk and even some bubblegum on the album. It has been said that this is not a cohesive album, but that's kinda what I like about it. You want to hear the next song because you know it isn't going to be like the one you're currently listening to.

To bring it back to my nostalgia, this would have been one hell of a rock album in the 80s.  Not sure Ruby Boots or her fans would agree, but that is a compliment.

I try to be current, but music doesn't come with an expiration date. I will admit that it took me a  bit to process this album, which means I've listened to it several times. I'm still not tired of it. It's that good.

Here is the video for "Don't Talk About It"

Album Spotlight: Sonia Leigh - Mad Hatter

This, being my first album spotlight of 2018, let us go over what constitutes an album being spotlight worthy for me.
1. This shouldn't have to be said, but it has to be. It has to be an albums I've listened to.
2. No or one skipworthy song. Yeah, that's a pretty high bar. But I do albums and not songs. You may think that's quaint and/or antiquated, but that's still how I consume music. What does skipworthy actually mean? It's the song/s that one would automatically skip every single time.

Now, let's explore good music this year. That's what I intend to do.

I will admit that Sonia Leigh's Mad Hatter had me perplexed at first listen. It's like listening to your friend's eclectic playlist. She has purposely recorded music that would not pigeon-hole her. She has succeeded.

I don't like to compare artists to other artists, but as every song on Mad Hatter is a turn in a different direction, I feel comparisons, for the purpose of context, are in order.

Sonia's voice, on the more hard-edged songs, is reminiscent of Joan Jett. A lot of the songs have the quirky vibe of early Sheryl Crow. Maybe some Chrissie Hynde of the Pretenders as well.

This one was hard for me. The good is so good, and there is so much good, but the bad is atrocious. Clocking in at 11 songs, it's definitely one song too long. The album closer, "Mind on the Prize", is an all out assault on the aural senses. Do yourself a favor and just end your listening after 10 songs.

I'm able to forgive one terrible song like I did with Angaleena Presley and "Country". I could forgive "Mind on the Prize", but then there is "Walking in the Moonlight", which could have been done by Demi Lovato or Carly Rae Jepsen. But there is enough there and it's catchy enough that I wouldn't actively skip it.

That's the bad. The other nine songs are fantastic. Delving into many different genres while never focusing on any particular one, it's all interesting. I like interesting. Give me something interesting and edgy over something safe and saccharine any day.

Strap into the seat and give this roller coaster of an album a try. I guarantee you  will not like it all, but you will find something to like. Sonia Leigh is talented and quirky and will have none of your BS. Not sure if I like this as much as I respect it.

Today, this is my favorite song on the album, subject to change without warning.

Album Spotlight: Danielia Cotton - The Mystery of Me

For anyone who doubts Spotify as a music discovery device, you're not using it correctly. While it is The Mystery of Me just blew me away.
not my main music discovery vehicle (I rely on blogs and social media for a lot of it), it can be very effective. Spotify recommended for me Danielia Cotton. Never heard of her before from anywhere. Her latest album

The Mystery of Me is a rock album akin to the rock albums I grew up listening to. Rockers, ballads, swamp, blues, Motown and soul all rolled up into something interesting and entertaining. Think a funkier, bluesier Southern Rock with a Lzzy Hale/Janis Joplin vocal mashup.

If you like diversity in an album, The Mystery of Me has it. If you need lyrical depth in an album, this one has it as well.

There is not going to be any in-depth analysis here, words just get in the way of listening to good music.

Here is "Set Me Free" from the album. Enjoy.

Newish Video: Dynamos - Shake, Rattle and Roll

I dig the sound of this. Looking forward to more by this band.

Album Spotlight: Tyler Bryant and the Shakedown

Tyler Bryant and the Shakedown's self-titled album is their fifth release and second full album. It's an eleven song piece of real hard rock, swampy, groovy, bluesy and guitar-heavy.

Tyler Bryant grew up in Texas and moved to Nashville during his senior year of high school. The Shakedown is comprised of drummer Caleb Crosby, bassist Noah Denney and guitarist Graham Whitford (son of Aerosmith guitarist Brad Whitford).

With this self-titled release, Tyler Bryant and the Shakedown seem to have found their niche, deftly combining the blues, swamp and heavy rock with a touch of Alice Cooper creepiness and Aerosmith (of course, right?). Sonically the album is great.

Vocally, well, Bryant doesn't have the best voice in the world, but it works. See the Alice Cooper reference above. His voice exudes the right emotion and passion on every song.

This is another great example that rock isn't dead if you want to find it.

Here is the official lyric video for "Heartland":



And here is a live acoustic version of my favorite song from the album "Ramblin' Bones":

Album Spotlight: Sass Jordan - Racine Revisited

About a month ago I wrote about Sass Jordan's Racine when I found out she was releasing a newly recorded album of the original songs on the 25th anniversary of the original album entitled Racine Revisited.

I'll admit, I was skeptical. Why re-record such a good album? What can you possibly do to make it better?

I'll also happily admit that my skepticism was vehemently slapped away. What Jordan and her hand-picked group of musicians did on Racine Revisited is fantastic.

Racine Revisited is fuller, warmer, swampier and better played than the original. It was recorded old-school. All the musicians in the same room, nothing digitized, over a two day period, by professional musicians.

After 25 years, Jordan's voice is a bit road weary, but she doesn't miss a note. And the road-weariness actually adds to the sound of the record. And, dammit, you can just hear the fun on the record, like everyone there was having a great time. I know that can't be quantified, but it's one of those things that you know it when you hear it.

Here's the recreational bass player in me coming out. What really struck me about this album is that it is a clinic in bass/drums locking in and being spot on every single time. With Rudy Sarzo (Quiet Riot, Ozzy Osbourne, Whitesnake, etc.) on bass and Brent Fitz (most notably Slash featuring Myles Kennedy & the Conspirators) on drums, this is just a well done, tight album.

Twenty five years later, good music is still good music. When you make it better, that is impressive.

Album Spotlight: Janet Gardner

Janet Gardner released her first solo album a few weeks ago.

A little history is in order here. Gardner was the lead vocalist for the band Vixen. While following trail blazers like Heart and Pat Benatar and Joan Jett and others, Vixen followed that trail and trudged forward in the realm of 80s hard rock, or, as many know it, hair metal.

Vixen, one of the few all female or even female-fronted bands of that time, resided on the pop side of the hair metal explosion. Big hair, big choruses. Tight clothes, tight melodies. Just like the guys.

They had the misfortune of coming on the scene in the late 80s/early 90s when that style of music was being phased out by grunge.

Gardner's debut solo album is much harder than anything Vixen ever put out. Not to compare bands, just sounds, much closer to Halestorm than Vixen. It's aggressive and at times angry. It's also a great hard rock album. If you're looking for 80s era big rock, big choruses, well, it's got some of that, but mostly it's just a good hard rock record.

And here is "Rat Hole". Enjoy.



And for those without context, here is Janet Gardner in Vixen:

Album Spotlight: Elles Bailey - Wildfire

I don't have expectations that cannot be met. That seems to be a healthier way to live life. I'm not saying to lower the bar, but don't make your expectations beyond the realm of probability. Maybe I was a little too excited for the new Elles Bailey album. Her 2016 EP The Elberton Sessions had my hopes up.
After hearing that, I couldn't help myself.

Then she drops her first full-length album, Wildfire.

Well, my expectations, as high as they were, turned our to be low. Wildfire is a great bluesy rock album with some country elements. It's bluesy and swampy. Bailey's voice is smokey and torchy and powerful. The instrumentation and production are impeccable. It's true to course and also diverse.

Here's the thing. It's pretty much a modern 70s rock album coming from a current British female artist. Not so much in lyrical content, but sound.  There's a cover of Taylor Swift's "Shake It Off" that I didn't recognize until the second spin because it is so different.

Though rooted heavily in the blues, Wildfire is so much more than just blues. There is something to be appreciated for fans of any genre that values real instrumentation and vocals over electronics and autotuned vocals.

Album Spotlight: Lilly Hiatt - Trinity Lane

I was alerted to Lilly Hiatt about a year ago. I listened to her stuff and thought that it was pretty good, someone to keep an ear on for future projects. So when Trinity Lane came out, I was definitely going to give it a listen. However, I was not prepared to be  blown away.

As I've said before, there never has been, nor do I foresee there ever being a perfect album, and Trinity Lane is not, but damned if it doesn't strive to be. Not a bad song among the twelve on this album.

The natural twang in Lilly's voice could make some think this is a country album. It's not. Are there county elements? Sure. But there is also so much more. Some rock, some blues, some soul, some swamp.

Trinity Lane takes on real adult themes and Hiatt pulls them off with wit, camp and maturity. What makes this album great to me is that there is no pandering to anything. It's just real stories with great music and smart lyrics.

We still have a few months left in 2017, but I can't see enough good stuff coming out that knocks this out of my top five. It's that good.

If you are reading this, you have access to the Google machine and can read about the history of Lilly Hiatt, however since I wrote about him recently, she is the daughter of singer/songwriter John Hiatt. Not relevant to this post or her music because each piece of music stands on its own, but just an interesting note.

Probably my favorite song from Trinity Lane, though that may change tomorrow:



And the title song.