In the shadowy realms of contemporary indie music, Palm Ghosts emerge as neo-80’s ethereal phantoms weaving a haunting tapestry with their latest offering, “She Came Playfully.” The song is one of eleven incredible dark lullabies from the album I Love You, Burn in Hell released on Sweet Cheetah/Poptek Recs and Sell The Heart Records (in the US), and Engineer Records (in the UK). As the song barrels into an almost retro synthy groove, the listener is immediately transported to a sonic twilight zone, a place where nostalgia, darkness, and innovation engage in a mesmerizing dance of influence from across the alternative map such as The Psychedelic Furs, early XTC, The Cure, R.E.M., Tears for Fears, Duran Duran, and Joy Division.
Fronted by the enigmatic singer and songwriter Joseph Lekkas, Palm Ghosts doesn’t just create music; they summon spirits from the past and present, conjuring a sonic séance that reverberates through the soul. “She Came Playfully” serves as a portal, inviting us to traverse the haunted corridors of the band’s collective consciousness.
Lekkas, with a voice that feels like a séance conducted by David Bowie, Richard Butler, and Ian Curtis, guides us through a labyrinth of melancholic melodies and spectral harmonies. The beginning of the track is a sonic séance, blending dream pop with post-punk elements, creating an atmosphere that feels both timeless and contemporary. The ghostly synths and pulsating basslines provide the foundation for Lekkas’ vocals to soar, echoing through the haunted halls of a bygone era.
“She Came Playfully,” is a sonic kaleidoscope that unfolds with spectral grace. The ethereal guitar lines and shimmering keys and synths create an otherworldly atmosphere, while Lekkas’ lyrics paint a vivid portrait of a love that transcends time and space. It’s a sonic séance that evokes the spirit of the ’80s new wave while maintaining a modern hint at a dark wave edge.
Palm Ghosts masterfully balances the ethereal and the tangible in this song. The band’s ability to blend haunting atmospheres with catchy hooks creates a sound that is both haunting and infectious. “She Came Playfully” is not just a song; it’s an invitation to embark on the nightboat. It’s a journey into the recesses of the subconscious, a pilgrimage guided by the spectral whispers of Palm Ghosts. As the final notes of “She Came Playfully” fade into the ether, the listener is left with a sense of having communed with the ghosts of music’s past, present, and future. This song stands as a testament to the power of sonic exploration and the enduring magic of musical séances.
In the heart of Ohio, where the Great Miami River winds its way through the landscape, lies a city pulsating with rhythm and alive with melody – Dayton. Often overshadowed by larger musical hubs, Dayton boasts a local music scene that is as diverse and vibrant as the city itself. From intimate venues to grand concert halls, the Gem City resonates with the beats of talented local musicians who pour their hearts and souls into their craft. I would like to take a few moments to unravel the tapestry of Dayton’s local music scene, weaving a narrative that compels music enthusiasts, young and old, new to the area and stalwarts alike to partake in the experience of the incredible live music performances of the city that is home to YTAA.
The sense of community within Dayton’s music scene is palpable. Local musicians are not just performers; they are storytellers who narrate the collective experiences and emotions of the community. Attending a local music show in Dayton is not merely a night out; it is an immersion into the city’s cultural heartbeat.
Supporting Local Talent
Every city has its unsung heroes, and Dayton’s local musicians are no exception. These artists, often playing in smaller, more intimate venues, are the lifeblood of the music scene. Attending local shows is not just about enjoying music; it’s about supporting the dreams and aspirations of the artists who call Dayton home. The opportunity to connect with musicians who share their souls is an existential chance to become more than we are alone.
Local musicians in Dayton are not in singleminded pursuit of stardom; they are in pursuit of connection. They want their music to resonate with the people who come to understand the pulse of the city, and who can relate to its highs and lows. By attending local music shows, you become an active participant in nurturing the cultural roots that make Dayton truly unique and special.
Intimacy and Authenticity
Large concerts featuring international acts undoubtedly have their allure, but there’s something magical about the intimacy of a local music show. In Dayton’s smaller venues, you’re not just a face in the crowd; you’re an integral part of the performance. The energy exchange between the audience and the artists is palpable, creating an experience that transcends the mere consumption of music. The audience becomes family.
Local musicians often engage with their audience on a personal level, sharing anecdotes, expressing gratitude, and creating an atmosphere of genuine heartfelt connection. It’s in these moments that the boundary between performer and audience blurs, and you find yourself immersed in a shared musical journey. And in those moments we see our common humanity and find within one another something magical.
Affordability and Accessibility
One of the most appealing aspects of attending local music shows in Dayton is the affordability and accessibility. Unlike major concerts that may strain your budget, local shows offer an economic alternative without compromising the quality of the musical experience.
Furthermore, the accessibility of local venues contributes to a more inclusive atmosphere. Whether you’re a seasoned concert-goer or someone attending their first live performance, Dayton’s local music scene welcomes you with open arms. The diverse range of venues (Blind Bob’s, The Trolley Stop, Southpark Tavern, The Brightside, The Yellow Cab Tavern, and more) ensures that there’s something for everyone, from hole-in-the-wall bars in the Oregon district to historic theaters such as Memorial Hall, each offering a unique ambiance that adds to the allure of the experience.
Cultural Catalyst
Music has the power to transcend boundaries, bringing people from different walks of life together. In Dayton, local music acts as a cultural catalyst, fostering a sense of unity and pride among its residents. By attending local shows, you’re not just a spectator; you’re a participant in the cultural evolution of the city.
Dayton’s local music scene reflects the city’s rich tapestry of cultures and backgrounds. Whether you’re into blues, folk, or electronic beats, you’ll find a community that resonates with your musical preferences. These shared experiences contribute to the forging of lasting connections, fostering a sense of belonging that extends beyond the confines of the concert venue. Attending a local show is transformative.
The Ripple Effect
Attending local music shows in Dayton is not a solitary act; it’s a ripple that extends far beyond the immediate moment. By supporting local artists, you contribute to a thriving cultural ecosystem. The success of local musicians often leads to more opportunities for growth within the community, attracting attention to Dayton’s music scene on a broader scale. To say that the music and arts scene in Dayton deserves more attention is equivalent to stating the fact that water is wet.
Moreover, your presence at a local music show sends a powerful message – a testament to the fact that the city’s cultural identity is shaped by the collective enthusiasm of its residents. As Dayton’s local music scene flourishes, it becomes a beacon that draws attention to the city’s artistic spirit, potentially attracting even more talent and recognition. Attending local shows brings more music to everyone.
Just go, already!
In the midst of Dayton’s rivers, rolling hills, and urban landscapes lies a hidden gem – a music scene waiting to be explored and embraced. Attending local music shows in Dayton is not just a leisure activity; it’s a journey into the soul of the city, a celebration of diversity, and a testament to the power of music in fostering community.
The venues may be smaller, but the impact is monumental. In these spaces, local musicians weave stories that reflect the shared experiences, joys, and struggles of the community. By attending these shows, you become an integral part of this narrative, contributing to the cultural vibrancy that defines Dayton.
So, let the beats of Dayton’s local music scene guide you through a sonic adventure. Embrace the intimacy, support the dreams of local artists, and become a catalyst for cultural unity. Attend a local music show in Dayton – where the melodies are rich, the community is vibrant, and the experience is nothing short of magical.
In the dimly lit corners of Americana, where the roots of rock ‘n’ roll intertwine with the twang of country, emerges The Popravinas—a band that embodies the spirit of a bygone era while injecting it with fresh, irreverent energy. Their latest, “3-Month Situation,” is a rollicking journey through heartache, relationships, and a hell of a good time.
From the first notes, it’s evident that The Popravinas are not here to play it safe. The song kicks off with an infectious jangly guitar that leads to a foot-stomping feel that sets the tone for the wild ride ahead. The gravelly vocals carry the weight of countless complicated romance stories, while the band’s tight instrumentation weaves a sonic tapestry that’s both nostalgic and contemporary. “3-Month Situation” is an unapologetic celebration of the working-class troubadour tradition of honest inspection of relationships. The song pays homage to the trials found in relationships like a mature Springsteen and early Johnny Cash. Appreciation to Eddy Sill for answering our questions!
Dr. J: What can you share with us about when and how you started writing music?
Back around the early 90s, I was part of a rather raucous alternative pop band in Los Angeles called The Mutts. One of the guitar players who was quite a prolific songwriter, heard some raw ideas of mine and encouraged me to start seriously writing songs. Once I started to do so, I saw people responding very positively to those tunes when I sang them onstage. My confidence grew quite quickly, and as time went on, it became a way of life for me.
Dr. J: What first led to your recording music? How do you approach production?
Recording (especially in the past) has always been somewhat of a boring process for me. In recent years, the advancements in digital recording have made it so much more pleasurable, easy, and exciting. I much prefer it as opposed to sitting in a boring studio for hours on end, as we now do much of our recording right in our bedrooms, emailing various takes back and forth to Lead Guitar/Producer John Adair.
Dr. J: ‘3-Month Situation’ is your most recent music, what led to the making of that song? What were the main influences on your recording of this song?
That’s a funny question because it was actually brought on by a woman who is a long-time friend of mine. She fairly recently mentioned that she was in a “three-month situation” with a guy, and it didn’t turn out all that well. I immediately wrote those three words down as a potential song title. The amazing thing is that I was going through some old emails from about seven years ago, and there was an email from her saying that she had just gotten out of a “three-month situation!” When I saw that, I knew I had to run with it, and it’s one of those songs that developed very quickly from that point.
Dr. J: The song ‘3-Month Situation’ captures a remarkable constellation of musical influences. The song seems to have an almost country feel. Is that a correct interpretation? If that is correct, did you intend to create a song that connects to that style? If that is not correct, how would you describe the feeling of the song?
We’ve done a bit of the Alt-Country thing on all four of our past albums, and you will hear that on some of the upcoming tunes (such as 3-Month Situation). Lyrically the song is better served in this style. The original idea was a bit more of a rock-n-roll song, but things can change a bit as different guitar & keyboard parts are created. We have a keyboard player (Bryon Haney) who actually lives in Charleston, SC, and he has added some good textures to the recordings in the past few years. He plays with us when we tour back east, and occasionally he comes out west to join us onstage.
Dr. J: How did the song ‘3-Month Situation’ come together musically for you?
As per our usual workflow, it starts with a very basic, lo-fi recording of whatever lyrics/melodies are drafted and a very basic, maybe one guitar, demo. It’s mainly used to map out the tempo and structure. After we recorded the drum track, we built up the instruments and then recorded the vocals last.
3- Month had a few more layers of instruments but ultimately we stripped some away for some better dynamics and to give it a little more sovereignty from our other tunes.
Dr. J: Where do you often derive inspiration to make music?
It can be literally anywhere. It can be my next-door neighbor or many times it is traveling to faraway places like Europe. Most of it is observations and interpretations of personal and social experiences. Much of the time, humor is essential.
Dr. J: How would you describe the music that you create? How has that process evolved or changed over time (especially as you think about your journey in the last few years)?
It definitely has a combination of “twang and pop.” I used to kind of fight off the California vibe, but as time has gone on, I tend to let that flow if it needs to be in that direction. As a band, we have evolved to be more autonomous in recording our own ideas and instruments which has relieved a lot of the stresses of time and money. The downside is we have less interaction creating all together at once in the same room which can bring some creative advantages.
Dr. J: What is next for you musically? How would you describe your thoughts at this point for your next project or release?
We are looking forward to a new album to be released in the Spring of 2024, possibly sooner. We like to think things through on new material, as opposed to bombarding the market. Each of our albums has its own vibe and sound yet remains in our particular unique style. I believe we offer a truly original sound while sounding extremely familiar to our listeners.
Dr. J: What is your favorite song to perform live? What is your favorite song to perform in general? What makes that song a current favorite in your performances?
That is a tough one. I know our drummer (Steve Markowitz) has a favorite in “Zoom to the Ocean” from our last album, “Goons West.” It has some pretty challenging guitar parts that sound easier than they are to play. People seem to like that one. I really enjoyed playing “3-Month Situation” live for the first time this past weekend… Until I went blank on some of the lyrics… Ha! But sometimes that kind of thing can really get an audience going, as we are the type of band that can have that kind of looseness work for us.
10. What is one message you would hope that listeners find in ‘3-Month Situation’?
Well, I hope that it strikes people musically and they can relate to what it speaks of. I was really impressed when it first came out that you (Art Jipson/Dr. J) tweeted how high the percentage is of people that date, and it all ends within three months. I love that kind of factual feedback!… lol.
Dr. J: As a musician, how are you adapting to the challenges of creating music? What are your biggest challenges in creating music?
Creating music can be easy. Being in a band can take some work. Getting the music heard is almost impossible. There are so many obstacles if you don’t know the right people. We’d like to get some proper management, but until then we will continue on, and conduct our business as usual. Hey! If It was easy, everyone would do it!
We want to extend our sincere gratitude to Eddy and The Popravinas for answering our questions and continuing to make some really excellent music! Click on the links throughout the article to visit their social media or to listen to various songs that were discussed! If any musicians or artists would like to participate in future ’11 Questions with…’ columns, please feel free to email us at drjytaa@gmail.com. All photos and images courtesy of The Popravinas.
The world of music has been buzzing with anticipation ever since the news broke that the Fab Four, the legendary Beatles, had recorded a new song. It’s been over five decades since the band’s breakup, and many fans thought they’d never hear new material from the iconic quartet. But now, “Now And Then” has arrived, and it’s causing quite a stir. Speculation about the song has existed since it was recorded as a demo in 1977 with overdubs in 1995 by Paul McCartney, George Harrison (who would pass six years later), and Ringo Starr for the Anthology project. John Lennon recorded a rough demo in 1977, after his so-called retirement from music (approximately from 1975 to 1980) when he was a primary caretaker for his son, Sean. During the work on the Anthology series, the surviving members of The Beatles, Yoko Ono and Sean Lennon shared demo tapes recorded by John. Those demo tapes unearthed several songs including a version of “Now And Then” with Lennon on piano.
In their heyday, the Beatles were the embodiment of the British Invasion, revolutionizing rock ‘n’ roll and pop music, setting a standard that countless bands have aspired to since. With the release of “Now And Then,” they prove once again why their influence remains unparalleled. Of course, there is controversy surrounding the resurrection of “Now And Then.” Using sound source separation technology, AI, Pro Tools Noise Reduction, and techniques developed by The Beatles: Get Back (2021) filmmaker Peter Jackson, this is not a simple recording, this was not a splicing of tape but an effort to save one of the last songwriting efforts from John Lennon.
The song opens with a light piano touch and delicate acoustic guitar riff, immediately transporting the listener back to the timeless sound. This simple yet evocative introduction captures the essence of the Beatles and sets the stage for a chance to reconsider this influential group’s music and legacy.
As the opening verse begins, it’s clear that the years haven’t dulled the magic of Lennon and McCartney’s songwriting. The lyrics are introspective and poignant, reflecting on the passage of time, the need for another, and the fleeting nature of connection. The chorus is both haunting and beautiful, showcasing the unmistakable harmonies that made the Beatles famous. Lennon’s ethereal voice still carries the weight of a thousand emotions, while McCartney’s harmony adds a warm, comforting layer.
The song’s instrumentation reminds us why the Beatles’ timeless craft still holds allure. The lush string arrangements, reminiscent of the orchestration heard on tracks like “Eleanor Rigby,” add a rich layer of depth to the song. George Harrison’s slide guitar work is understated but masterful, and Ringo Starr’s drumming is as steady and unobtrusive as ever, providing a perfect foundation on which the melody soars.
But the true heart of “Now and Then” lies in the voice and the lyrics. Lennon’s voice and his verses reflect a sense of longing and nostalgia, a yearning for a connection to someone else. His words capture the essence of the social bond, and it’s clear that the need for connection has only deepened since Lennon’s passing in 1980. And I still remember where I was when I learned that Lennon had been killed. The memory of that day still brings tears to my eyes. McCartney’s contribution to the song mostly comes in the form of the bass and chorus, which is simultaneously uplifting and melancholic. The juxtaposition of these two elements is what makes the song so emotionally resonant. And the ability to hold those two disparate ideas together in a song is part of what The Beatles so influential and musically important.
The bridge of the song takes an unexpected turn, as it introduces a piano melody that harkens back to the band’s later, experimental period. The Beatles were known for pushing the boundaries of rock music, and, for this reviewer, “Now And Then” is no exception. The bridge is a beautiful fusion of their earlier and later styles, a testament to their ability to seamlessly blend different eras of their musical journey.
As the song approaches its climax, the band’s harmonies become even more transcendent, creating a sonic experience that is nothing short of breathtaking. The harmonies build to a space that moves at its own pace without rushing to an ending. It is impossible not to be moved by the sheer beauty of these legendary voices coming together again. The song reaches its emotional peak here, and it’s a reminder of one of the reasons that the Beatles remain one of the greatest bands in the history of music. The final moments of “Now And Then” bring the song full circle, returning to the feeling that opened the track. The song ends with a sense of acceptance and a quiet sense of hope.
It’s impossible to overstate the significance — and the controversy — of “Now And Then.” In a world where music trends come and go, and artists often struggle to maintain their relevance, The Beatles have managed to create a song that demonstrates some of what the band members would create in their respective solo projects, especially Lennon. It’s a statement of their enduring legacy and their ability to connect with listeners on a profound level.
The release of “Now And Then” has sparked a renewed interest in the Beatles’ music, and it’s not hard to see why, and I for one, welcome that rediscovery. The song is not only interesting because of the laborious effort to bring it to life but in the sweet simple feel of the songwriting. If for no other reason, the song is important because it reminds us all of the band’s unparalleled musical chemistry. It’s a reminder of the power of music to transcend time and touch the soul.
“Now and Then” is more than just a song; it’s a celebration of a band that changed the course of music history. It’s a tribute to the enduring power of their music and to the bond that still exists between the band members, even after all these years and even beyond the mortal coil.
For me, “Now and Then” is a triumph that reaffirms the Beatles’ status. It’s a song that captures a feeling from the band, ever so slightly hints at their early days as mop-topped lads from Liverpool to their later, more experimental phases. It’s a reminder of the timeless power of their music and the enduring connection they have with their audience. The Beatles have once again proven that their magic is as strong as ever, and “Now And Then” is a beautiful addition to their enduring legacy. It is most appropriate that the other “side” for the double A-Side is a new mix of their debut and first hit, Love Me Do. Perhaps in the release of Now And Then with Love Me Do (2023) we have, indeed, seen the future and the past.
When it comes to the indie pop scene, the San Francisco Bay Area jangle indie pop of The Umbrellas began fully formed in 2019 with the Maritime EP. This is a band that has been quietly making waves since they formed in 2018, and their forthcoming record “Fairweather Friend” on Slumberland Records is a tribute to their undeniable talent for writing melodic indie pop music. This album, drenched in the nostalgia of jangle-pop, captures the essence of indie rock’s golden era while offering a fresh and contemporary take on the genre. It is a nod and wink to twee, indie, powerpop, and more with a healthy dollop of the Paisley Underground.
“Three Cheers” opens with a slide into an undeniable bouncing bass instantly pulling you into a dreamy world of melodic guitars and whimsical lyrics. Throughout the song, The Umbrella’s signature sound shines through with jangly guitar riffs, catchy hooks, and shimmering harmonies, reminiscent of bands like The Smiths and The Stone Roses. The vocals, delivered with a perfect blend of longing and optimism, add a captivating emotional depth to the music.
The lyrics are introspective and relatable, making it easy for listeners to connect with the song’s themes of change and self-discovery. The Umbrellas demonstrate a knack for crafting songs that resonate with a broad audience, showing an ability to bridge the gap between the past and present in the indie pop realm. So, better line up for ‘Fairweather Friend’ now.
The song’s production quality is top-notch, with every instrument and vocal line given ample space to breathe. The song maintains a consistent, sun-soaked atmosphere, but brings something unique to the table, ensuring that “Three Cheers” never becomes monotonous.
While the song is an exploration of indie pop’s classic elements, The Umbrella also infuses it with a modern feel and sensibility, ensuring that it doesn’t sound like a mere throwback. This balance between nostalgia and innovation sets “Three Cheers” apart in the crowded indie music warehouse.
In a time when indie pop is experiencing a resurgence, The Umbrellas’ “Three Cheers” is a refreshing addition to the genre. It’s an album that will undoubtedly appeal to both longtime fans of jangle-pop and newcomers looking for a captivating musical journey. With its infectious melodies and genuine lyricism, this song will have you moving, swaying, and dancing just like the band in the video. “Three Cheers is an irresistible invitation to immerse yourself in its sonic daydream, and it’s an invitation that’s impossible to resist.
In the ever-shifting of the goalposts in indie music, Hello June emerges as a formidable force — see our review of their excellent Artifacts album — and their latest music video is for the song, “Napkin.” The song is a masterstroke that underscores their authenticity and musicality.
Hello June’s frontwoman, Sarah Rudy, unfurls a narrative drenched in raw emotion, reflecting on moments of vulnerability and self-discovery. “Napkin” is an intimate confessional, delivered with a hauntingly beautiful voice that captures the essence of a soul laid bare. The haunting instrumental arrangement until an unexpected explosion paints a sonic picture that runs the emotional tumult of the lyrics, further strengthening the song’s resonance.
The track’s compelling lyrics reveal the intricacies of human relationships, akin to the crumpled napkins that soak up spilled drinks and hidden sorrows. Rudy’s lyrical craft is akin to a modern-day poet, channeling the complexities of love, longing, and the leaving of pieces of ourselves with one another even if we are no longer a part of each other’s lives, with profound authenticity. As the song unfolds, it’s impossible not to feel the weight of these words:
All the houses were glowing – in the distance there like stars When you and me were dreaming, we weren’t counting any scars I wrote it on this napkin that I would never be what you need Couldn’t tell myself it’s over, so I left a piece of me, so I left a piece of me
Musically, “Napkin” is a brilliant patient song of understated perfection. The delicate interplay between the guitars and Rudy’s ethereal vocals creates a sonic atmosphere that is both melancholic and mesmerizing. The song builds with an inexorable, yet restrained force, culminating in a cathartic crescendo as Rudy sings:
Cause I heard that I’m a good time And I’m just another alibi I’m the one in your dreams I’m the ghost down the hall The love of your life But I’m nothing at all
And that leaves an indelible mark on the listener’s soul. “Napkin” and the evocative music video has Hello June clearly proving their mettle as storytellers and musicians. Their ability to capture the fragile beauty of human frailty and vulnerability sets them apart from the crowd. This is not just a song; it’s an experience that leaves you both moved and enlightened. You wonder what piece of yourself you left with someone else whether you meant to or not.
In a time when the world craves authenticity and emotional depth in music, Hello June’s “Napkin” delivers on all fronts. It’s a song that more than deserves to be heard and cherished.
Van Plating, the enigmatic musical virtuoso, has taken us on yet another mesmerizing journey through the polychromatic landscapes of her fertile musical imagination with her latest record, “Orange Blossom Child.” In this auditory odyssey — her third full-length album — Van Plating weaves together elements of Americana, bluegrass, folk, country, and rock music to create an album that’s nothing short of a contemporary sonic gestalt. With a nod to the spirit of experimentation and innovation that characterizes the country music troubadours, Outlaw Country, and innovators of the past (notably Tom Petty, Lucinda Williams, and Gram Parsons), Van Plating presents us with a record that sounds both nostalgic and profoundly modern; eschewing the contemporary bro-culture of country music, she has created a record that spins from introspection to controlled chaos while staying pure within a perspective that is far too rare in the country music of the charts. This is personal music made by a real, genuine person not by a committee trying to cram in all of the right words into a song to win a future promise of commerical endorsements.
Van Plating has always been a visionary artist, do yourself a favor and listen to her unbelievably captivating “The Way Down” from 2021 to hear her ability to paint a song with a hum or a vocalization. She has always been unafraid to traverse uncharted musical territories or bring together strands of sounds that when spun together capture the listener of a web of imaginative weaves of sound. She has accomplished this musical aerobatic artistry while staying true to her musical vision, and “Orange Blossom Child” is no exception. From the beginning of the album, it’s clear that Van Plating has embarked on a new sonic exploration that shows how country music can be made personal and political simultaneously. The record opens with the title track, “Orange Blossom Child,” a slow-build composition that blends drums, slinky guitar, and ethereal backing vocals, setting the stage for the sonic journey ahead. Plating’s distinctive vocals, filled with a sense of longing and wonder, guide us through this hypnotic dreamscape.
The album’s production quality is nothing short of exceptional. Every instrument and sound is meticulously crafted, and it’s evident that Van Plating and her team spared no effort in making every note count. The richness and depth of the arrangements are a testament to her dedication to her craft, as well as his commitment to delivering a listening experience that transcends the ordinary. The songs on this record defy the expected overly slick feel of contemporary country music.
One of the standout tracks on “Orange Blossom Child” is “Hole in My Chest (Big Feelings),” a sprawling acoustic and otherworldly composition that showcases Van Plating’s penchant for experimentation. Featuring Kirby Brown, the song begins with a mesmerizing guitar cadence that gradually gives way to layers of intricate vocals and haunting vocal harmonies. The result is an auditory space that feels both hauntingly beautiful and transcendental. Van Plating’s lyrics in this track delve into themes of being lost and yearning, adding an emotional depth that complements the musical intricacy.
Another highlight of the album is the track “The Heron,” which is a testament to Plating’s songwriting prowess. This song, featuring Elizabeth Cook, has a timeless quality to it, with a melody that feels like it could have been plucked from the annals of classic country music or written in the car listening to Lucinda Williams whether the road is gravel or paved. Van Plating’s storytelling ability shines through in this tune, with lyrics that invite the listener into a world of vivid imagery of place and a few moments of introspection about what we take from the places we come from and only realize later that impact was real and powerful. The song’s arrangement, featuring steel guitar, fiddle, and perfectly paired voices, creates a sense of intimacy and nostalgia that will have all of us wondering about how much of who we have become was/is a result of where we were raised.
“Orange Blossom Child” is an album that rewards deep and repeated listening. It’s a sonic tapestry that reveals new layers and nuances with each play that take elements of various genres and reassemble them. The complexity of Plating’s compositions is paired with a sense of accessibility, making it a record that can be enjoyed by both seasoned music aficionados and casual listeners alike. One can be a fan of Bluegrass and see the album as a revelation for its use of fiddle and peddle steel. Another listener could be a fan of Tom Petty and love the swing in the arrangements. An Outlaw Country fan can feel the influence of Willie Nelson, Waylon Jennings, and Jessi Colter across several tracks. The album’s diversity is evident in tracks like “The Hard Way” and “Jesus Saved Me On The Radio” which introduce a heavier, melodic electrified sound, reminiscent of the country rock of the late ’60s and ’70s with a sly nod to Gram Parsons and The Flying Burrito Brothers. Van Plating effortlessly shifts between musical styles, showcasing her versatility as an artist.
The record’s later section introduces a sense of introspection and vulnerability, with tracks like “The Sugar Plam Club” and “Zion is a Woman.” These songs offer a quieter and at the same time almost more playful side of Van Plating’s artistry. “Joel Called The Ravens” features a sway that captivates a listener with gentle vocal harmonies that lay upon the ground never forced but still inescapable, creating a hushed and meditative atmosphere. The spoken section of the song only adds to the storytelling as well as builds the music into the emotional depth of the song even further. “Joshua,” on the other hand, is a fiddle-driven ballad that showcases Van Plating’s ability to convey deep emotions through her voice and lyrics. Sometimes a whisper, a hum, a carried note convey as much as the loudest, longest yell.
As the album progresses, it becomes clear that “Orange Blossom Child” is a thematically connected album of sorts, with recurring themes and motifs that link the songs together through a reflection on place – often depictions and symbols of Florida – but many of the references could be from many different locations. Several songs explore the consequences of the choices we have made and the search for family and connections that move all of us. Often it is in the eyes of others that we truly see ourselves. The sense of a narrative arc is enhanced by Van Plating’s meticulous track sequencing, which takes the listener on a journey of self-discovery and opens the door to the possibility of self-transformation. The album’s closing track in particular, “Joshua,” ties the various threads of the record together, delivering a cathartic climax that leaves a lasting impression as the song fades around a heartfelt piece on the fiddle.
Lyrically, “Orange Blossom Child” is a poetic and personal journey about the places we feel and call home. Van Plating’s lyrical themes touch on universal subjects such as love, time, and the human condition. Her words are imbued with a sense of profound spirituality, inviting the listener to contemplate the deeper mysteries of life. Lines like “Good girls have edges that the boys can’t break” (from the opening title track) exemplify the lyrical depth and personal subject matter found throughout the album.
In terms of musicianship, Van Plating is joined by a talented ensemble of musicians who contribute to the album’s rich and diverse sound. All of the featured musicians add to the musical stew in unexpected and exciting ways. The synergy among the musicians is palpable, creating a sense of cohesion that is vital to the album’s overall impact. The intricate guitar work, the ethereal textures on fiddle, peddle steel, and the percussion arrangements whether intricate or all flat out on fire all come together to assemble a sonic landscape that is uniquely Van Plating’s own.
“Orange Blossom Child” is a testament to the power of music to transport and transform even if the discussion is tied to home. It’s an album that invites listeners to immerse themselves in its otherworldly sonic tapestry and embark on a journey of self-discovery while revealing the roots of where we stand and live. Van Plating has once again proven herself to be a musical visionary, unafraid to push the boundaries of creativity and artistry. With “Orange Blossom Child,” she has gifted us an album that will surely show country musicians that a statement can be so much more than a facile sing-along looking for a corporate sponsor. The album is a classic that transcends the confines of any specific era of country music.
In a country music industry often dominated by commercialism and formulaic compositions, Van Plating’s “Orange Blossom Child” is a refreshing and ambitious work of art that reminds us of the boundless possibilities of music. It’s a record that demands to be experienced, to be savored, and to be contemplated. Listen to this album with friends because you will want to talk about it. With this album, Van Plating has solidified her place as one of the most innovative and imaginative musicians of our time, and “Orange Blossom Child” is evidence of her enduring commitment to the pursuit of musical discovery.
In a world where music often shies away from genuine emotional rawness, Beth Bombara’s “I Only Cry When I’m Alone” emerges as a breath of fresh air. With soul-stirring lyrics, an evocative voice, and a hauntingly beautiful melody, this track is a testament to the power of simplicity in songwriting. And from the first listen, you will be hooked. And hooked hard to this gem. We have been playing Beth’s music for several years on YTAA and while we are in love with her brilliant latest album, It All Goes Up, her previous albums and music require your undivided attention as well. Plus this video also features the excellent “Upside Down.”
Bombara, a native of Grant Rapids, Michigan has made St. Louis her home, and has a knack for crafting songs that cut straight to the core of the human experience, and “I Only Cry When I’m Alone” is no exception. The song begins with a Jangly guitar riff, setting a melancholic tone that persists throughout. Beth’s voice enters feeling like a whisper, soft but laden with emotion, immediately pulling the listener into her world.
The lyrics of the song are a poignant reflection on the struggles we often hide from the outside world. Bombara confesses, “I’m owning all my insecurities, Callin’ ’em out by name and watch the demons bleed, They’re tryna hold me to the in-between,” as she explores the common human experience of concealing our pain and vulnerability, even from those closest to us. The words are heartfelt, relatable, and delivered with such sincerity that they linger in the mind long after the song ends.
One of the most remarkable aspects of this track is its ability to build tension and emotion without resorting to excess. Sometimes a whisper hits like the loudest scream. Beth Bombara’s vocals are the driving force, conveying a sense of solitude and fragility that captivates the listener. The song’s arrangement hits from the first, featuring a ’70s feel with jangly guitars and sparse yet driving percussion that holds the song in place, allowing the lyrics and Bombara’s voice to take center stage. The instrumentation creates an intimate atmosphere that underscores the theme of emotional isolation, it has the same sensibility of R.E.M.’s Camera when Stipe sings:
“Will you be remembered? Will she be remembered? Alone in a crowd a bartered lantern borrowed If I’m to be your camera then who will be your face?
Bombara’s excellent lyrics have the same impact as the R.E.M. classic. We all have felt the loneliness of solitude and being in a crowd and revealing how we truly feel, the hurts that cannot be contained anymore when we are away from the judging eyes of the world. As Beth sings and holds the word ‘alone’ for a few beats, the impact is even stronger and more unavoidable:
Invisible as air Hoping you still care It doesn’t matter where I go I only cry when I’m alone I only cry when I’m alone
The song’s production values are impeccable, highlighting Beth Bombara’s unmistakable talents as a songwriter and performer. The mix is clean and balanced, allowing every element to shine through without overpowering the emotional core of the song. The soundscapes created by “I Only Cry When I’m Alone” are evocative, painting a picture of a solitary moment of vulnerability that anyone can relate to.
As “I Only Cry When I’m Alone” progresses, Bombara’s vocals gain strength and intensity, mirroring the idea of vulnerability gradually giving way to self-acceptance. The song’s crescendo is both musically and emotionally satisfying, a testament to Beth’s masterful storytelling.
Beth Bombara’s “I Only Cry When I’m Alone” is a perfect example of vulnerability, passion, the need for connection, and simple direct, and unflinching authenticity. In an atomized world of overproduction and artificial emotions, Bombara’s music stands out as a shining example of what it means to connect with an audience on a deep, emotional level. Her lyrics are poignant, her voice is captivating, and the arrangement is perfectly suited to the song. “I Only Cry When I’m Alone” is a testament to the enduring power of raw, honest songwriting and marks Beth Bombara as an artist to watch. It’s a timeless tune that will undoubtedly leave a lasting impression on anyone who takes the time to listen. Take the time to listen.
In the ever-evolving kaleidoscope of rock and blues, it’s rare to come across a band that can channel the raw essence of classic genres while injecting a fresh and exhilarating spirit into their music. Enter Heather Redman & The Reputation, a group of fantastic Dayton, Ohio musicians whose debut album is nothing short of a revelation in the world of contemporary rock and roll. If you’re craving the kind of music that grabs you by the soul and refuses to let go, then look no further. This is Heather Redman & The Reputation, and their self-titled album is a tour de force of funky soulful blues-infused rock that takes you on a journey through love, pain, longing, and everything in between.
Heather Redman’s husky, soulful voice immediately captivates the listener, drawing them into the world of her lyrics. The Reputation’s instrumentation serves as the perfect backdrop to Redman’s compelling storytelling, creating a synergy that is seldom encountered in modern music. Their self-titled album takes you on a mesmerizing musical journey, exploring a variety of emotional landscapes through a potent blend of soul, blues, rock, and blues influences.
The opening track, “Everybody,” sets the tone for the entire album. Redman’s voice takes center stage, conveying the emotional depth of the lyrics. It’s a heartfelt tour-de-force ode to community where all are welcome, with a bluesy, slow-tempo groove that pulls you in and doesn’t let go for a single second. The vocals are exceptional. Whether she whispers or screams, Redman sings with unrestrained passion that would destroy a lesser singer. I would pay money to hear Heather Redman sing the phonebook. The guitar work courtesy of Matt Webster on this track is exceptional, capturing the essence of classic soulful blues while adding a modern flair. The keyboards feel like they are dancing around the room. The percussion propels the song forward so well that you are a bit surprised when the song ends. It’s a tantalizing preview of what’s to come.
As the album progresses, “Step Back Girl” showcases Heather Redman’s songwriting prowess. The lyrics are poignant and fun, painting a picture of flirtation, fascination, and being a little star-struck. The Reputation’s musicianship is on full display, with a jangly guitar that adds a layer of emotional depth to the song. This track is a testament to the band’s ability to convey complex emotions through their music without talking down to their audience. There is a wink that the object of affection may be important to the narrator of the song as well as the young lady filled with longing watching the desired musician up on stage.
The album takes a turn with “Wait For Me,” a high-energy track that fuses rock with blues in an electrifying way. Redman’s voice soars, showing her versatility as a vocalist. The Reputation’s rhythm section locks into a tight groove, propelling the song forward with an infectious energy. “Wait For Me” is a stand-out track that demonstrates the band’s ability to switch between different moods and styles seamlessly. This song swirls from the start of the organ to the punch of the chorus with a beautiful harmonic blending of voices and emotions. The song captures the pushes and pulls of hope, desire, and the slow realization that we are all waiting.
One of the defining qualities of this album is its lyrical depth and swirling maelstrom of musical inventiveness. “Daydream” is a prime example, a song that seems to delve into themes of reflection and regret. Redman’s lyrical delivery is passionate and introspective at the same time, and the band’s movement is at times restrained and in other moments goes full bore like their lives depend on it. The instrumentation provides the perfect canvas for Heather Redman to paint her emotional narrative. The use of horns in this track is a beautiful touch, adding to the overall quality of the song.
The album reaches its climax with the Salvadore Ross cover of “Broken Bones,” a mesmerizing track that is a testament to the band’s songwriting and musicianship. Heather Redman’s vocals are hauntingly beautiful, and the Reputation’s arrangement is powerful. This song is a perfect encapsulation of the band’s ability to create music that is both emotionally resonant and musically engaging. The guitar solo in “Broken Bones” is a thing of beauty, showcasing the band’s virtuosity.
As the album approaches the end, the choice of the Amber Hargett penned evocative tune “Prove It To Me” provides a poignant and intimate moment. Redman’s voice is soulful and resolute with a dash of defiance conveying a sense of demand while carrying under the surface hints of closure and acceptance. The Reputation’s acoustic instrumentation in this track is a departure from the rest of the album, showcasing their versatility. It’s a bittersweet clarion call to ‘Prove It To Me‘ that leaves a lasting impression. The drums and percussion on this song from veteran drummer Dan Stahl shine on this song.
Every soulful album should have a passionate plea and Tryin‘ — the penultimate song on the record — is a barn burner that just simply leaves everything on the floor. Heather Redman’s lyrics are a testament to her songwriting abilities. Her words cut to the core of human emotions, exploring themes of love, heartbreak, and self-discovery. The lyrics of this song are thought-provoking and relatable, making it easy for listeners to connect with it on a personal level. Across the eight songs on the entire record, Redman’s storytelling is vivid and evocative, creating a strong emotional resonance that lingers long after the music stops. The listener is left wondering, what happens after the music fades.
The closing track, “The Getdown,” is a fitting end to the album. It’s a triumphant and anthemic song that encapsulates the essence of Heather Redman & The Reputation. The band’s chemistry is on full display, with a powerful, driving rhythm section and searing guitar work. Redman’s vocals are filled with determination and resolve, making it clear that this band has arrived and is here to stay.
Throughout the album, Heather Redman & The Reputation effortlessly blend elements of blues and rock, creating a sound that is both timeless and contemporary. The interplay between Redman’s expressive vocals and the band’s impeccable instrumentation is a match made in musical heaven. This album isn’t just a collection of songs; it’s a narrative journey that takes the listener through the highs and lows of life’s experiences.
The Reputation’s musicianship is equally impressive. The band members are not just skilled instrumentalists; they are true artists who understand the nuances of their craft. Their ability to seamlessly switch between different styles and moods is a testament to their versatility and adaptability. The guitar work, in particular, is a highlight, with solos that are both soulful and electrifying. The organ/keyboards pull a sonic sleight of hand in creating a sway to the songs that add to the bounce and joy of each tune.
Heather Redman & The Reputation’s self-titled album is a triumph in modern rock music because it is so rare for a debut album to smoothly transition across styles and there is no awkwardness or jarring shift, the songs flow as if moving downstream. It’s a rare gem that captures the spirit of classic blues and rock while infusing it with fresh and contemporary energy with a healthy helping of soul. The band’s ability to convey complex emotions through their music is nothing short of remarkable, and Heather Redman’s vocals are a force to be reckoned with. You cannot look away when Heather Redman sings, it’s as if her singing possesses an unrelenting gravitational pull.
In a musical landscape that often prioritizes the trendy and the ephemeral, Heather Redman & The Reputation stand as a testament to the enduring power of authentic and emotionally charged music. This album is a must-listen for anyone who craves music that goes beyond the surface and delves deep into the human experience. Heather Redman & The Reputation have not only made a name for themselves; they’ve etched their reputation into the annals of rock and blues music. This is the band you will want to remember.
So, if you’re in the mood for a musical journey that will move your soul, make sure to give “Heather Redman & The Reputation” a spin. This is an album that demands to be heard and it will not take ‘no’ for an answer. This record will leave a lasting impression and firmly establishes Heather Redman & The Reputation as a force to be reckoned with in the musical spheres of funk, soul, rock, and blues. Don’t miss out on the opportunity to witness their sly musical magic.
As we celebrate the Ed Stasium remix of The Replacements album ‘Tim‘, we thought gathering other music lovers’ thoughts would be a great way to stop and consider the impact of this record. The fourth ‘Revisit’ comes from our friend, musician, and music writer, Matt Derda of Matt Derda & The High Watts! Matt is a Chicago area-based musician who has released some incredible music. Thank you, Matt!
Recently, I saw a video where someone had a Fender Telecaster guitar and the paint started to wear off. Underneath the black layer of paint was an incredible paisley design. The guitar was perfect already and it played great, but with this discovery, it’s now an amazingly beautiful guitar. I think you get the metaphor here.
I was a huge fan of the Dead Man’s Pop reissue and it felt like a totally new Replacements’ record. I really didn’t have that much of an issue with the original Don’t Tell A Soul like everyone else did, but it was a welcome update. But I actually couldn’t fathom how they could make Tim better. Bastards of Young is already in my top 5 best songs of all time. However, Tim (Let It Bleed Edition) should probably become an adjective to describe something that is old, but yet new at the same time. I don’t know that there is a better example to ever exist.
Every single track is familiar, yet slightly different. I think what stands out the most is how much you can hear the clarity of all of the guitar parts. If you already thought Bob Stinson was a genius guitar player before, well now he’s a guitar god. And really the whole band just played incredibly well off each other. I prefer to listen to live recordings, either bootlegs or official releases. The Tim (Let It Bleed Edition) sounds like a live recording. It’s as if you’re sitting in the room with The Mats as they play all of these tracks together.
And everything seems to have a little extra swing to it. I don’t think I realized how danceable this record was before. Kiss Me On The Bus was already pretty peppy, but something about being able to hear Bob’s guitar and Tommy’s bass a little better makes me want to get up and dance. Dose of Thunder sounds a little less KISS and more like the Dead Boys. Waitress in the Sky could easily be a hit on Outlaw Country on SiriusXM radio. Bastards of the Young doesn’t sound all that much different, but it didn’t need to. It’s perfect.
A proud parenting moment for me was when my six-year-old asked me what song I was listening to one night while doing the dishes. It was the new Ed Stasium mix of Waitress in the Sky. She said, “I like this song.” I’ve never been prouder.
The stand-out song for me though is Swingin Party. I never really cared for this song. Of course, the lyrics are masterful, per all Westerberg tunes, but I just thought the song was kind of boring. Everyone always loves that song so I was kind of embarrassed that I didn’t care for it. However, on this reissue, it seems like a totally different song. It went from one of my least favorites to one of my favorites. I think it is because you can clearly hear Tommy’s bass lines. The song actually swings now.
Finally, I have always been a huge fan of the song Nowhere is My Home. It’s probably one of my top 10 favorite Mats songs, and it was originally cut from the album! This edition gives us two…TWO versions of Nowhere is My Home.
William Matheny’s latest offering, “That Grand, Old Feeling,” is a testament to his prowess in writing amazing music and personal poetic expressions to everyday life and an album that transports listeners to a bygone era while maintaining a firm grip on the present. It is an alt-country approach, part rock and roll, part folk, part country that cannot easily be labeled. In fact, Matheny embraces both sides of the alt-country equation. Known for his evocative storytelling, Matheny has created a record that straddles the line between nostalgia and innovation, delivering a refreshing take on the timeless themes of love, loss, longing, and self-discovery.
From the very first notes of “That Grand Old Feeling,” it’s clear that Matheny has crafted an album that echoes the classic Americana and folk-rock sound of the 1970s swirled with a 2000s songwriter’s pen. The warm, inviting instrumentation showcases his deep appreciation for the genre’s roots, but it’s Matheny’s songwriting, alongside the exuberance and spirit of guitar, bass, and drums that compliment the lyrical dexterity that truly stands out. The album is a collection of character-driven tales and introspective narratives that tug at the heartstrings, demonstrating Matheny’s gift for storytelling that resonates.
The title track, “Grand Old Feeling,” is a poignant song that reflects the tone of the record. With its electric guitars that pause to make space for Matheny’s heartfelt, emotionally charged vocals, it’s impossible not to get lost in the song’s sentiment. It’s a masterful composition that transports listeners to a world where emotions run deep, and life’s complexities are explored with honesty and grace, and all the while Matheny is not afraid to rock out and give musical voice to the frustrations that are so passionately felt.
Matheny’s ability to craft relatable, memorable characters is on full display in tracks like “Stranger’s Voice” a bittersweet slow-build rocker that tells the story of a person yearning to escape their mundane life. His lyrics are vivid and evocative, making it easy for listeners to empathize with the characters and situations he describes while being able to see themselves in the story.
The album takes a turn toward a more reflective sound with “Down at the Hotel Canfield” and “Christian Name,” where Matheny’s band kicks into high gear, infusing the song with infectious energy. This track, along with “Every Way to Lose” — a delight on the album — and 70s-influenced “Late Blooming Forever” showcases Matheny’s versatility as a songwriter, seamlessly shifting between intimate, acoustic moments and rollicking, full-band arrangements.
Throughout “That Grand, Old Feeling,” Matheny’s vocals are compelling, conveying both vulnerability and strength. His voice carries a depth of feeling that brings his stories to life, making it easy for listeners to connect with the album’s emotional core while swaying and dancing about the room.
While the majority of the album shines brightly, there are moments where some songs, like “Every Way to Lose” and “Strangers’ Voice,” stand out. However, the flow across the album is impressive as Matheny’s songwriting prowess remains clearly evident, demonstrating his commitment to delivering quality songs that capture something authentic.
In “That Grand, Old Feeling,” William Matheny has crafted a record that effortlessly captures the essence of 1970s rock, Americana, alt-country, and folk-rock while presenting a collection of timeless tales that resonate deeply with the listener. It’s an album that evokes a sense of nostalgia while remaining wholly contemporary, reaffirming Matheny’s position as a gifted storyteller and musician who is not beholden to any one musical tradition. “That Grand, Old Feeling” is a dusty testament to the enduring power of well-crafted songs, and it’s a must-listen for anyone who appreciates the art of storytelling through music.
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