ALBUM REVIEW: On ‘One Is One,’ Delta Spirit Continues Streak of Music That Moves
What’s a band to do when following up a masterwork?
Delta Spirit’s What Is There (2020) was/is a paragon of melodic sensibilities, an excellent front-to-back long player that proved Matthew Logan Vasquez and company were back and better than ever after a five-year hiatus. Yet instead of
ALBUM REVIEW: ‘Carry Me Home’ Preserves the Mighty Last Pairing of Mavis Staples and Levon Helm
It was a match made in heaven, a dream come true for fans and performers alike. The 2011 summertime concert at Levon Helm’s Barn in Woodstock featuring Helm and gospel icon Mavis Staples was a celestial express with Mavis and Helm holding the throttle wide open. Carry Me Home,
ALBUM REVIEW: With ‘Gold Country / Country Gold,’ Secret Emchy Society Revels in Audacity and Style
With Gold Country / Country Gold, Cindy Emch, aka Secret Emchy Society, releases another set of boisterous, heartfelt, and frequently tongue-in-cheek songs, her freewheeling persona belying a well-honed songcraft, including hook-infused tunes and soundscapes that integrate a wide range of country and rock sources.
The album opens with a version of
ALBUM REVIEW: Pentatonix Alum Avi Kaplan Finds Country Niche on ‘Floating on a Dream’
Oftentimes, when an artist who achieves pop success pursues country music, the results are cynical and ghastly. Do you remember Gone Country, the reality competition that ran for three seasons where George Clinton, Sebastian Bach, Jermaine Jackson, Bobby Brown (RIP), Chris from ‘N Sync, Sisqo, and Sheila E. vied for
ALBUM REVIEW: John Doe Returns to Roots on ‘Fables in a Foreign Land’
John Doe of the legendary punk band X has carved out a nice career as a solo singer-songwriter. It’s easy to forget that, though, because it’s been six years since he’s released a solo record. Between the recent 40th anniversary of X’s seminal Los Angeles album
ALBUM REVIEW: Banditos Find New Voice on Free-Roaming ‘Right On’
Two LPs into their catalog, Banditos have already established a reputation as mixed media musicians. Each album to date — 2015’s self-titled and 2017’s Visionland (both on Bloodshot Records) — is best described as a sonic collage, a canvas upon which the Southern ensemble applies their influences and interests and