Richard & Linda Thompson - Walking On A Wire

 

The clear sound of a marriage falling apart. It is about regret and resignation but no anger, and so much more sad for it. The Album, Shoot Out the Lights was a culmination of Richard & Linda Thompson’s career together. In hindsight, we see how their records and Richard Thompson’s texts of jealousy, rage, and betrayal lead to this emotionally  document of sadness. Walking on a Wire with Richard’s lyrics for Linda to interpret, well, it must have been hard.

Linda:
 “I wish that I could please you tonight” 
“I hand you my ball and chain / You just hand me that same old refrain.”
“Too many steps to take
Too many spells to break
Too many nights awake
And no one else”

My god, how harrowing a break-up can be!

Richard and Linda:
“I’m walking on a wire, I’m walking on a wire
And I’m falling”
…they both fall and they share the blame and the regret, and they know how this is gonna end.

Richard Thompson cries through his guitar in a solo just as painful as the lyrics (starts at 4:42), it is incredible and he manages to convey his/their sadness in a howl from his electric guitar! He has done some great guitar work through the years but this must be one is his most emotionally demanding solos committed to record. The song had to be included in our series of the saddest songs in history.
Linda Thompson was several months pregnant when the album (Shoot out the lights) was recorded and so there was no prospect of an immediate release or supporting tour. By the time the album was released Richard and Linda Thompson’s marriage was over. Ironically, the album was their best-selling album and acclaimed as one of their greatest artistic achievements …but as I said, it is the sad sound of a marriage falling apart. 

From: https://borntolisten.com/2021/02/01/the-saddest-songs-walking-on-a-wire-by-richard-and-linda-thompson/

Spirit - Nature's Way / Love Has Found A Way / Mr. Skin

While not well thought out, Twelve Dreams was intended to be a sort of science fiction concept album, with the twelve songs supposedly representing, or being visions drawn from twelve actual dreams, though the construct was so loosely developed that most listeners were unaware of this attribute at all. Without a doubt, the album, and for that matter, the three previous albums by Spirit were miles ahead of their time, with the band’s vision so original that there was absolutely no precedent for almost all of what the band was laying down, meaning that far too many missed out because the music didn’t click immediately, or wasn’t as cohesive as the radio friendly hits, “Animal Zoo” and the gorgeous “Nature’s Way” … both very good, yet representing only a narrow portion of Spirit’s vision. This notion was not lost on the band either, as Randy California wanted to dive into his more loose experimental aspirations, while Jay Ferguson was in favor of more commercially acceptable material, hence the far and differing presentations on this release.
One of Spirit’s most enduring features is that none of their material ever sounds dated or self indulgent, and all of it comes across crisp and clean, sounding as remarkable today as it did so long ago. If anything, Twelve Dreams was Spirit’s apotheosis, Spirit’s merger of everything they had developed and learned over the years, especially from playing live, which they did relentlessly during the 60’s, finding the key to getting inside of any musical style and almost matter of factly making it their own, and I haven’t even mentioned “Mr. Skin” yet, or the bewildering and exciting “Morning Will Come,” a song that in my option nearly foreshadowed the coming of glam rock.
It was Neil Young’s producer David Briggs who managed to bring this album to completion, where despite the tripped out album jacket, is a very atmospheric album … but of the atmosphere of this planet. Briggs was swept away by Spirit’s jam oriented fuzzed out psychedelia meshed with tinges of jazz, where he managed to allow guitar prodigy Randy California to soar in time with the drumming of his stepfather Ed Cassidy, and the vocals of Jay Ferguson were not stepped on, where things got streamlined, and the magic leached out due to an equality for all involved, resulting in the creation of a stunningly well rounded endeavor that will not be forgotten.
*** The Fun Facts: Referring to the album’s title, Dr. Sardonicus “Mr. Sardonicus” was a 1961 horror film relaying the story of Sardonicus, a man whose face has becomes frozen in a horrifying grin while robbing his father’s grave to obtain a winning lottery ticket, and the Doctor who is coerced into treating him. The ‘Twelve Dreams’ represents the twelve songs on this album.
Risus Sardonicus, known as a rictus grin is an actual medical condition, manifesting a abnormal sustained spasm of the facial muscles that appears to produce the effects of grinning.  From: https://www.psychedelicbabymag.com/2018/02/from-vault-spirit-twelve-dreams-of-dr.html

Let's Eat Grandma - Sax in the City

This multi-instrument toting Norwich-based duo of Rosa Walton and Jenny Hollingworth, both 17, released their debut album I, Gemini last month to critical acclaim. In Sax In The City, the latest single from the album, Let’s Eat Grandma reflect on a human race enslaved by a reliance on tablets and smartphones and share this dystopian nightmare through their unique brand of what they term “sludge-pop”.
The track is a beguiling mix of innocence and inventiveness. After a sea-shanty style beginning, lyrics are whispered in a child-like tone before the saxophone blares out, seemingly uncontrollably at random, and it becomes dub-infused lo-fi pop. It’s catchy and sugar sweet but, with a dark undertone reflected in the subject matter and the repetition of “tell me something interesting”, this duo commands respect. It’s refreshing to hear a band full of creativity whilst retaining a unique, and sinister, sense of humour.  From: https://www.rhiannonholly.com/2016/07/26/lets-eat-grandma-single-review-sax-city/

Pretenders - Kid

"Kid" is a song written by Chrissie Hynde that was released on the Pretenders' 1979 album Pretenders. Hynde wrote the song about a fictional boy discovering that his mother is a prostitute. The song's melodicism was attributed by guitarist James Honeyman-Scott to Hynde's growing interest in pop music. Honeyman-Scott wrote the song's solo, which he had designed over a couple of days.
Of the lyrics to "Kid," Hynde stated, "It's about a prostitute whose son finds out what she does for a living and this is her having a conversation with him. Not all songs are autobiographical."
Guitarist James Honeyman-Scott attributed the song's melodic quality to Hynde's shift from punk to pop; he explained, "Chrissie started to like pop music, and that’s why she started writing things like 'Kid’”  Honeyman-Scott also assisted in arranging the song and composed the guitar solo. Drummer Martin Chambers said of Honeyman-Scott's solo:
Jimmy would be the person that said, 'Right, there's eight bars here that I can put a really good stamp on.' He would go back with a guitar, sit on the bed and just work out what sounded really good. I've got the demo of 'Kid' that has a different ending than what's on the record, but the solo is absolutely the same. Jimmy had gone somewhere for a couple of evenings, and he had worked on it so he could play it fluently when it was ready to record.  From: https://en.wikipedia.org/wiki/Kid_(Pretenders_song)

Rowan Brothers - One More Time

The Rowans, also known as The Rowan Brothers, are an American country-rock group, originally formed by the brothers Chris Rowan and Lorin Rowan. They were joined by another brother, Peter Rowan, for their second, third and fourth album. Chris and Lorin were still playing together in 2019 at the Trident in Sausalito, CA.
Chris and Lorin were raised close to Boston, but in the beginning of 1970, they moved to the West Coast to pursue their music. In 1971, they opened for Grateful Dead as their first gig in San Francisco. Their first album, The Rowan Brothers, was issued on Columbia Records. It was very well critically acclaimed, except by Lester Bangs who savaged the LP in a Creem magazine review. The album included such guests as Jerry Garcia and Bill Kreutzmann of Grateful Dead and was co-produced by David Grisman.
The group had problems after the first record because their benefactor, Clive Davis, lost his job at Columbia. They were signed to Asylum Records as The Rowans and issued their next album in 1975, this time joined by their more famous brother, Peter Rowan, who brought in such hits as "Midnight Moonlight" and "Thunder on the Mountain". After releasing three albums as a trio, Peter left the group to pursue bluegrass music.  From: https://en.wikipedia.org/wiki/The_Rowans 

October Project - Johnny

I have to think that most our readers are familiar with the concept of “Desert Island Discs.” The premise is to make a list of albums (usually 10) that one would take if stranded on a desert island, forsaking all others (assuming, of course, that there was a sustainable means of playback for said albums). 
For me, and many others, it is a daunting task – paring one’s collection down to the 10 core works of musical art that could, hopefully, satisfy one over the remaining years. I would prefer to be given the option of creating 10 album-length compilations, therefore providing a much wider range of performances, but that’s cheating. 
What if, instead of 10 discs, you could only take one? Are there any albums in your collection that could hold up over innumerable repeat plays, one that would provide lasting satisfaction the rest of your life? I’ve thought about it, and I think I have a few that, for my musical tastes, would qualify. I surprised myself, in that, despite the fact that progressive rock is my favorite genre, my selections do not include any in that style, nor are the candidates any of the influential albums from my youth. In this article I will focus on the third of those choices. The first, Bellybutton, by Jellyfish, was featured in Issue 183. The second, Answers to Nothing, by Midge Ure, was described in Issue 189.
I think that, for me, to hold up under such challenging conditions, an album would have to incorporate the following elements: 1) a reasonably wide variety of moods and styles, 2) arrangements that are complex and interesting, and 3) high-quality engineering and production sufficient to satisfy my audiophile idiosyncrasies. A lot of records would qualify if two out of three were enough, but all three?
A third album that checks all the boxes for me is Falling Farther In, the second album by October Project. I don’t expect that many of you are familiar with them, but I think they deserved wider recognition. Although their first album is filled with beautiful music, the sound is a bit murky. The production (by Peter Collins) and engineering (by David Leonard) are vastly improved on Falling Farther In, their second and final album with lead singer Mary Fahl.
The group had its beginnings in New Jersey, with the teenage collaboration of lyricist Julie Flanders and keyboardist/vocalist/arranger Emil Adler composing songs together. Vocalist and keyboard player Marina Belica was Julie’s roommate at Yale. Guitarist/vocalist David Sabatino met Adler at a New York City jam session. Flanders then brought in Mary Fahl as a vocalist. Percussionist Urbano Sanchez chose to remain a sideman, despite being offered membership in the band. Other musicians contributing to the album include bassist Michael Visceglia, drummer Craig Thatcher, and guitarist Marc Shulman.
They released their first two albums in the 1990s before being dropped by Epic records and disbanding. In the early 2000s, Adler, Flanders, and Belica re-formed and recorded an EP, Different Eyes. A tribute album, October Project Covered, was released in 2006 featuring a number of lesser-known indie artists. It wasn’t until 2015 that a full album was recorded by the new incarnation of October Project. The Book of Rounds, consisting of 21 vocal rounds, was quite a departure from the sound and style of the earlier recordings. The music was composed by Adler, with lyrics by Flanders.
Getting back to the album at hand, Falling Farther In opens with “Deep As You Go.” Chiming guitars provide an introduction before Mary Fahl’s vocals take over. Strings and percussion follow, building to a full ensemble piece.
“Something More Than This” features another creative arrangement and Mary’s passionate singing. As one might surmise from the title, there is a definite sense of yearning. “Sunday Morning Yellow Sky” has a very catchy rhythm and fine harmonies. The opening lyrics to “Adam and Eve” are “Only ever really one story, a boy and a girl, and a dream of the world.” The emotion in Mary Fahl’s voice is palpable. “Johnny” tells of a small-town boy with aspirations. Although the intro is moody and slow, “Funeral in His Heart” becomes one of the album’s most driving, up-tempo numbers. A spacey opening belies the power to come in “After the Fall.”  “One Dream” starts with a bang before settling down into a groove. This is another track that expresses a deep longing. “Dark Time” is the most overtly religious of the tracks. The instrumentation and arrangement are as compelling as anything on the album. The title track opens with very slow percussion and builds to the kind of furious crescendo that makes you think it’s the final number, but no. The last track, “If I Could,” has the feel of a lullaby, letting you down gently after the energy of the previous song.
My conclusion about Midge Ure’s Answers to Nothing is equally applicable to Falling Farther In:  “The album’s rich arrangements, crisp production, and overall clean sound serve the songs well. If I had to, I could live with just this album for a long time.”  From: https://www.psaudio.com/blogs/copper/desert-island-discs-pfft-here-s-a-real-challenge-3?srsltid=AfmBOor1zFh5XUQlJ6ahu054oaMNjpIgq1RqY10zj9umRlyFFkImq4Z1 

Lyle Lovett - Skinny Legs

Listen to this track by quirky Texan country-folk singer-songwriter, ‘Large Band’ honcho, and sometime actor Lyle Lovett. It’s “Skinny Legs” a 1994 track from his album I Love Everybody.
Here’s a tale for the non-rock star if there ever was one, a grass-is-always-greener narrative that many guys find themselves in the middle of when comparing themselves unfavourably to others.  In some ways, Lovett is like a gentler, country-folk answer to Randy Newman‘s more abrasive sense of cynicism and irony. Where Newman laughs at the world and it’s absurdities, it’s easy to get the impression that Lovett laughs along while throwing himself in there with it.
That’s one of the things that makes this song so endearing; it has a softer side, a sense of innocence to it that provides an emollient to the spiky themes that it deals with so subtly; envy, self-hatred, and living in a culture that very often values appearances over substance. Being in Hollywood circles as an actor must have given Lovett some sense of this in very personal terms. Yet, that’s another ironic twist to be found in the background of this song, and the record off of which it comes.
The I Love Everybody album is made up of songs that Lovett had written years before, following up the very ambitious Joshua Judges Ruth in 1992. On it are a number of songs, including this one, which are about being outside looking in. A lot of pop songs, and tons of country songs, are about the search for love while being bogged down by things you can’t change; lack of looks, lack of money, or just plain old moral turpitude. Presented here in a laid back musical context, yet also still with a sweetness of tone helped along by pristine acoustic guitars, fiddle, warm stand-up bass, and sumptuous string sections, Lovett created a series of anthems for those not invited to the dance, with this one being a great example.
Yet, Lovett found his way into the world of the beautiful people around this time in any case, appearing as an actor in Robert Altman’s The Player, alongside many Hollywood luminaries. One of these, of course, was Julia Roberts who was a rising starlet at that point fresh off of the sets of Pretty Woman, Flatliners, and Dying Young. They’d date briefly, and elope in 1993. Then, she’d lend background vocals on this very album. Take that, Boy With Skinny Legs!
The marriage would be short-lived, with the movie star’s life (lots of early mornings) and musician’s schedules (lots of late nights) not exactly jibing. Yet, the two would remain friends, with friendship being something to be valued beyond skinny legs, babyfaces, and little round… well, you know.  From: https://thedeletebin.com/2012/07/02/lyle-lovett-sings-skinny-legs/

Kindred - Sweetness

Heres another great album from rocks dim and distant past that managed to slip under the radar. Produced by Chuck Negron of Three Dog Night back in 1971, this first album by Kindred is a fabulous mix of hard driving rock sprinkled with a liberal dose of Gospel, blues and soul. Think Delaney and Bonnie tearing the place up with Clapton playing some heavy guitar, being complemented with some tasty hammond and other assorted keyboard instrumentation. Guaranteed to have you tapping your feet and nodding your head by the time you reach track 3 and 'Movin Ons' irresisteble guitar led shuffle style riff. If you are into the above mentioned or 'Janis' and maybe groups like 'Mothers Finest' then you will probably enjoy this.  From: https://www.amazon.com.au/KINDRED-Kindred/dp/B002CL35WU 

Dan Fogelberg - Illinois

Even at the outset, Dan Fogelberg seemed to have everything going for him: tremendous talent, an exceptional stockpile of songs, an unassuming approach and a host of famous friends on whom he could readily rely. That was borne out by the fact that with only his second album, Souvenirs, he was able to establish himself quickly as a singer/songwriter possessing both promise and proficiency. His music was appealing on several levels, given that it shared a sound that positioned him within the Southern California musical mainstream and a place of prominence that he enjoyed alongside the Eagles, America, Jackson Browne, Poco, the Flying Burrito Brothers and other outfits that shared a similar sensibility. In that regard, he also appealed to the masses, with songs that were suggestive yet spare, intimate and yet accessible, all at the same time.
While his debut Home Free, released two years earlier, leaned on a more countrified approach and gained only limited notice as a result, Souvenirs, released in November 1974, eschewed any specific melodic constraints, courtesy of a set of songs that put the emphasis on compelling choruses that easily made an immediate impact. The tack paid off, landing the album within the top 20 and culminating in sales that equated to double platinum status. It didn’t hurt that he had a star-studded cast of musicians that shared space with him on the marquee, chief among them Joe Walsh, who not only oversaw the album’s production, but also played guitar on 10 of the album’s 11 tracks. He wasn’t alone; other members of Fogelberg’s ensemble included Eagles Glenn Frey and Don Henley, Graham Nash, Gerry Beckley of America, percussionist Joe Lala, veteran session drummer Russ Kunkel, pedal steel player Al Perkins, and a pair of exceptional string arrangers, Paul Harris and Jimmie Haskell.  From: https://bestclassicbands.com/dan-fogelberg-souvenirs-review-6-23-2111/

BraAgas - Live Sur Jahan 2017

The all female group of four called BraAgas has recorded their third studio album Tapas. Songs from the whole of Europe originally dating back to anywhere within a thousand years time span are interpreted by the ladies on the Tapas album in a very modern way. And they do it with such energy and noticeable polyphony singing that you feel like you have just traveled the entire continent in forty seven minutes. And because the name Tapas is not there just for kicks, the tidbits awaiting you while listening are served from Spanish, Balkan, Nordic and Italian sources - thirteen selected music tidbits altogether.  
If you looked up any previous mentions about this group, they wouldn’t be that old.  The girl quartet started up in the beginning of 2007 after the split-up of the band Psalteria. Previous reviews are also little confusing regarding the genre because the two previous albums recorded by BraAgas are totally different from the current album Tapas. “The first album called No.1 was a mix of everything – medieval and folk songs as well; the second one called No.2 - Media Aetas was purely medieval and the album Tapas has nothing to do with ‘medieval times’. It’s an album containing songs which we have discovered and adapted and also those few ‘hits’ which we’ve taken the liberty to modify; those that listeners of world music will definitely recognize.“ And since the ladies are mostly playing ethnic instruments and historic replicas, many guests were helping them in the studio and there were also some electronic recordings. Thanks to those a new modern sound was developed in the production of David Göttlich and Petr Koláček who supported the modern sound of the recordings. The album Tapas helps to bring this music and beautiful songs closer to today’s generations using also the medieval songs that are delivered to untouched listeners. 
The ladies from BraAgas are not exactly beginners; they have been playing for a long time now. There were the already mentioned Psalteria before BraAgas and it’s not the only base BraAgas are building on. “It’s little similar for the listeners because the front woman, the all female group and the repertory genre has stayed the same. Our experiences from other bands have merged here – for me and Karla it was the Psalteria band, for Beta it was Gothart. Michaela had been sometimes the guest in different groups (e.g. Krless) before BraAgas originated,” says Katka Göttlich. The fact that the band was since the very beginning formed by professional musicians has helped them to record the album immediately and to start touring. Live playing is one of those things BraAgas can do really well. That’s why the CD Tapas is the result of their live concert art. The band won the music competition Česká spořitelna Colours Talents this June at Indies Scope Festival organized by Indies Scope Records and the Colours of Ostrava Festival supported by Česká spořitelna and the recording of an album was part of this prize.  From: https://www.indies.eu/us/alba/360/tapas/  

Thank You Scientist - Matrix 4 Leaked

Progressive music genre blenders Thank You Scientist has shared a “Matrix” inspired music video for their song “Soul Diver.” The video lampoons The Matrix right as Matrix Resurrections is in movie theaters. Ahead of the official Matrix 4 movie release,  the band “leaked” the film in their newest music video. Complete with virtual reality and sword fights, the video is directed by and stars longtime TYS collaborator, Richie Brown. The track comes from their recent EP Plague Accommodations. Written and recorded in quarantine and released in November 2021, the 4-track EP is the highly-anticipated follow-up to 2019’s Terraformer. As the first release under their own new label, Flying Jangus Records, Plague Accommodations marks a new, autonomous chapter for the group, and makes their music more widely available. The track features TYS bandleader and guitarist, Tom Monda, alongside bandmates Salvatore Marrano (vocals), Ben Karas (violin), Cody McCorry (bass), Joe Gullace (trumpet), and is the last recorded project to feature Faye Fadem (drums) and Sam Greenfield (saxophone).  From: https://ghostcultmag.com/thank-you-scientist-shares-a-new-matrix-inspired-video-for-soul-diver/

Venus Hum - Soul Sloshing

I know exactly what this song means. At first having listened to it on YouTube a few times, I thought it was a fun little ditty about having sex, what with a catchy infectious techno beat because of "soul sloshing" seemed to imply mixing of two lovers souls and how they intertwine after intercourse. For example I thought: Did I forget to mention I'm the center of attention - I thought clearly pointing at the vagina and how we men focus on that. Sweet is my surprise - meaning sex is a totally fun thing, ...but boy was this so superficial! I so totally wrong on this! Here's the real meaning of the song, and I was totally stunned at the depth of it:

Indulging inaccuracy I'm picking apart my friend Lizzie Throw another word on me and watch me hurl it back

This means, at risk of sounding wrong to others who defend her, Lizzie has been an antagonizing me and we have had words...which have been exchanged on both sides that have been hurtful.

I know you! (I swear I do) You're just like me- You're sipping a cup of pity Aw!

This is the author of the song stating how Lizzie has drawn us into her circle of deceit and falsehood by claiming some similarity in shared experiences when in reality, there is none.

Did I forget to mention I'm the centre of attention In my universe my pain's my pension I know you! (I swear I do) You're just like me-You're sipping a cup of dreams Yeah!

These lines mean the author is in constant pain for the psychic hurt Lizzie has caused. Repeating Lizzie's lines of "I know you" I swear I do, which is falsely attempting to draw me in for her own loving to see someone else's hurt as her own amusement, all focus is on me (as the author) and I can think of nothing else but the suffering Lizzie caused me and the loss of good dreams I once had.

Soul sloshing-don't shush me Just listen to me -pretty little kitty in the sky The bass of my laughter-my gut is the speaker Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Sweet is my surprise!

If the soul is truly immortal, then don't make me be quiet about its immortality or even reincarnation. Listen to me. (Pretty little kitty means perhaps even your beautiful pussy in disguise, Lizzie, which you used to draw me in literally). My bass of my laughter is really the basis of my laughter as I come out of the psychic pain. My gut is the speaker, from my depths of my soul, I will seek revenge, and my retribution.

Self involved security, yet you are such a part of me And somehow what we do seeps into me, seeps into you It's subtle-it's creepy knees It's condescension versus humility

These lines mean I know I need to protect myself from you Lizzie even though our relationship was so deep, that it creeps into our lives like on hands and knees, it affects both of our lives subtly, it's insidious. Your condescension, Your schadenfreude (enjoyment of pain at my cost) Lizzie, that you used to embarrass me to others and to myself is at odds by humble nature. It won't wash, it does not work, and it's not true.

My pain's my pension. Meaning, I'll have this pain long after this relationship is over, and past the point of when I'm old.

Soul sloshing-don't shush me Just listen to me -pretty little kitty in the sky The bass of my laughter-my gut is the speaker Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Sweet is my surprise!

Meaning once again, retribution is mine, and I'll get you back. Total different from my first take on the song.

From: https://songmeanings.com/songs/view/3530822107858513291/ 

Sonia Dada - You Ain't Thinking About Me

Sonia Dada, an eclectic, exciting genre-bending rock & roll group, was born in the spring of 1990. Like their labelmates the Freddy Jones Band, they are based in Chicago. The members take their songwriting inspiration from their experiences in that city as well as on the road. One day in 1990, songwriter-guitarist Dan Pritzker got off a subway train and heard the three-part harmonies of Michael Scott, Paris Delane, and Sam Hogan. Pritzker had already been working with a group that consisted of his longtime friends -- guitarist Dave Resnik, drummer Hank Guaglianone, and bassist Erik Scott. The three singers joined the quartet, and Sonia Dada had a new lineup: Paris Delane, Sam Hogan, and Michael Scott on vocals, plus the original four. Shortly after they began rehearsing in earnest, they added keyboardist Chris "Hambone" Cameron.
 The band has released two albums for Capricorn, Sonia Dada, (1995), their self-titled debut (originally released on Chameleon/Elektra Records) exceeded 100,000 in sales and spurred a minor radio hit, "You Don't Treat Me No Good.'' A Day at the Beach, their follow-up, was released in March, 1995.
The group's intoxicating blend of blues-rock, rhythm & blues, and soul music won them fans in faraway places like Australia, and led to the international touring schedule they now maintain. When the group toured Australia, they sold out all 19 concert dates, and in 1994, they opened 40 shows for Traffic while headlining some large clubs and theaters around the U.S. Songs like "Deliver Me" and "We Treat Each Other Cruel'' are soul-gospel-rock celebrations that feature creative arranging and the messages that appeal to the audience for adult rock radio.
 The songs on Day at the Beach continue the band's genre-fusing traditions, with tracks like "Lay My Body Down'' recalling the gospel-rock mix of their debut record, and the single from the album, "Screaming John'' showcasing a memorable melody, good harmonies, and crafty lyrics. On their second album, the band continues the grooves laid down on its first record, adding funkier rhythms and melodies.  From: https://www.allmusic.com/artist/sonia-dada-mn0000032719#biography

Solstice - Light Up - Live Grand Chapel Studios

I'm not really sure what there is left to say about one of our most iconic and unique progressive rock bands, as for more than 40 years they have been following their own path, guided as always by guitarist Andy Glass. It is strange to think that new album 'Light Up' is following on very quickly from 'Sia", and with the same line-up, both of which are unusual for Solstice. However, the line-up has been stable for quite some time with only singer Jess Holland not appearing on 2013's 'Prophecy'. The artwork is again by Shaun Blake who painted 'Sia', and it makes sense to have the same person involved as in many ways this is a continuation of that album, except here with even more of a concentration on the vocals. Musically there is much on here which could be thought of as prog folk as opposed to the neo tag they are often given, with a depth of thought and complex arrangements which contain a great deal of space within.
A violin has always been a keen element of their sound, but here it is used sparingly so that when it comes in it has even more dramatic effect, while the same is also true of Andy's delicious guitar breaks. When he pushes himself to the fore it changes the direction and momentum of the music, while the rhythm section keeps it tight and allows him room to move. The keyboards are often quite simplistic in comparison, allowing the others to weave the melodies while they often operate as a backdrop. It is nice to see that the album is a "proper" length, i.e. it will fit on one side of TDK-90 tape (if they are still made). Back in the "old days", 45 minutes was seen as an optimal length for pressing purposes, but the advent of CDs allowed that time to move to 75 or more, meaning some bands overstretched themselves when judicious editing would have been useful, but here we have a distillation of all that is good and wonderful about Solstice. This is refined, enjoyable and pleasant music with a rougher edge when the time is right, always with the focus on the vocals.
I have been fortunate enough to have been sitting with this album for some time, and it really is delicious with wonderful arrangements which invite the listener inside to sit down and rest a while. It is one which repays repeated plays as the more one listens to it the more there is to discover with some gorgeously understated moments from all involved, all ensuring they are doing everything they can to put Jess front and centre.  From: https://www.progarchives.com/album.asp?id=77029

Health - Sicko

Los Angeles industrial rockers Health have dropped an intense and somewhat disturbing video for the song “Sicko.” The song is from forthcoming album Rat Wars, due out December 7. You might recognize parts of “Sicko” because it features samples of the Godflesh tune “Like Rats.”
Director Mynxii White explains: “Taking inspiration from the haunting imagery of ’90’s music videos by Godflesh, we put together a video collage of some of our own favorite obscure horror moments of the same time period in one ‘sick’ video for ‘Sicko.’ Some of my best memories are from the stranger indie movies I’d watch in the middle of the night when everyone was sleeping, and it was a lot of fun going back in time to pull moments like a ‘greatest hits’ of all those dark hours of bloody horror.”
Rat Wars was produced by Stint (Oliver Tree, Demi Lovato) and mixed by Lars Stalfors (Salem, The Neighbourhood). “Sicko” is the second single the band has released from Rat Wars; the first being the industrial metal tinged track, “Children Of Sorrow.” Rat Wars was written during the most emotionally trying period of the band’s life, the album builds on their chaotic yet re-invigorating pandemic years.  From: https://newnoisemagazine.com/news-health-release-gory-video-for-track-sicko/

Health is an American industrial/noise rock band from Los Angeles, California. The band currently consists of drummer B.J. Miller, vocalist and guitarist Jake Duzsik, and bassist and producer John Famiglietti. It formerly also included Jupiter Keyes, who left in 2015. Originating from the Los Angeles underground experimental music community, they gained prominence with a remix of "Crimewave" by Crystal Castles before releasing a self-titled album in 2007.
Since then, they have released a further five albums: Get Color in 2009, Death Magic in 2015, Vol. 4: Slaves of Fear in 2019, and Rat Wars in 2023. The band also released the collaborative double album Disco4 in 2020 and 2022, and have contributed to a variety of video game soundtracks, including those for Max Payne 3, Cyberpunk 2077, Grand Theft Auto V, and Ultrakill.
Health was founded after its singer Jake Duzsik met bassist John Famigletti, while Duzsik was working at the flagship Guitar Center in Los Angeles. They decided to form a band and enlisted guitarist Jupiter Keyes and drummer B.J. Miller, the former of which Duzsik knew from university. The band's name was chosen after the members agreed it should be an "everyday word"; when reviewing a long list of terms, "health" was the only one not taken. Their earliest work was inspired by experimentation in Los Angeles' underground music scene, with the intention of incorporating it into a more conventional band format.  From: https://en.wikipedia.org/wiki/Health_(band)

Pretty Balanced - Romeo and Juliet

Pretty Balanced played from Nov 2004 to Feb 2010. For the last nine months of their existence, they were known as The Alphabet. They showcased a new sound that's been called piano chamber rock, rock electronica, and finally by the band, Ctrl+Alt+tronica: the amalgamation of classical instruments, primarily piano, violin, double bass, and contemporary ones- vocals, drums and plenty of electronics. The musicians were Jude Shimer (also of The Sneaky Mister), Forest Christenson (also of Solarist, formerly The Liberty Tax), and Parker Ross.
On 18 April 2009, the band announced on its site that it was no longer Pretty Balanced, but would instead be performing under the name The Alphabet. On the band's website, Shimer says "it was a long time coming; we talked about it for well over a year and finally settled on one we all really loved. one of the main beefs with "pretty balanced" was that people had a hard time remembering it (got a lot of "perfectly balance" and stuff) and also, it was a little complacent for what we've become. and as anna maria stjarnell pointed out in her review on collected sounds, "pretty balanced make an album that is anything but." she meant it as a compliment, and we took it that way. it is good to be excitingly funny-looking and terrifyingly askew."  From: https://www.last.fm/music/Pretty+Balanced/+wiki 

Birdtalker - Graveclothes

Who Are Birdtalker? 5 Things You Need to Know

Birdtalker are a Nashville-born and -bred alternative country five-piece band. The folksy group incorporates rock and a sense of mysticism into their work, boasting bold, round vocals and delicate harmonies, wrapped in a sparkling package reminiscent of early-2010s indie folk, with the spirit of a back-porch acoustic jam. With their debut album, 2018's One, out in the world and a calendar full of festival appearances booked for the summer of 2019, Birdtalker are on a roll. Read on to learn five essential facts about the group.

Members Zack and Dani Green Are Married
The Greens were six months into their marriage in 2012 when, one day, Zack was playing music and asked for advice from Dani. They quickly realized that her lyrical sensibility and knack for singing harmony made a perfect musical match with his guitar-picking and singing. Though neither had previously played in a real band, they slowly decided to give it a chance (but it did take a while, and some convincing from their other bandmates, who came along later).

They're All From Nashville ... and They're All Friends
All five members of Birdtalker hail from Music City and still reside there. Zack Green attended Lipscomb University with drummer Andy Hubright, guitarist and mandolin player Brian Seligman and bassist Jesse Baker, and their tight friendship makes their music even better: They all shine with independent contributions, but create a greater overall sound when they come together.

Their Songs Are Wolves in Sheep's Clothing
Many of Birdtalker's songs have an airy Americana feel. While embracing elements of garage rock and staying true to their folk roots, the lyrical content is thought-provoking and inquisitive. They tinker with the meaning of religion in songs such as "Outside the Lines" and question universal meaning and domesticity in others -- not your typical country commentary. Birdtalker make joyful music with a moody twist (if you're listening closely).

They Picked Up a Band Member While Playing Shakespeare in the Park
On a sunny afternoon in August, after deciding to give the live performance thing a try, Seligman, a friend from college, hopped onstage with the Greens and Hubright. He melded his mandolin into the group's developing sound, and he's been a member of Birdtalker ever since.

Their Debut Single Kinda Went Viral
Before they released their debut record, One, in 2018, Birdtalker caught the attention of the world with their track "Heavy." Released independently as their debut single in 2016, it quickly accumulated over 24 million streams; now at 36 million listens, it's been covered by legions of fans on social media, and given them a national fan base. Last September, the group released a video for the song that features Nashville ballet dancers, a stunning visual complement.

From: https://theboot.com/who-are-birdtalker/

Dead Sara - Something Good

GENRE IS DEAD: Before Dead Sara released “Hands Up” last year, it felt like we hadn’t heard from the band in a while. Temporary Things Taking Space came out in 2018 and you embarked on a tour that same year. Take me through what happened from there leading up to Ain’t It Tragic.

Emily Armstrong: Well at that point, we had a very shitty manager, I’ll say that, and I’m not usually one to blame other people for our misfortunes. It was a time where we were regathering everything and doing what we thought we needed to do, but it kind of steered in the wrong direction. We just needed to figure out what exactly we were. We had to get rid of bad management and regroup and do an album. Do something from the ground up that we absolutely love. So, we went back to Noah Shain, he did our first two albums, and Warner was interested in taking us, so we kind of got a second chance, which reinvigorated us into making something we thought was great and genuine.
And that kind of thing takes time – getting people on board and getting in the studio. We were ready to go in the studio. We were at that point where we were rehearsing, rehearsing, rehearsing and we had songs Warner liked. Cool, now we can go on tour. Then the pandemic happened. We were like fuck what are we gonna do? At that point, everyone was like go in and record in your rehearsal space. We were stoked about having so much control to do what we wanted to do and what we wanted to sound like but also not really knowing how to do it so that took a lot of time. Watching YouTube tutorials on certain microphones and Warner getting us whatever we needed in order to get things rolling and stuff. Then we got going on that. We set up a studio in our rehearsal space and recorded. It was trial and error.

GID: What was recording like once the lockdown was in place?

EA: Noah wasn’t really in the room with us anymore. We did FaceTime but by the end, we were in such a rhythm we already figured out how to do things by ourselves, you know? So, there was a very big momentum shift in our confidence. Instead of depending on other people, it was like opening ourselves up and really taking a hard look at the album and being really honest with what it sounded like or what it was and what we wanted people to hear. Not letting any outside [feedback] getting in. That’s why it took so long.

GID: Listening to the album it sounds like a rebirth for Dead Sara, which is what the 2018 EP was supposed to be. The new album has that raw, rock sound the band is known for, but it also sees you guys branching out and trying new things that take you by surprise. One song that stood out was “Hypnotic.” It’s got this undeniable swagger, yet it’s very real with that line “I’m self-conscious.” It has that confidence but also reveals that layer of insecurity everyone has.

EA: Yeah exactly! That’s exactly what that is. Anxiety will eat you up and will take place of that confidence. That’s the world we live in right now. It’s looking at social media where you’re like fuck I’m not that pretty. I’m self-conscious, but hey, here I am! Fuck everything! That’s at the end where it’s like I don’t give a shit. I’m gonna live my life basically.

GID: Exactly! And with the pandemic, it’s easy to lean into that anxiety. Think about everyone talking about the bread they made, or the new skills that they picked up and you’re thinking I’m so depressed I can’t do anything.

EA: God yeah. Totally. I mean originally, it had a different jokier side to it. And then we asked what is this song? So, we practiced and made it into what it is now, like oh no I’m self-conscious but I’m also a fucking goddess. I got my fucking swagger. I’m on top of the world! That was cracked during the pandemic, but then there’s “Uninspired” which was written when I was in that depressed state of I don’t feel like anything’s gonna get better. That’s a weird position to be in where you’re like there’s something wrong with the world and you don’t want it to be this bad. I remember [drummer/programmer] Sean [Friday] was sitting at the boards and I just started singing “I’m uninspired by pretty boys in rock n roll bands.” I was being a little facetious and also being a little depressed It’s like how comedians always say dark things but it’s funny. That was really born from the idea of oh you’re so inspired! Why don’t you learn a new language? You can be all this kind of stuff and I’m like no. I’m not inspired. How about I sing a song about not being inspired instead of thinking what inspires me because it’s fucking nothing right now!
This world is dying! Will this be the future of our civilization? You start to really think that way. It gets very meta. So that song is very important. It’s just so real, you know? This shit is happening right now. That was the newest song we did because a lot of the songs were demos from a long time ago and when I say demo it’s like a shell. It had maybe a guitar riff, some idea of a song and a verse. Then we reworked the chords for every fucking song, added all this kind of stuff, wrote new lyrics and stuff like that. But we had to have this pandemic in order to do that. I hate to say that but like we were in there six days a week – Sean and I. Sean took over production a lot on this album. So, it was us two against the world. Obviously, [guitarist] Siouxsie [Medley] would be in there too; she takes care of a lot of her side as well, so we have a great dynamic. We also figured that out more because you kind of shift a lot as a group, figure out what’s working, and keep doing that.

From: https://genreisdead.com/interview-dead-sara-emily-armstrong/

Bob Weir - Ace - Full album

Some refer to him as “The Other One.” That’s not exactly a term of endearment or a ringing endorsement. In the Grateful Dead, nobody would ever rate Bob Weir above Jerry Garcia. Garcia always considered every member of the band equal, and the outfit a truly democratic collaboration. But that was just Jerry showing off his humility. 
The Grateful Dead was indeed like a super group all unto itself with the talent it amassed, certified by how bassist Phil Lesh, percussionist Mickey Hart, and rhythm guitarist, songwriter, and secondary frontman Bob Weir were all able to launch solo careers both during Jerry Garcia’s time on Earth, and after. But Bob Weir was regarded more like a reliable relief pitcher when the Grateful Dead took the stage as opposed to the feature act. 
It was Bob Weir’s ability to be selfless and subordinate to Jerry that made the chemistry of the Grateful Dead so legendary. Once a student of Garcia, Bob Weir specifically tooled his rhythm guitar style to Jerry’s natural form of playing. And even though he wasn’t as prolific, and his songs were probably more hit and miss, Bob Weir also contributed some of the most critically important songs to the Grateful Dead canon. 
Enter Bob Weir’s 1972 solo release called Ace, which was facilitated by the band’s record deal that allowed multiple Grateful Dead members to release solo albums under the band’s umbrella. Just like Jerry’s solo album Garcia from the same time period, Ace not only seeded the Grateful Dead’s legendary live shows with some important cuts, it deserves to be in the conversation for one of the band’s best studio efforts. With some exceptions, the album was the Grateful Dead band backing Bob Weir. 
The Grateful Dead played a very important role in the transition of California music from psychedelia to country rock, facilitated by Jerry Garcia’s studious knowledge of old-time string music and his steel guitar capabilities. The band’s early ’70s albums like Workingman’s Dead, American Beauty, and the aforementioned Garcia easily hold up against many of the Nashville country releases of the era. 
But Ace is not really that type of animal. There’s a lot of variety within the eight tracks, but it’s best described as maybe folk and blues-inspired rock. The album is unique in the Grateful Dead catalog for utilizing horns in the recording session, but unlike most Grateful Dead records, Ace doesn’t lend to some bold sonic expression or shift. Yet the album is also slyly and understatedly excellent, evidenced by how we’re still talking about it 50 years later, and it’s been awarded a 50th Anniversary Edition.
“Playing in the Band” with its extended jam on the end, the border town-inspired “Mexicali Blues” with its superb chorus, and the most up-tempo song in the entire Grateful Dead repertoire, “One More Saturday Night,” all come from this album, even if they were featured live before it. “Greatest Story Ever Told” didn’t get as much set list recognition in its day, but it has since been exposed as a defining Bob Weir track, helped in part by its championing by Tyler Childers. 
Even the deeper cuts from the album are worth your attention though. Few regard Bob Weir as some amazing singer. Since he didn’t have an especially unique or eloquent voice, he’d sometimes resort to shouting to get emotion across. Similar to his guitar playing, Bob Weir was at his best supplying harmonies to Jerry Garcia. But Bob’s performance of the heartbroken “Looks Like Rain” on this album is pretty spectacular, and finds Weir’s vocal sweet spot. 
“Cassidy” is also a song not to overlook. Bob Weir was good friends with beatnik icon Neal Cassady. Cassady was like a big brother to Bob, and when he died in 1968, it affected Bob Weir greatly. You also can’t mention the songs of this album without mentioning Bob’s collaborative songwriters. John Perry Barlow was to Bob Weir what Robert Hunter was to Jerry Garcia. Barlow’s work is all over Ace. Robert Hunter and Mickey Hart also contribute on multiple songs.
Beyond Ace, Bob Weir was responsible for some other important Grateful Dead songs like “Sugar Magnolia” and the “Weather Report Suite,” but Ace has really revealed itself as his master work.  From: https://savingcountrymusic.com/vintage-album-review-bob-weirs-ace-50th-anniversary-edition/

Polecat Creek - Surry County's Burning

Polecat Creek is a folk band based in North Carolina. It was formed in the mid-1990s by Kari Sickenberger and Laurelyn Dossett, after they met at a book club in Greensboro, NC. They have released three CDs: Salt Sea Bound (2002), Leaving Eden (2004), and Ordinary Seasons (2007).
Polecat Creek won the neo-traditional contest at the 2006 Appalachian String Band Festival. Dossett won the Chris Austin Songwriting Contest at MerleFest in 2004 in the gospel category. The group has performed with Garrison Keillor and played various festivals — including MerleFest, City Stages (Birmingham, Alabama), First Night Raleigh, FloydFest, and Shakori Hills, as well as concerts and harmony workshops around the Southeast. They are frequently joined in concert by Riley Baugus on banjo and guitar and Natalya Weinstein on fiddle.  From: https://en.wikipedia.org/wiki/Polecat_Creek_(band)