On February 15, I received an email from the good folks over at Big Stir Records inviting me to listen to an album, Radio Transient, by a fellow named Chris Church. So I listened to it. And I liked what I heard—all ten songs—no problem with listening to this album. Apple Music tells me I listened to Radio Transient 7 times, back to back. 8 times now.

The words below give the partial story of what I heard. These are the quotes of Chris Church. The writer/s names are in parenthesis. The lyrics are in Italics. My words are underlined.

TRACKLIST:

1. GCRT (Chris Church) “young men who inexplicably park their cars and leave their stereos playing at extremely high volume, windows down or even doors open, and conduct their business inside the store while everyone outside has to deal with the heavy sub-bass thumping audio nightmare they’ve left unattended.” 

“You think I want to feel it thumping my chest

 As a species, you have helped us regress.” 

2. Going ‘Til We Go (Chris Church), “Lindsey Buckingham, The Fixx, and ’80s Hall & Oates, 12-string Danelectro guitar, hollow body Gretsch guitar.

3. I Don’t Wanna Dance With Me (Music: Chris Church / Lyrics: Chris Church, Lori Franklin, Matthew Lutton) “I don’t wanna dance with ME, I wanna dance with you!” 

4. One More Chance To Get Over You (Chris Church) “The most straight up power pop song here,” “Can I just get one more chance to get over you?”

5. I Think I Think I Like You (Chris Church) “He’s dealing with the fact that this emotion is sickening to him, but can’t fight it, and perhaps allowing himself to open up to his feelings will help him to open his mind to her art, or is he just horny?” 

“You say you like me too much

 Well, I do, too.”

6. Already In It (Chris Church) More Hall & Oates and Todd Rundgren than Buckingham/Fixx here, maybe even a bit of a Spandau Ballet/ABC/Duran new romantic feel on this one. “I’ll catch you when you’re starting to fall.” This line reminds me of a line I am fond of, “Whenever you fall, I’ll be there for you.” – The Floor. As a long-time Todd Rundgren fan, this song immediately grabbed my attention. I love how the singing and style of music come so close to his.

7. Over And Out (Chris Church) “The lyrics allude to trying to discourage and ignore the thoughtless, cruel and boring act of habitually gossiping about one another.” “Friends bombarded 

Details, decrees

You’re on your throne, they’re at your feet. It’s what you started.”

Another great song about gossip is You Told Them Exactly What I Didn’t Say by

Terry Scott Taylor. https://genius.com/Daniel-amos-whos-who-here-lyrics

8. Gotta Go Gotta Ramble (Music: Chris Church / Lyrics: Chris Church, Lori Franklin) Chris tells us, “Lori and I have been together for almost 20 years. She’s my forever. She helped me write this song. It’s about breaking up and leaving. The protagonist is in such a hurry to split that he eschews grammar with the line, “there will never be no doubt.” “I feel the heat of the exit sign” is a pretty cool line. This one contains one of the better-sounding synthesizer tracks I recorded for it. I had fun with that.”

9. Far Too Late (Chris Church) “(Nick) Bertling’s drums are fantastic and really drive the song, and Lindsay Murray’s backing vocals play such an important role in the big picture.” The lyrics are pretty vague. Sometimes I do that on purpose. Or do I? You decide. Or not. Maybe this song is about the quest to finally be beyond all “that.” 

10. Flip (Chris Church) “a weird little rocker about accepting fate.” 

“Catch me

 On the flip.”

 Getting getting going

 Only to be gone.”

“It’s also called “Flip,” so feel free to start all over and hit play again!”

I cut and pasted Chris’s lyrics and quotes and have contributed little original because Chris says it better than me. Radio Transient is a fun album with seriousness lurking just below the surface.

“The more we stick to it

 Like we’re all having fun

 The more we unglue it

 And the further away we run.”

Big Stir Records are delighted to announce the March 24 release of Radio Transient, an all-new and breathtakingly original album from celebrated Lenoir, North Carolina, singer-songwriter Chris Church. Preceded by the lead single “Going ‘Til We Go,” the album will be on CD in record stores worldwide and streaming everywhere on March 24 and is up for pre-order at http://www.bigstirrecords.com, the BSR Bandcamp page, and online retailers now. Special thanks to Christina Bulbenko and Rex Broome at Big Stir Records. 

For more about Chris Church: 

http://www.bigstirrecords.com/chris-church

http://www.bigstirrecord.bandcamp.com

http://www.facebook.com/chrischurchmusic

http://www.chrischurch1.bandcamp.com

BIG STIR RECORDS

2140 N. Hollywood Way #6607, Burbank CA 91505 bigstrrecords@gmail.com – rexbroome@gmail.com www.bigstrrecords.com

p.s. 9 times now

Feel It Comin’ On, the new single and video from Star Collector is not your average 3-minute pop song. It clocks in at 4 minutes and 45 seconds, closer to 5 minutes than 3. I am glad Star Collector busted out of that stereotype; it leaves almost two bonus minutes for the band to find a groove and work it out. And that is what they do.

Feel It Comin’ On opens with 25 seconds of blistering rock and roll to claim a beachhead for the rest of the album, which is appropriately named, Attack, Sustain, Decay… Repeat. The opening track, Feel It Comin’ On, hit all of those targets as I listened. It attacks, not just the opening minute; it sustains the attack and only decays in the last 25 seconds. And then I hit repeat, and we do it all over again, Attack, Sustain, Decay… Repeat.

The title of this new Star Collector album, Attack, Sustain, Decay… Repeat is a tribute to a pedal board.

Attack

Sustain

Decay

Repeat

I’m more of a Distort, Distort, Distort, Distort, Modulation, Chorus, Wah-Wah player type of guy, but that’s just me. To each their own. Whether it’s Vic’s or Steve’s pedal board, they own that sound, and it works its magic to give us the whole palette of guitar on the album Attack, Sustain, Decay… Repeat. 

Star Collector has been on my radar for over a year. I gave a favourable review of their previous album, Game Day, and later a show at The Station on Jasper, a local watering hole and live music venue that has unfortunately gone out of business.

Star Collector is fronted by Vic Wayne, who contributes lead vocals, rhythm & acoustic guitars and percussion to the album. Multitalented indeed. Pardon this next bit, I’m a bit of a geared. Vic has two guitars that I know of, they are a Gretsch and a Rickenbacker. Steve Monteith contributes lead, rhythm & slide guitars and background vocals. He was playing an Arline Twin Tone DLX when we saw them live.

Tony Kerr plays a lovely Rickenbaker bass as well as a Fender Jazz Bass. Along with Adrian Buckley on various percussion instruments, they keep time for everyone, and their flourishes add to the overarching sound of Star Collector. Guest appearances include Adam East on bass and background vocals, Kevin Kane (The Grapes of Wrath), Paul Myers (musician and author of ‘Go All The Way – A Literary Appreciation of Power Pop) and more.

Track one is the previously mentioned song Feel It Comin’ On. Track two is the hook-friendly Beat It To Death. Track three has the title, The Back Of Your Head, which made my music radar go off. Another song with that title appeared on the self-titled album The Electrics. However, the similarity stops at the title.

Skipping a few songs, I came to a line that caught my eye. It’s in the song Black And Blue Baby. “it’s never too late to start again.”

It’s never too late to start playing guitar again.

It’s never too late to exercise more.

It’s never too late to make amends for wrongs done in the past.

It’s never too late to…

Jumping over the track If We Can’t Take A Joke, we hear the song Crashin‘, it opens with the beat of a cowbell. There’s never too much cowbell. Check out the SNL skit for that famous line.

The remainder of the album is classic rock with one track being the obligatory soft ballad, Cross My Heart. Cross My Heart refers to the Neil Young song Tonight’s The Night and Rod Stewart‘s song of the same name. Neil Young‘s version is a mid-tempo rock number that is memorable because he sings the refrain Tonight’s The Night 30 times. Rod Stewart‘s take on the line Tonight’s The Night is creepy because it sounds like date rape. Check out the lyrics as it plays. https://genius.com/Rod-stewart-tonights-the-night-gonna-be-alright-lyrics

Back to Star Collector, in 2021, they released Game Day, a solid rock album I endorsed back then and still do. In 2023 they release Attack, Sustain, Decay… Repeat it builds on the momentum of Game Day without losing a beat. Attack, Sustain, Decay… Repeat is not a clone of Game Day. It is a new album with new music and new lyrics. I endorse Attack, Sustain, Decay… Repeat. It is a good listening experience and a novel album name. Attack, Sustain, Decay… Repeat contains 12 solid songs to keep you entertained for close to an hour.

Stuck in traffic? Attack, Sustain, Decay… Repeat

Out for a walk? Attack, Sustain, Decay… Repeat

Working on a blog to post? Attack, Sustain, Decay… Repeat

Doing housework? Attack, Sustain, Decay… Repeat

Entertaining friends? Attack, Sustain, Decay… Repeat

You too can enjoy this album, check it out at Bandcamp.

https://starcollectorcanada.bandcamp.com/album/attack-sustain-decay-repeat

The band Villages had its roots in rural Cape Breton, Nova Scotia. Fun fact: Cape Breton is an island connected to the peninsula and province of Nova Scotia, which is, in turn, connected to the province of New Brunswick and the mainland of Canada. We now have our geography lesson out of the way for today, and we can return to the previously scheduled program in progress.

Villages started as a bunch of high school friends getting together and making rock and roll music. They were influenced by the bands Sloan, Superfriendz and Thrush Hermit. The band’s nucleus formed around Matt Ellis with his cousin Travis Ellis and another cousin, Jon Pearo. And a guy who wasn’t a cousin but was pretty good at playing guitar, Archie Rankin.

The Rankin Family is as close to a Canadian royal family of music as we are ever going to get. However, I can not find a connection between The Rankin Family collective and Archie Rankin, a member of the folk band Villages, so I will resort to judging this album on the merits of its music and lyrics instead of the heritage of one-quarter of the band.

All the band members come from musical families, so it was only natural that the guys pursued music with passion. Initially, they were drawn to the indie rock and grunge music scene in the capital city of Nova Scotia, Halifax. However, that was a long drive away from their home base, so after graduating high school, they all moved to Halifax, and the band that became Mardeen grew. They continued to work together, develop their craft, and write their material. Before long, Mardeen was recording its CDs.

In recent years, the band members began to take more of an interest in the music of their roots, especially after listeners told them that despite taking the guys out of Cape Breton, the harmonies and melodies of Cape Breton still seemed to infiltrate their sound.
“Instead of trying to fight it, we thought, why not be proud of it,” said Matt Ellis.

Mardeen found themselves looking back on their heritage after an unexpected trip down memory lane. “One late night, a singalong of Rankin Family tunes broke out,” says Matt. “I remember saying to the rest of the band that we need to write something that evokes the sound of home.”

The idea from that night soon morphed into the guys deciding that they should create another band (with all the same members) focusing on creating, recording and performing music that was more true to their Cape Breton traditional roots. They named the band Villages, and now with Mardeen and Villages, the band seems to inhabit the best of both worlds. You will hear the results of that work on the brand new debut recording from Villages, Dark Island. Matt Ellis and the band have taken up some new acoustic instruments for their debut album Villages. In these songs, you’ll hear mandolin, bouzouki, concertina, and other instruments.

There’s a poetic appeal to the music as well, with many of the songs representing natural elements and a sense of timelessness that is evocative of older and traditional music of Cape Breton or the British Isles, where the band has also drawn from some influences. “I’m always drawn to songs that inhabit a range of time where they may have been written yesterday but lyrically they could be 300 to 400 years old,” said Matt.

They could be 300 to 400 years old but also sound fresh and vibrant. The opener, Wearing Through The Pine, employs some beautiful wordplay. The footsteps of those who have gone ahead of us have worn the boards down, and the writer continues to wear through the pine, which establishes a connection to the past, let’s say, 300 to 400 years of steps on those pine boards. Wearing Through The Pine triggered a memory, Willie Nelson‘s guitar, Trigger. Trigger has a spruce top worn down over time but has a similar connotation. Wearing through the spruce or Wearing Through The Pine.

Track two is a love song that features a vocal technique that has probably been acquired over a lifetime and frequent exposure. I have not acquired that and therefore find it somewhat unsettling. What I am referring to is a series of yelps that are sprinkled generously throughout the song. I went back and listened to Wearing Through Through The Pine again to see if I missed the yelps in this song. I did; there is one just before the bridge and one at the song’s end. The song Love Will Live On has seven, so I picked them out easier. As I understand it, these are evocative of a kitchen jam session on the island, and I am learning and accepting something new to me. Love Will Live On is a fine song about love enduring on an island in the Maritimes; Cape Breton Island would be my guess.

Dark Island is an album full of fine music. I have dabbled in mandolin, guitar, harmonica and ukulele, but not even close to the quality these guys display. I play just enough to know how good other people can play and Villages are very good at the music they make. They take the best of their Cape Breton heritage music and meld it into something that is as new and fresh as an ocean breeze.

By the time the album got to Lost Again, the fifth song, I was immersed in the music and getting flashbacks to a time in my life that I had forgotten about, for good reasons, that had nothing to do with music. I had been living for a couple of months in Edmonton, Alberta with some east coasters, and they exposed me to their music, which I buried someplace deep in the folds of my brain until I listened to Dark Island for about the twentieth time. And then I started bobbing my head and tapping my foot. I knew that music again for the first time.

Play the Fiddle All Night, track 8 if you’re counting, also gave me flashbacks, but these were immensely pleasurable. An uncle of mine played the violin/fiddle, and much of his music reflected the traditional music of the Hebrides and Scotland. He played the fiddle all night, and my Dad sang and played guitar all night. I occasionally chimed in with my electric guitar, but I had nowhere the talent they had, or Villages have.

“The song (Play the Fiddle All Night) was written after reflecting on the traditional poem ‘The Dark Island,’” “Stirring up thoughts of mortality and what of our home on Cape Breton Island would be pined for when the time comes. The song presented itself very quickly and we finished it only a few days before we were scheduled to record. There was a striking similarity in themes carried in both the poem and our tracklist, so it ultimately gave namesake to the album. The song immediately felt vital to the record and given the spontaneity of it all, it was one of the more exciting experiences in songwriting that we’ve had.”

“There was no way of me knowing, that someday I’d be old myself.”

What a great line. This line is from the deeply personal song Mother. It feels like remorse for things said and done in the past and the memories that haunt us. The closing song is Rocks In The Field, a deeply personal song for me. I picked rocks in the field one summer for a farmer. He got his field cleared of rocks, and I got a tan and a few dollars, which I proceeded to spend on getting “pissed out of our minds.” “And often say pass the (liquid ?) courage, pass the ever blazing vine (tobacco ?).” “And ooh it’s something to be finally free.” What is it that it’s something to be finally free from? I think that is a question that each of us will have a different answer to. I know what mine is; I am free from the liquid courage and blazing vine. Over 30 years free. I’ll leave it up to you to answer that question for yourself.

Final thoughts? Dark Island is a good record that will grow on you with each listen. I would encourage you to read the lyrics as it’s playing; there is a lot of deep stuff, and I’m not just talking about the ocean. After listening to Dark Island, I want to head east and experience the maritime provinces and the music while I am there, yelping included, I’m OK with that now.

Produced by JUNO-winning composer and producer Joshua Van Tassel and issued by Sonic Records. 

Villages:

Website – Instagram – Facebook – Twitter

For more information, please contact:

james@mysticsons.com

or

johan@mysticsons.com

What a blast. A blast from the past that is. I have been enjoying the music of Steve Stoeckel, founding member of Power Pop Hall Of Famers, The Spongtones.

I have been into New Wave music, from its baby steps to the New New Wave, which remains a force to be reckoned with today. Some of my favourite artists are from that era—like Nick Lowe, who has played with Rockpile and Brinsley Schwarz. Rockpile featured Dave Edmunds on vocal and guitar. Brinsley Schwarz was a band and an artist who both contributed to the musical journey of Nick Lowe. Nick Lowe is a favourite of mine and has a decent resume. Check it out. https://en.wikipedia.org/wiki/Nick_Lowe

A few others from that era are Ian Gomm and Elvis Costello. Listening to The Power Of And brings back good memories tied to good music. [insert a happy, contented sigh]

Back to the present moment, we are talking about The Power Of And, an excellent album by Steve Stoeckel. Steve Stoeckel was in the Power Pop Hall Of Fame band, The Spongtones. This album opens by ripping the top off the speakers and letting the music blast into the room. In a single song, Laura Lynn simultaneously harkens back to the best of Mercybeat and New Wave. I love it!

I look forward to what the rest of the album sounds like.

Whoa! Track two shifts gears dramatically. I’m not sure if I like that or not. It seems like a big jump from the boisterous Laura Lynn to the acoustic melodic ballad Birds. It’s not just shifting down; it’s putting the brakes on, too—a good song, just a bit of a surprise after the energy of Laura Lynn.

Let’s see what track three, If/Then, does. It merges with neither of the first two tracks. If/Then sounds like Simon and Garfunkel inspired it. That’s not a bad thing. Simon & Garfunkel get fairly regular airplay in our place. It’s a decent-sounding track; however, we are three tracks in, and we haven’t established what kind of vibe The Power Of And is giving us, the listener.

Diving into track four, Mod Girl, I have great hope just from the title; it caused me to think of The Who and Quadrophenia. Mod Girl fits the era well and reestablishes some rock and roll territories from track one, Laura Lynn.

Strange Cameo. Cool song title. Now, listen here; this is the fifth song, and we have a new rhythm and a fresh feeling to this song. And a damn good feeling. I’m sitting here typing this out and listening to Strange Cameo repeatedly. “No particular place to go.” Good old Chuck Berry snuck in there. 

The Emerald Sea is track six, a rollicking sea shanty with a penny whistle and electric guitar soloing off each other. It works somehow; good stuff. The Emerald Sea leads quickly into track seven, the title track, The Power Of And. Now we have what sounds like a ukelele and lap steel guitar, something new, and some excellent sound stage use during this track, especially at the end. Steve Stoeckel tells us, “The Power of And” is the title song, and as it suggests, it talks about the connective power this little word has. Just two chords, short verses with phrases on each side of “and.” It builds, then falls apart nicely at the end. That’s Keith Shamel on those exquisite electric guitar parts.

Eight, Skippy’s Parade is a happy little ditty instrumentally. Nine, Christine. Boom, Christine blasts us back to Laura Lynn territory. No rollicking or skipping for Christine; she is a rocker and has some excellent guitar work, both bass and electric.

Why? I don’t know. My ears tell me track ten, Why, is an ode to The Everly Brothers with sweet harmony singing. Why is the title, by the way. Why takes us right back to the 60s. Ringing acoustic guitar and that harmonious singing make this a lovely track. Listen closely to the lyrics; why is a breakup song that they make out to sound almost happy. It could also be an apocalyptic song, “we know the end is near.” An apocalyptic breakup song. I just invented a new genre of music.

Eleven is Just One Kiss, and we are back to a happy uke song. I can imagine listening to Just One Kiss at a tiki bar on some Pacific Ocean island. But then they crank the music up and turn it into a rocker all the way home. Have fun and kiss responsibly.

On the twelfth day, my true love sent to me. Stop. Christmas is over. But, if it was a Christmasy type of moment, I am sure my true love would send me a hummingbird. A Jamaican hummingbird. A Doctor Bird. Hummingbird, the song, has a nice acoustic feel to it, with a multitude of stringed instruments weaving around each other while Steve sings an ode to the beauty of the Hummingbird.

 “The Monsters Under My Bed,” is a true anthem for the young at heart. “It’s a tribute to the wonderful Maurice Sendak, who, like me, knew the delightful things that wild things can bring to one’s life,” says Steve Stoeckel. “The song is a promise never to let them go, to keep a child’s view always.”

Heather Gray is a sad story song. It is the third in the trilogy of girl name songs. This song engaged me with its lyrics. For example. “the rage you feel can’t be danced away.”

The album The Power Of And closes with a powerhouse song, chugging electric guitars, and a back story that Steve Stoeckel will tell us.

“Whistling Past Graveyards is a political song. It’s also a very special tune because Chris Garges (the Spongetones drummer who passed away in February of 2022) heard my solo post on Facebook and called me, saying, “I want to play drums on this. I also want to record it.” I was

honoured; this was the first solo song he’d indicated an interest in. So, we dug in, and the result was, sadly, the only thing I got to record with Chris. We’d made noises about doing a new Spongetones song, but alas, it never happened. There’s a video of this tune with Chris playing that I watch from time to time.”

And that, my friends, brings us to the end of an excellent album that I was more than happy to go through track by track. I never did settle into a genre, and I am OK with that. This album brings together a multitude of ways to put a song together. And each of them is good in its unique way.

The Power Of And is releasing February 24 on CD in record stores worldwide and on all digital platforms and is now up for pre-order at  www.bigstirrecords.com. It features the new single “Just One Kiss” as well as Steve’s prior hit Big Stir singles “Why” (featuring IRENE PEÑA) and “Birds,” as well as “Mod Girl,” which reunites Stoeckel with all of his Spongetones bandmates.

I like it when bass players step out from the shadows and have a more invested part in the music. For example, on their eponymous album, the three-piece power trio ON feature the bass front and center. The album rocks with fantastic bass lines augmenting the equally talented electric guitar and whatever pedals he used to get the sound we hear. And we most certainly need to give due credit to the percussionist; he holds everything together, right?

ON is made up of Lucy Di Santo (vocals, bass), Dan Cornelius (drums) and Steve Fall (guitars) – carrying on the legacy of their former 90’s band – the Sire Records-signed Acid Test – with members also having been in other popular Toronto bands Danko Jones and Deliuss.

I have been listening to their new album over and over. I even listened to it at 2:00 this morning because I couldn’t sleep. It didn’t change that status. Their music compels me to listen and seek out subtle nuances on each listen. And the bass of Lucy Di Santo is a huge part of my attraction to the music of ON.

I give a big shout-out to the band for gracing me with the lyrics; much appreciated, I enjoy following along with the cheat sheet.

The album blasts out of the starting blocks with the song Break You. “‘Break You’ soars like a goodbye love letter to a toxic person, place or substance; it’s a decree of emancipation – and breaking away from what dictates and captures the human soul. It is an outcry, a battle cry, and finally a freedom cry of intention – all wrapped up in a hardcore punk-metal riff that end with Sabbath-esque overtones,” says Lucy Di Santo.

I am head over heels in love with the closing of the song and the way Lucy Di Santo works the bass. Good stuff.

Ironically the second song, Underdog, comes out off the blocks with the lyrics:

“On your markers, countdown started

Get set – get right on it.” We have a running/racing theme channelled through some driving and pounding rock and roll/punk/indie.

Written in Toronto and New York, ON guitarist Steve Fall, says the ‘ON‘ album is “a document of friendship navigating explores in pain, and hope. Looking at the world with a collaborative effort to document what we see, witness and feel through songwriting and chemistry as a band.” Following pre-production recording with Drew Howard at Star Sound Studios in Cape Coral, the band worked with sound engineer Darius Szczepaniak (Sum 41, Black Crowes, Big Sugar, Bare Naked Ladies, Jann Arden) out of Phase One Studios.

The third song is Gator, asking us, “How does it feel to be out of the gate?” It feels great. We are now officially out of the gate.

Next up, we have a darker feel in the song Blackmail and an excellent bass opening that soon gets blown away with a classic rock riff. A lyric sample, “No more lies, disguises, gaslighting. I won’t take no more.”

Here After starts with a nostalgic look at last night and hearing a record player spin that song. A nod to Jim Croce’s Time In A Bottle and then the music brings our focus to the Here After and admonishes us not to look back. Here After has a more laid-back feel than the previous tracks, but it is still grooving with that record player. 

Next up, we have the track FLA which has The Raconteurs sound from their 2007-2009 era, Broken Boy Soldiers. I compliment them; they are a tight group, and having FLA sound slightly like Steady As She Goes is OK. I used to play Steady As She Goes, and trust me; ON is way better than I ever was. The other members of the band I played in were quite good.

When you’ve had enough of the west coast L.A. scene, it’s time for a road trip through New England, West Virginia, Georgia, Ohio, and then into Jacksonville, FLA. Miami FLA. Daytona FLA. Take me down to FLA. It sounds like a road trip that our family took, 16,000km and into Titusville, FLA.

Soul Killer takes the band back to their punk-punching raw sound, which I think they are very good at, but they do something different on this track. While Soul Killer opens with grinding guitar distortion, Lucy Di Santo sings in a more melodic voice. This creates tension between the edgy guitar, the cutting lyrics and her singing. It works; this is a great song.

I disagree with only needing one guitar. Here is the t-shirt that I coincidentally am wearing today. I have seven as of today, but I only play one at a time and I don’t practice enough.

There are other things in life I will be content with just one of, like the love of my life, my wife. And I think that is the message of the song. He is a selfish jerk that is more interested in having more guitars when he doesn’t even appreciate the one he has—good music with great lyrics.

More blistering guitar work from Steve Fall usher in the song Take a Shot, which clocks in at just under three minutes of scorching hot music. I love it.

The album closes with two songs, Try and Amends.

The ethos of Try is, “I can’t feel anymore; you say try, try once more

I can’t hear anymore – you say try, try, try…

Try… just try..”

Never give up is what I get. Keep trying. It will be challenging, but keep trying. Try, just try.

And in the song Amends, we get to the end of the album and at the end of the song, we have “New found – life purpose – recovery.” Sweet, I have 33+ years of recovery, and that last line resonated with me. Newfound life. A life with a purpose. A life of recovery.

I am in recovery, and some people try to slow me down and rob me of it.

I am in recovery, and downtown may not be the safest place for me—too many ways to get run down.

Try, try to keep going.

Keep it going even when you haven’t found what you are looking for. Try, and keep trying.

Stabbed in the gut and nearly knocked down. Nearly. I emphasize the word nearly. If I keep trying, I will stay on my feet and not get knocked down. Nearly, but not down.

Try, keep trying.

New found-life purpose-recovery.

Thank you, Lucy Di Santo, Dan Cornelius and Steve Fall, for giving us this message of hope. Thank you for surrounding that message with great music that amplifies the lyrics.

The full ‘ON’ album is out now and available everywhere online, including Spotify, Apple Music and Bandcamp.

It can also be ordered from: https://indiestructablerecords.com. Bandcamp https://onband1.bandcamp.com/album/on

Spotify https://open.spotify.com/album/5JKgLFwheMImbaLMP4p69K Blackmail“https://youtu.be/aMs3Osl0ouk

Underdog

Link Tree https://linktr.ee/on.music

ON Store (music and merch) http://www.theonstore.com

ON tour info/tickets http://bit.ly/3HkBxkV 

Keep up with ON 

http://www.onmusic.ca

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If you have any questions, contact Shauna from Shameless Promotion PR at contact@shamelesspromotionpr.com 

On January 1, 2022, I started Listening to every vinyl LP in my collection. Aye to Zee. When December 31 rolled around, I had almost finished up to the end of the letter D. In fact, only one artist was remaining, Bob Dylan. I am not a completest; although I have the entire album collection of a few artists, Bob Dylan is not one of those rare birds. I have 18 slabs of vinyl out of his humongous output on vinyl. I decided to do something different in my listening to Bob Dylan; I included the CDs I have, 10 of them, to make a total of 28 recordings. Not a complete discography; I think Dylan has 38 studio albums and then the live and best of’s, but a pretty deep listen, just the same.

Some of Dylan‘s albums were overdue for a listen, while others have been in fairly regular rotation. For example, in 2020, I listened to four of his albums, Dylan, his debut, Nashville Skyline, Live at Budokan and Rough and Rowdy Ways, released that year.

In 2021 I played Desire, a favourite of mine and The Best of Bob Dylan. In 2022 I only listened to one of his albums, The Best of Bob Dylan, again. The only surprise is how few of his albums I played over those three years and that I only played Desire once.

Back to the present, I am up to Hard Rain, the 17th album, and Bob Dylan is starting to be a hard listen. I think I have overdosed. Regardless, I will press on with a few diversions for blogs from my friends in PR. I will briefly summarize my listening experience up to this point.

A good chunk of my favourite Dylan recordings is in his early recordings. I enjoyed his eponymous debut, but I gravitate towards Freewheelin’, The Times They Are A Changin’, Bring It All Back Home, and Highway 61 Revisited. By the Time Blonde on Blonde rolled around, I felt he was losing the energy and edge that his early recordings displayed.

I didn’t connect with John Wesley Harding and felt Nashville Skyline was weak despite a couple of solid songs and a duet with Johnny Cash. Self Portrait is the favourite whipping post of many music journalists, which I can only agree with 50/50. It’s not his best work, and I think his ego got the best of him on this album, but it has its moments. Planet Waves isn’t a contender, either.

I like the energy of the live album, Before the Flood; it’s a tough act to follow when Dylan and The Band get their groove going. Blood on the Tracks is an odd duck. He doesn’t use The Band for this studio album which baffles me because they work so well together. Blood On The Tracks would be a great album if he re-recorded it with The Band.

And now we are up to The Basement Tapes. When this album came out, I fell head over heels for it and wore out a needle on my turntable just listening to it repeatedly. It held that emotional connection with me for a long time, and then it got shelved while Bob and I went through our Christian phases. That didn’t last forever for either one of us. I have re-listened to The Basement Tapes several times, and it has kept most of its appeal. I like a good jam session, and this album feels like a real barn burner.

On the heels of The Basement Tapes comes my favourite Dylan album, Desire. I have listened to this consistently since it came out, and it still holds a special place in my listening room. I find myself singing along with it and not realizing I am; it is etched into my brain. That was a sweet listening session, The Basement Tapes and Desire, back to back.

Next up is Hard Rain, which is a live album. Not many artists can pull off a great live album; including Dylan, and Hard Rain isn’t one of them. Hard Rain is a weak effort and feels much like his never-ending tour. It should have ended. I don’t know what it is with so many musicians bombing on live albums. I don’t know what it is with Dylan bombing on live shows. I saw him live; it was just him and some good musicians going through the motions. There was no connection with the crowd. There was no energy. I could barely discern which song he was mumbling because they all sounded the same and just melted together. The other bone I had to pick was his lack of picking; he hid behind a grand piano for the show. Please give it up, Bob; make another gate; your best days as a live performer are behind you. You may have a studio album in you, but it would have to be a Herculean effort. I have held much of your recorded material in high esteem, don’t disappoint me with a half-assed recording session at this stage of the game.

Continuing this conversation, we have another live album from Mr. Dylan. Bob Dylan at Budokan did not sit well with the press when it arrived in 1978. I like this quote lifted from Wikipedia: “In a sarcastic review published in his “Consumer Guide” column, Robert Christgau gave the album a C+ rating, writing “I believe this double LP was made available so our hero could boast of being outclassed by Cheap Trick, who had the self-control to release but a single disc from this location.” I give Bob Dylan at Budokan a mixed review, and I did like some of the reworked arrangements that provide a new gait to some old horses. The recording is of excellent quality, which may give the album some saving grace, plus it is a greatest hits album. I hummed along to the hits, and it’s not all bad. I will probably listen to this again further down the road and see if it can lodge in my earworm.

Slow Train Coming is from Bob Dylan‘s brief Christian phase. I think this is the best from the trilogy of his gospel-infused albums. It isn’t the most potent album in his catalogue; still, a couple of solid songs save it. Gotta Serve Somebody is the best, in my opinion. Slow Train Coming still has the Dylan sound with a strong band and excellent backing singers. Mark Knopfler of Dire Straits fame plays lead guitar and adds something fresh to the Bob Dylan sound pallet.

Beyond Slow Train, Bob Dylan’s creativity derailed. I plowed through Infidels, Knocked Out Loaded, Down In The Groove and Under The Red Sky, which was on cassette, and all of that listening session did nothing other than provide me with Muzak while I worked; it was background noise.

And then, I got to what I will call the revival period in Bob Dylan‘s musical career. He got his groove back on Time Out of Mind, hailed as one of Bob Dylan‘s best albums, winning three Grammy Awards, including Album of the Year in 1998. It was also ranked 410 on Rolling Stone’s 500 Greatest Albums list. I won’t go as far as the best, but it is much better than the struggle that came immediately before it. Time Out of Mind is the first of a string of albums that ushered in the twilight of his recording career, much as he started it, standing on solid ground while writing and recording some excellent music. I don’t know what happened to him through the 1980s, but the wheels fell off his recording career. I wish he had put the bus in storage because his live shows suck, but his last five albums are all quite good. Please, Bob, stay in the big pink house and focus on writing music, building gates, and recording with some of the best musicians.

Love and Theft followed Time Out of Mind, and then we have Modern Times, Together Through Life, Tempest and last but not least, Rough and Rowdy Ways. Tempest was a Christmas gift for me, a double album on 180 vinyl, and it was Dylan’s last album to feature original material until his 2020 album Rough and Rowdy Ways. 

As of today, February 2, 2023, Dylan hasn’t recorded any original material since Rough and Rowdy Way, but he has put out a trio of albums that feature him covering other musicians’ songs.

Finished! That was a lot of Dylan. It worked out to 26 albums, a couple of doubles that counted as one and some CDs to supplement the vinyl, along with one cassette. And that just scratched the surface of what he as put out. Bob Dylan has recorded thirty-nine studio albums, 95 singles, 18 notable extended plays, 54 music videos, 15 live albums, 17 volumes comprising The Bootleg Series, 29 compilation albums, 22 box sets, seven soundtracks as main contributor, thirteen music home videos and two non-music home videos. Bob Dylan has enjoyed a long and storied career in music. Not many artists could pull off what he has done. I’m not sure how many people could sit down and listen to 26 Dylan albums in one month. I did. And I still like his music, some of it anyhow.

Another reason that I enjoy physical copies, especially slabs of vinyl, is the cover art, inserts and occasionally lyrics and bonus information. Vinyl is superior because I don’t need a magnifying glass to read it, such as with CDs. I know that for digital files I could go on Discogs and find the artwork there and zoom it up as far as I need to read it. But it’s not the same as holding the sleeve in my hands and reading it as the album plays. Digital will never replace physical copies, they do supplement them and fill in gaps in my collection when I don’t have the physical copies. Nothing wrong there.

I was tempted to add notes about the covers of each album featured above. That isn’t going to happen in this blog, I would encourage you to research them for yourself on Wikipedia. Some of the covers are stories in and of themselves. The album artwork for Bringing It All Back Home fills up a page of type on it’s own.

Yeah, go check them out for yourself if you are inclined to listen to any of these albums on Apple Music or elsewhere, the artwork is part of the mystic of many albums and many of Dylan’s covers have stories to tell that extend beyond the music. Some day in the future I may expand on this and explore some of the albums including the stories of the cover art.

The name of the band is Elk City. The football club in the town I live in is called The Elks, The Edmonton Elks. That means I live in Elk City.

The name of the album from Elk City is Above The Water. Speaking metaphorically, I am generally keeping my head above the water. I do tread water sometimes, but for the most part, I am standing on solid ground. Elk City is skipping over water in the song Your Time Doesn’t Exist or Floating Above The Water in the song of the same name.

Elk City pulled me into their music from the shimmering opening chords of the opening song, That Someone. That Someone is at Someone’s Party in track two, a nifty bit of writing that had me smiling and thinking of the Peter Sellers movie, The Party.

Who writes songs about apologizing for “who knows what anymore”? That comes to fruition in the “Apology Song.” I like the bass line that seems to weave through this track and hold it all together, and this is good stuff; no apology is needed.

Next, we get into some philosophical pragmatism. The song in question is Your Time Doesn’t Exist. I am not sure what the message is. I got lost on existentialist pragmatic rabbit trails that felt realistic but ended up being idealism in disguise. Please don’t take my word for it. I suggest listening for yourself and seeing which school of philosophy Your Time Doesn’t Exist fits into the best.

“Being alone is the best drug – It is the best way to be.”

“Oh, we can take the best moments we had 

Make our mistakes and make each other glad 

That we were a family”

And being together is the best way to be”

Being alone and being together are both from the golden nugget of this album, as far as I can hear it. The song is called A Family and has a more laid-back feel with an acoustic guitar that gives it a smooth feel than the electric sound of the other songs. There is still a bit of electric magic in the background that grows more audacious later in the song.

The grunge of Elk City comes out at night in the track Don’t You Wanna Try. The music takes on a gritty soundscape, but the lyrics offer a vision of being a better person.

Don’t you wanna try to make a little light

 Shine a little way

 And maybe you change or maybe you could get some

 Don’t you wanna try to make a little light on everybody’s life On everybody’s time 

The all-too-short EP ends with a smooth and shimmering ode. I am not sure what it is an ode to, but I like the sound, a smooth and shimmering ode. A bit of lyrical poetry. A graceful exit. Thank you Elk City for keeping me entranced for a dozen or more listens to your EP, Above The Water.

‘Floating Above the Water’ https://youtu.be/fGvgZMmwuvQ
Order the album https://linktr.ee/elkcity
Bandcamp https://elkcity.bandcamp.com/album/above-the-water
Apple Music https://music.apple.com/us/album/above-the-water/1648069921 Spotify https://open.spotify.com/album/4JfwZg4wHtAL05zAI8bNKA ‘Apology Song’ https://youtu.be/Vt5Ba0CIUgA
‘Your Time Doesn’t Exist’ https://youtu.be/nzP8N7aG3-c
‘That Someone’ https://youtu.be/bEyhHv9Y4eE
Soundcloud https://soundcloud.com/user-168836748

Keep up with Elk City

https://www.facebook.com/elkcityband https://elkcity.bandcamp.com https://www.instagram.com/elkcityband/ https://twitter.com/ElkCityMusic https://www.youtube.com/channel/UCw000Y-Q86FvREYEAU2kZ3A https://music.apple.com/us/artist/elk-city/5421978 https://tidal.com/browse/artist/3610647 https://open.qobuz.com/artist/27846 https://open.spotify.com/artist/3fP1b6MT31lrhF7Xzf4KSA

Shameless Promotion PR  contact@shamelesspromotionpr.com

Pop can put on dozens of hats to cover each nuance of what constitutes the meaning of pop. I will attempt to intertwine some of those definitions with an EP I am listening to as I write this, Can’t Stop, Won’t Stop by the disco pop debutants VOIB. It is easily the fifth time I’ve listened to this release trying to find an angle to approach it.

And there we go; our first use of the word pop, associated with disco in this instance. From my trusty Oxford English Dictionary, we learn that, in this usage, pop is “relating to commercial popular music.” Commercials and popular music are usually anathemas in my world. I will, however, attempt to soldier on. Disco, from the OED, is “a style of pop music intended mainly for dancing to, typically soul-influenced and melodic with a regular bass beat, popular particularly in the late 1970s.” Unfortunately, disco was never more than a historical footnote for me. I used to have a t-shirt that said, “Support you local musicians, burn down a disco.” This was by no means an endorsement of violence against the disco movement. It was just me making my dislike of disco music public knowledge. I have mellowed over time and are more tolerant of different music styles, including pop music.

Pop can also be a light explosive sound, hopefully not from a disco burning down! I suppose there are some light pop sounds to be heard in Can’t Stop, Won’t Stop. Pop is also the popping sound when air is equalized in our ears, such as in an airplane ride. Speaking of equalizing air in our ears, I have noticed a trend in popular music to use excessively loud volumes at live shows and more bass than needed. This comes from the house soundboard, so it may or may not be what the band wanted. It can leave our ears ringing more than popping. I use tuned ear buds at live shows and I restrained the volume while I listened to Can’t Stop, Won’t Stop, and I have good hearing.

Pop can also be used in writing as an activity, such as popping to the store for a few items or popping Can’t Stop, Won’t Stop into my playlist.

Photo credit to Miranda Fredriksson

The colour in the above press photo for VOIB pops. The muted tones of the photo below are not as striking but tell a different story through different colours.

Photo credit to Miranda Fredriksson

Pop also refers to a large number of beverages. My sweet fizzy drink of choice is Coke Zero. However, I am drinking coffee while I write this blog.

I don’t follow the sport of baseball, but I do know what a pop fly is. A pop fly is a ball hit high in the air but not far from the home plate that usually provides an easy catch to put the batter out. Can’t Stop, Won’t Stop is no doubt hoping to go high in the charts, and this easy-listening pop EP may be able to do that. It is an easy catch; enjoy it while you can. Most pop music has a relatively short shelf life. But, who knows, maybe Can’t Stop, Won’t Stop will be the next Stayin’ Alive.

I popped the question to my wife after we had dated for three weeks. It was 31 years ago, so that worked out well.

There are a few other variations of definitions of the word pop, but I think that is enough for the time being. I will pop this up on my blog page for your perusal, and I hope you enjoy listening to the easy-going pop music on the EP Can’t Stop, Won’t Stop from the young lads who go by the moniker VOIB.

Photo credits to Miranda Fredriksson

Time to dust off my platform shoes and dig the sequinned vest out of the closet along with the bell bottom jeans with the wide cuff and the satin shirt with the ruffled sleeves; we are listening to some new music that could easily pass for vintage psychedelia.

I’m talking about the new album, Friends In Noise, from the London psychedelic music artist Black Market Karma. Friends In Noise is Black Market Karma‘s eleventh full-length album. How could I have missed this up until now? ‘Friends In Noise,’ is an international collaboration rooted in friendship and spontaneity, released via the London boutique label Flower Power Records and the PR of Shameless Promotions. Revolving around songwriter Stanley Belton, Black Market Karma features music heavy with fuzz pedals and a 12-string guitar jingle jangle. Music that takes me back to another era. I love it.

Stanley Belton tells us, “I didn’t really get the idea of an album in my head too much. It’s something that gradually came together over the years through playing and becoming friends with so many good musicians. Collaborations naturally occur when you’re spending time with people who are musically minded, especially when we would hang at my studio. The songs started to build up over time and I thought man, these should all be gathered together on one release so here we are.”

“The last pieces came via two good friends – Craig Dyer of The Underground Youth and Butchy Davy of The Confederate Dead. Craig and I had wanted to make music together in the past but it never came to be – he lives in Berlin, but we managed to make ‘Wonky’ happen. Lastly Butchy came to the BMK studio with an unfinished, instrumental demo and we worked on it together. The result was ‘Ageing Boy'”.

Earlier, Black Market Karma released the singles’ The Sky Was All Diseased’ with iconic vocalist Tess Parks and ‘Aping Flair’ with Ruari Meehan (Tess Parks, Tess Parks & Anton Newcombe and Belakiss with Ringo Starr’s granddaughter Tatia Starkey).

Featuring recordings captured over nine years, ‘Friends In Noise’ is a series of collaborations between Black Market Karma and friends. Apart from Tess Parks, this album also involves The Underground Youth, Les Big Byrd / Joakim Ahlund, The Confederate Dead and Ruari Meehan. More recently, Stan has also collaborated with Pete Kember (a.k.a. Sonic Boom) of Spacemen 3 fame on a forthcoming release. I happen to dig the grooves of Spacemen 3, so it is no surprise that I also dig the tunes of Friends In Noise.

Friends In Noise features some sharp lyrics to accompany the psychedelic music. Here are a few examples that I notice.

“I got love but I don’t deserve it

I got time but all I do is blow it.”

–Wonky

YouTube is a friend of my wasted time.

–Norman

“Went walking in the sun

Felt all the rainfall.”

‘The Sky Was All Diseased‘

“The sun was shining on the sea,

Shining with all his might:

He did his very best to make

The billows smooth and bright–

And this was odd, because it was

The middle of the night.”

-Lewis Carroll from Through The Looking-Glass and What Alice Found There

Friends In Noise is an excellent example of reimagined music. It sounds familiar, like a flashback to an old friend remembered. And it sounds fresh, like making a new friend that reminds you of an old friend. At the end of the day, I have found Friends In Noise to be a delightful visitor to my home. I hope you invite Friends In Noise into your home and make friends with Black Market Karma.

As of January 13, the ‘Friends In Noise’ album will be available everywhere digitally, including Apple Music, Spotify and Bandcamp. ‘Friends In Noise on 180-gram coloured vinyl from the label, as well as their latest’ Aped Flair & Hijacked Ideas’ LP. Tickets for upcoming tour dates can be ordered here: https://www.bandsintown.com/a/261797-black-market-karma

‘Friends In Noise’ trailer https://youtu.be/m6TzBr1YOW8

Order the ‘Friends In Noise’ LP https://bit.ly/3CtLgn0

Bandcamp https://flowerpowerrecords.bandcamp.com

‘Aping Flair’ https://youtu.be/S4eFJeCaTjA

‘The Sky Was All Diseased’ https://youtu.be/4274oQhCmZw

Spotify  https://open.spotify.com/artist/1lbkSAoynPSO7OQOFSOdon

Order tour tickets at   http://bit.ly/3XbLOVQ

I’ll start 2023 with a blog about the band The Yets and their eponymous debut EP. I will dive right in and look at the first track, Waterline. This track starts with shimmering guitar hooks from Craig Anderson Snook built around smooth synths and a bass that leads the drums that lead to the soaring vocals of Robin Wilson. The remainder of Waterline is about keeping our heads above the water, even in our turbulent times. I’ll sneak in a brown M&M shout-out to my brother, Terry, who works on the waterline of the Fraser River.

The Yets are the combined musical musings of Robin Wilson on vocals and guitarist-producer Craig Anderson Snook. I have to tip my hat to the production of this EP. Much of the lack of quality in today’s top ten music stems from the lack of quality production; much of it sounds like a mono sludge. Not so on The Yets EP. Craig Anderson Snook uses the two channels well, and the songs dance between the speakers.

Track two should be the rallying cry of the baby boomer generation. Remember. Well, actually, no, I do not remember. I do not remember much short-term, but I can spin yarns about the good old days till the cows come home. A great song about entering “the twilight of our days,” “Who will remember?” This song conveys a lot of what I have been living through recently. A cousin of mine recently passed away, but before he went, he carefully journaled and wrote extensively about his life and those around him. He remembered so that others could keep those memories alive for a while longer. Remember? And please do not keep asking those of us with fading memories if we remember. No, I do not remember. But, I too have done extensive writing to try and push the envelope further when the question is asked, “Who will remember?”

I remember that The Yets are based in Myrtle Beach, South Carolina,”Somewhere at the intersection of sound and emotion lies the description of those things we all treasure the most, ‘Letter To A Boy’ is about that special feeling a mother has for her son. It’s unique and difficult to express. It’s extremely hard to put so much feeling into so few words. Lyrically, it’s the most challenging I’ve ever done. It’s also the most rewarding,” says Robin Wilson.

“In a very general sense, this album is about life: the passage of time, relationships and the consequences of the choices we make along the way. I’ve always wanted to bare my musical soul, but never had the right vehicle. That musical soul has always wanted to speak to the world, but never had the right voice. The Yets is that vehicle, and Robin is that voice,” says Craig Anderson Snook, who has performed semi-professionally since he was 13. His musical passion led him beyond cover bands into composition, arrangement, audio engineering, production and ultimately to running his own Royal Terns Records label and studio, where he recorded, mixed and produced the new EP.

The passing of time is measured out colourfully in the song Fades To Gray.

Hansa

Hansa is a beautiful, brilliant shade of yellow

Veridian …

Fades to gray

(Viridian is a blue-green pigment)

Cadmium …

Fades to gray

(Cadmium is a silvery-white metal )

Alizurin…

Fades to gray

(Alizarin is a prominent red dye)

And the hairs on our heads fade to grey, even the blue-green ones; they may even be silvery-white or bright red. And the beautiful, brilliant yellow sun goes down and another life goes with it.

Fades To Gray

After being immersed in the music scene in high school, Robin found her way to the University of South Carolina in Columbia, where she fronted the goth-rock band Bachelors of Art (B.O.A.). Upon relocating to Atlanta, Georgia, she fronted the female alt-rock group Skirt, touring the USA extensively and supporting numerous high-profile acts.

“My previous musical endeavors were always hard rock-based. I wasn’t involved with the actual songwriting except for my vocal melodies and lyrics. With The Yets, I’ve broken that mold, helping to compose and produce a whole new sound. I’ve combined my artwork and media arts degree into the whole creative package. We recorded and produced our own CD in our own studio. We created our own videos and designed and built our own website,” says Robin Wilson.

The EP closes with what sounds like a personal rant, Happy Now. Are you happy now? I’ve done all that I could!

Craig Anderson Snook and Robin Wilson have done all they could to make a lovely recording for us, and I am happy now. My ears are delighted. I love this recording. It carries me through a gamut of quick emotional sound bites, happy, sad, struggling, remembering, giving in, and love. “Faith, hope, and love. The greatest of these is love.”

‘The Yets’ EP is out now, streamable via Spotify and available to order, digitally or on CD, directly from the band via Bandcamp.

Keep up with The Yets

Website | Facebook | Bandcamp | Instagram | Twitter | Soundcloud | YouTube | Apple Music | Spotify | Amazon | Press contact

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‘Letter To A Boy’ https://youtu.be/NFGQ-JUm0d0

‘The Yets’ EP  https://theyets1.bandcamp.com/album/the-yets

Spotify  https://open.spotify.com/album/352OEZQ4saJkEesQqCSxRH

‘Remember’ https://youtu.be/es7JmFTOXdk

‘Lesser Evil’  https://youtu.be/fgP5ZGg0vVw

Soundcloud  https://soundcloud.com/the-yets