Meticulous Reviews of Recent Albums, Singles and Live Shows
Discovering that new music has dropped from bands you know and love is always exciting. The need to experience every note and lyric is a powerful thing that ultimately leads to a thorough track-by-track analysis. Whether it’s a full-length album or an advance promotional single, a detailed approach for the recorded works is essential. Furthermore, the current trend of generational classic rock bands bringing their live shows to hometowns across the globe leads to rediscovery of what you always loved about them. Along the way, previously unheard artists find their way into your wheelhouse. It all adds up to yet another informed literary discourse.
It was towards the end of last year (during the “spooky season”) when we got a first glimpse of The Suncharms forthcoming album “Darkening Sky.” Featured track “Monster to Me (Halloween Version)” was released at that time, receiving a detailed review here on this site. The band have recently put out the entire 12 track album, and with it comes a greater sense of maturity. Once focused solely on singles and live shows, they’ve now completed their third full-length album in the last five years. The time has come once again to listen with purpose and discover the core elements of these new songs.
Opening cut “Midnight Train” leans on a relaxed bass and drums groove with retro organ keyboard textures. Wire-y guitar lines slither through with Stone Roses-like appeal. Vocal maestro Marcus Palmer delivers his storyteller lines with just the right amount of Jesus and Mary Chain vibes. It’s so much about the mood, but there’s thought behind those lyrics. “Names rusted into the pier . . . for 100 years,” is both poetic and sublime listening. The twist comes via it’s minor chord chorus where picturesque lyrical imagery leads to having “never caught that train.” Adding subtle trumpets on the end out elevate everything to conclusion.
Follow-up track “Annabel Lee” continues the thematic by-the-seaside, looking-back poetry, this time wrapped in a perfectly concise uptempo pace. Memorable guitar melodies, fluid bass and drums with organ enhancements are all there. “Love became a stranger” between “me” and “Annabel Lee.”
“Stone Tape Rewind” blends a subtle country-esque vibe using according and pedal-steel sounding guitar work. Book-ending all that are some classic John Squire-like guitar riffs. “Was that the ghost of you? Was that the ghost of us?” is the lyrical question asked - “locked in walls of blue.”
As mentioned in the intro above, fourth entry “Monster To Me” received a fully detailed review this past October. “Air Raid Shelter” tells the story of an unexpected encounter where “you told me you were born with your feet facing the wrong way” (?!) “and by the way your lover is still at home and I've nowhere to go.” So oddly specific, the picture created stands out uniquely. “How can I get home?” the chorus asks – “all the coaches have gone” and “I’m hundreds of miles away.” Light piano notes sprinkled throughout add a delightful sonic compliment to the proceedings.
“Diamonds” features a more distorted primary guitar figure as it’s dominant sonic force. The overall rhythm has a 1960’s feel about it, as a tale is woven around someone magical and kind. Having “diamonds in her soul,” she is found “stepping over insects and butterflies.”
“1000 Years” comes on by way of triumphant power chords and big rock arena song appeal. Boldy uptempo, the story tells of a “lost wish” where one “drifted back” from “a lost romance” and “a wasted chance.”
“Motorway Bridge” opens (and closes) with the sounds of cars traveling by, before it’s main progression commences in full force. Busy multi-note bass guitar and tom-tom drumming creates the rhythmic undertow for chiming guitar figures over top. The chorus hits “like a dagger” with vocals channeling the other above-mentioned Stone Roses front man, Ian Brown (back in happier times).
Commencing in full flight out of the gate, “Interstellar” bounces along at a spirited pace. The bass, drums, keyboards and guitar configuration all contribute with the appropriate touch. Comparing a photo of earth from space to a tower block, “behind each light hundreds of lives both unique and the same.” The chorus surprises by going instrumentally sparse on the lines “capturing beauty in the mundane - raindrops glistening on a window pane.” Another trumpet emerges as a lovely enhancement on the outro.
With amusement park sounds fluttering in the background, tenth entry “Ferris Wheel” emerges via relaxed groove driven by acoustic guitar and shuffling drums. Making comparisons between circular movements of coffee stirring and the song-title subject matter, this perspective shows “where it all went wrong.” What is supposed to be casual fun, actually provides insight on “silent screams” and “hidden fears.” A gentle twangy guitar solo playfully dances against counter-melody bass lines up to the songs final notes.
Ice clinks introduce the electro/acoustic driven penultimate track “Winter Sun.” With a rhythmic cadence not unlike the Church’s “Under The Milky Way,” it’s western frontier vibe is dappled with subtle instrumental touches. Extended note synth pads stand out, while banjo-like figures are heard off in the distance. As expected, the bass guitar is ever-busy throughout, and brassy synth-fills emerge to provide further sonic depth. Lyrically reflecting on “what might have been,” it seems that “no spark was left for us.”
Final track “A Snowstorm” uses ethereal flutes and horns to augment an easy-going guitar-strummed rhythm. The ghost of Lou Reed’s Velvet Underground floats through it’s lyrical cadence on picturesque verses. While the chorus leans on melodies with images of “a snowstorm outside a room lit by streetlights . . . poisonous fire” and “desire,” a dreamy ending perfectly sums up this gratifying album.
Listen to and find out how to acquire this dreamy album here:
When the opportunity arises to catch one of your all time favorite Rock and Roll bands live in concert, you’d be a fool to pass it up. Discovering that 2016 R+R Hall of Fame inductees and legendary hit makers Cheap Trick were coming to Hard Rock Live in Orlando, Florida – it was a no-brainer to attend this show. Listening to bassists Tom Petersson’s wit and humor on Eddie Trunk’s interview show only sealed the deal. Since moving to FLA, the Universal Citywalk concert venue has become a personal fave to see live concerts. Big Name bands in the perfect sized environment. Great sound, great sight-lines – and great performances. What follows here is a clip of every song they played.
The now traditional show opener "Hello There"
Followed by "Elo Kiddies"
"Hot Love"
"Radio Lover"
First spotlight moment goes to Rick and his cool square guitar
Which leads into their cover of The Move's "California Man"
Dipping into their most recent album, they play the marvelous "Twelve Gates"
The next featured musician moment was Daxx with a drum solo
Leading into their own hit cover version of Fats Domino's "Ain't That A Shame"
"The House Is Rockin"
"High Roller"
"Downed" (with Robin Taylor Zander on lead vocals)
The next solo spotlight went to brilliant bassist Tom Petersson
That leads into "I Know What I Want" with Tom on lead vocals
Last but certainly not least, a solo spotlight for perfect frontman Robin Zander
Leading into one of their all time great songs "The Flame"
Speaking of their biggest hits, here's "I Want You To Want Me"
Then there's "Dream Police" which they closed out the pre-encore show
After the lively Orlando crowd engaged in much applause and calls for "more" - the band returned within a reasonable amount of time with first encore "Never Had a Lot to Lose"
Followed by their arguably most well-known song "Surrender"
Then closing out the night we a redux of the opener "Goodnight"
A frequent occurrence attending live shows is the discovery of new, previously unheard music via the opening act. That proved to be true once again with the Nashville based Americana style singer-songwriter James Hatem. Impressed with his ability to command the spotlight with just an acoustic guitar and a few pedals as accompaniment, he delivered a tight 30 minute set that was thoroughly enjoyable. James has just released a new single “Prodigal Son,” that now receives a close listen and review.
Opening with acoustic guitar chords and minimal percussion, a violin joins in on this soulful country progression. James sings “all my life I’ve been living like a loaded gun. Sights raised high and I’m shooting up towards the sun. ‘cause every day that comes and goes I know it’s a battle that I have won” delivered in a harrowing voice.
Taking in all the advice others seem to be giving, the introspective decision “I’m moving slow – but I’m coming home” rings sincere, enhanced by gentle keyboard swells. The big, gospel-tinged chorus provides a twist with how “I ain’t a prodigal son – I’m just a poor man living free. This life on the run – oh it keeps on chasing me. I don’t know where I’m going, but I’ll let it take the lead” completes the cycle, as pedal-steel ambiance flows through the mix. Big “Whoah Whoah” background vocals emphasize how he’s just “praying for a little peace.”
The songwriting craft is eloquent, with so many great lyrical passages. “Forgive me for all the wrongs I have done. Though I feel there will be more before I am gone. I am only flesh and bones and prone to hurt those that I love, but don’t lose hope,” comes straight from the heart. As does the change section “life’s got chains, but none will hold me down – life’s got pain, but there’s joy to be found (with voice rising for uplift) – “ain’t no shame in living like I know how – a little grace holds a lot of power.”
Listen to this wonderful track wherever you stream. Here it is on YouTube Music and Spotify.
Here's a short clip of it from the concert - listen to how it sounded live at the show:
Another outstanding number played was heart-tugging, previous single "Northern Winds"
Which made an impression (and later got the Story/ReStory treatment)
Dave Cromwell has been writing about music since the dawn of the internet age. In addition to the steady flow of features here on this site, he has been a regular contributor to The Deli Magazine (both Print and Web) since 2010. With numerous Print Issue cover features and weekly contributions on the Deli website, scores of artists have received the Cromwell point of view. Along with ongoing contributions to this site and The Deli Magazine, Dave has written for Dingus, My Social List, The Waster, Spin and Rolling Stone magazines.
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