The best recording artists put as much creative effort into every song they choose to include on their album. While standout tracks may appear, there is a consistent quality to each track on it. Those full-length albums deserve to be carefully listened to, from first track to last. This site makes a point to review those albums track-by-track, leaving no stone unturned. It's the deep dive and detailed analysis that sparks creative exploration and new experiences. Two full albums for a total of 19 songs receive the DaveCromwellWrites focus here. Finally, the loss of a beloved animal companion is never easy, and celebrating their influence on all those affected helps keep their spirit alive.
Burbank, California based music label Big Stir Records provides a seemingly endless amount of wonderful new music. With their reach expanded internationally, there is a treasure trove of high-quality recording artists there, well worth checking out. The latest to find their way into the DCW sphere is the album “Earworms” by Croydon, England's Nick Frater. Scheduled for full release on November 19, a complete track-by-track review is given the CromwellWrites treatment right away.
Opening track and the album's first single “It's All Rumours” comes with an official video expanding on the cover collage image approach. The audio jumps out of the box immediately with rough-edged guitar riffs over a powerful rhythm-section progression. With visual images showing classic memories from days gone by (“get the BIG SOUNDS with Sears Instruments” and “give the new, big Sound Of Now”) fresh faced youngsters behind drum kits and winking gals with guitars at the beauty parlor double-down on 1960's-1970's nostalgia. As the vocals commence (an instantly likeable voice in that Nick Lowe/Dave Edmunds mid-range) key lyric punctuations like “hit the ground” and “run-around” are displayed in bold type over more eccentric video images.
The rhythmic vocal cadence and lyrical delivery share similar qualities with the Paul McCartney and Wings 1975 back-end hit single “Rock Show,” further adding to the songs appeal. “She sells her story to the Daily Hell” (surely a reference to British Tabloid “The Daily Mail”) - “don't trust a word it's only kiss and tell” provide clever lyrical turn, with graphic emphasis in the video as well. “Did I stay? That's what they're starting to say” commences a perfectly constructed bridge. It all leads in to the falsetto sung, wonderfully hooky sing-along-chorus, appropriately centered around the songs title-line, capped at the end with a Beatles-esque “Ahh!” (or is that an homage to Freddie Mercury/Roger Meadows Taylor's combined voices in Queen). Embedded inside all of the lyrical examination is a basic romance story (of sorts) where “staying the night again” ultimately leads to “they don't know what to believe,” because – well – “it's all rumours – lying in your arms tonight.” There's even one more change section two-thirds of the way through serving up additional sonic elements (moving into 10CC piano territory) along with more curiously amusing found and reassembled imagery, with Mick Jagger showing up multiple times.
Listen and check out this wonderful song and video here:
The album's second cut “Buggin' Out” blends more Beatle-y inspiration, establishing a similar vocal cadence to the Paul McCartney penned “Wait” (from 1965's “Rubber Soul”) on the verse, along with “doo wop” background vocals on the chorus. “We could be breaking out – making out – staying out way too late” encapsulates the enthusiasm that chorus imparts. “What's with Your Heavy Heart?” chugs along with pop earnestness, propelled by some particularly whip-crack drumming. Another dip into Beatles vocal stylings (at least to this writers ear) comes on the “always rolling thunder and hiding undercover” change section. There's even a George Harrison-style slide-guitar hook fill for good measure.
Syrupy strings and bonkers synth twiddles introduces fourth cut “Lucky Strike.” Keyboards stab out the chord progression while up-in-your-ear vocals establish this lullaby tale. Soon enough the full band is engaged along with sugary background vocals to enhance the proceedings. “Making the same mistakes – over and over and over again” eventually gives way to “maybe soon we'll see happy endings on the horizon.” Impressively blistering tandem guitar soloing adds a near prog-rock tip to the whole proceedings.
The album's longest track (at 5:10) is also arguably it's best, with the heart-tugging ballad “Star-Crossed.” The smooth 70's am radio vibe is immediately apparent with it's soft “ooooh” background vocals, again bringing to mind the genius of band like 10CC or even Fleetwood Mac. Cool lounge electric piano and a powerful rhythm section of prominent bass guitar and drums provide the musical force for unfolding lyrics. “I would like – to leave in the morning. I won't ask – to know where your going. Alll night – you keep yourself together – I won't ask again.” A song about personal relationships for sure – but listening can also furnish comfort and emotional release for anything you've ever loved. The rising background vocals behind lyrics “and I would like – to know where your heart IS – star-crossed once again” bring the title-line into focus. Piercing lead guitar riffs as bridging interludes echo both melody and sentiment with equal measure.
Questioning dogma is never a bad thing (regardless of whichever side it's coming from) and sixth track “Not Born Again” does that well. Embedded within a driving pop-rhythm is the lyrical refrain “you say that we never can play, 'cause baby you're not born again. But I pray we can make it this day, 'cause baby I'm not born again.” Much like Pete Townshend's “Won't Get Fooled Again” and his ultimate declaration “I'll get on my knees and pray - We don't get fooled again” we all eventually embrace our own “hypnosis.” Discovering that seventh cut “Desert Ships” is based (at least partially) on legends of treasure ships buried in the California desert, a bit of research was in order. It seems there is some evidence to bear this out. The globe is a fascinating place, especially when digging deeper in it's rich, historical layered past. The the track itself is a piano driven, bright guitar-lick enhanced chugger, lyrically presented as a date stamped travelogue. “Palm Springs '75,” “Cat Walk '73,” “Fat Chance '71,” “Short Shrift '74” are all referenced, while a quick-delivery guitar solo supplies agile musical interlude.
A buzzing violin approximation and strong piano chords sustain dominant musical accompaniment on the sentimental, Paul McCartney-esque “The Unbroken.” Primary hook “cross your heart another day, holding on for us to stay – I heard you say” evoke the spirit of classic Beatles ballads, like “The Long And Winding Road.” The synth-driven “Who Says I Need A Plan At All?” elicits David Bowie's “Space Oddity” vibe, with that particular mellotron sound riding high throughout the mix. Doubling up on the ¾ waltz time to a steadier rock 6/8 allows the track to stand out from the album's previous, more pop oriented cuts. Closing entry “How to Survive Somebody” builds around that room-echo piano sound so prominent on Supertramp songs like “Goodbye Stranger.” This track moves at a slower pace – a true piano ballad – before ultimately bursting into full band and background accompaniment. Exploring the eternal subject of “knowing someone well” the title line turns the table from 'you' to 'me.'
"Earworms" by Nick Frater is out November 19 on vinyl, CD and all digital platforms.
Previous Features about Big Stir Records on this site can be found Here and Here.
* * * * *
EEP is an alternative rock band out of El Paso, Texas that plays a varied style of psychedelic dream pop and gazey indie music. Their latest album “Winter Skin” was released earlier this month, and features nine original, wide-ranging songs. Released on the local Hogar Records label, the tracks were produced and engineered by the band themselves, with recording and mixing done at Brainville Studios in Sunland Park, New Mexico.
Opening cut “Hanging On A Wire” makes clever use of muted ambient textures as it's sonic introductory point, before the clear, undistorted vocals begin. “You left me hangin on the rebound,” begins the pointed story of a one-sided affair. As deep level drumming kicks in, off-kilter tones share space with guitar power chords, leading into a soaring cascading vocal chorus. The dynamic flow is impressive, moving from elevated multi-layered vocals to spacious interludes with extended note guitar structures. A rhythmic shift develops under subsequent vocal passage “do you even care - why am I am I am I am I am I am I am I am I,” as forceful snare drum shots and buzzing guitars drive it all along.
Follow up track (and single release) “No Inbetween” sprinkles extra percussion on top of a decidedly rock solid drum beat and out-front bass guitar progression. The vocals commence in full shimmer mode stating how “you always compare something to everything.” A solid background sheen of voices creates an angelic halo around the singular lead vocal lines. As the essential change presents itself, a subtle downward shift can be felt on the lines “lay your judgement down for once - let it fly away from you.” Points must also be given for the cool “wah-wah” guitar solo and the coining of new word “inbetweenin'.”
Third entry (and also a single) “A Message To You” takes a clearly defined song structure and blankets it with pummeling rhythms, shearing guitars and wall-of-sound vocals. It's more than simple dreamgaze (although including the lyric “story in your gaze” is a clever touch), packing much more punch overall. While the opening chords emphasize a softer jangle, triumphant drums and buoyant bass guitar fills point the way to a coming force. This explosiveness hits in full motion, with stomping percussive beat, enveloping guitars and multi-layers of elongated vocals. A minute in and right to the bridge, “it's so hard to explain” sparks those pleasure sensors in your brain as it should. That arousal is extended further with a Chorus that takes one single line and turns it into an uplifting celebration of hope. With the primary voices ringing that out, a chanting background vocal call-and-response approach heightens sensations further. A final beatless, ambient coda emphasizes the songs overall message of honest revelation, and that sometimes “it's ok to cry.”
One more single release, Ángeles is delivered entirely in the Spanish language, and features two guest percussionists playing the Djembe. According to the Bambara people in Mali, the name of the djembe comes from the saying "Anke djé, anke bé" which translates to "everyone gather together in peace" and defines the drum's purpose. Fifth cut “Today I Woke Up” employs the ¾ (or is that 6/8) time signature for that alternative 1-2-3 waltz effect. The guitars are jangly, and the descending progression benefits from a dominant bass guitar pattern adding counter-melody movement. Inventive lyrical turns “the powers of my weirdness” and “crocus bulbs of irrepressible audacity” add psychedelic insights.
“Stubblefield” pivots deeper into the psychedelic realm, utilizing backward playing, reverse instrumentation effects, hypnotic repeating drum pattern and bold extended guitar notes. Additional psych-rock elements include inward-trip lyrics “if we turn around and go back to where we started, we just might understand all of the reasons why we parted - if we turn around and go back to where we parted, we just might understand all of the reasons why we started.” Sharing a similar auditory experience with The Beatles “Tomorrow Never Knows,” the sequence-shifted layering of voices and periodic submergence under guitars pitches this track closer to true gazey-rock.
“Stargazer” surfaces via otherworldly repeating bleeps and patterns before being joined by elastic-bending guitar textures. A full minute of this outer-space ambience flows until measured bass guitar and light-ticking percussion eventually joins in. Making lyrical references to “death,” “En plein air”(French translation: “in the open air”) and “Auvers,” the songs title (and content) appears to be referencing Vincent van Gogh's work and ultimate tragic end. A distinct tempo shift downward occurs at the songs midway point, emphasizing spacious ambience. The repeated closing mantra “life's for shooting man,” ultimately morphs into stark piano chords and a gentle floating away.
A singular driving guitar riff ushers in eighth track “Time Crunch.” As the band kicks in, forceful propulsion comes by way of hammering drums, vigorous bass and crunchy guitar chords. The verses roll out with syncopated snare-accented percussion underneath, while a larger sonic wall of gaze explodes on the lyrical “I've been watching you go” repeated passages. There's a holding-level interlude where dual harmony vocals repeat “under your nose,” leading into an extended intensity segment focusing on “I've been watching watching - I've been watching you go” once again. A final synth accompanied segment conclusively states “you've surely returned from a dream to discover-
you've been dreaming your life away.”
Final entry “Slow Down” does just that, with it's measured pace and understated instrumentation. Focusing primarily on sincerely felt lyrics and vocal delivery, the album's title is revealed with the lines “Shed your anxious shaking Winter Skin - And let yourself be something new again.” A song of understanding and acceptance of the life cycle, it serves as a fitting conclusion to this truly inspired collection of songs.
On November 10, 2021 our precious baby girl cat Cherry crossed over the Rainbow Bridge to be with her twin brother, after 14 years of joyous life. She was the most perfect chubby cat that ever lived and she will be missed and remembered forever.
Cherry came to us as a baby kitten with her brother in 2007.
She was a sweet and gentle cat who would purr up a storm at a moments notice.
Like most sibling pets, or those that arrive together, the bond of snoozing in close proximity (or actually on each other) was a very frequent activity.
Donning a holiday appropriate festive hat was certainly not out of the question.
Paws and claws out for a good solid stretch.
Helping out with the computer or around-the-house decorations was one of her specialties.
An open box is always an endless source of fascination.
Gettin' a leg up and chubby snooze-a-thon.
The endless fascination with and secure feeling of a sturdy cardboard box.
Cherry was a beauty and a wonderful companion. We will never forget her.
October catches the Cromwell range of view fully engaged on new recorded works from artists either previously featured here, or first time entries to this site. All of this new material show musicians taking their creative ideas - much of it developed by way of live show performances over the years, and forging it all into high-quality studio recordings. Each artist exhibits true emotional commitment to their respective style of music.
A band this site has been keeping a close eye on over the last year or – The So Lows - hail from “the land of enchantment,” that beautiful wide-open big sky southwestern state of New Mexico. In full disclosure, I'm compelled to mention having lived there on two separate occasions after my parents retired and moved to that locale. I've since been back on vacations with my current family, and can attest to it's rugged natural beauty. The So Lows have just released a new album ‘Times Not So Weathered,’ and receives a most-worthy DaveCromwellWrites track-by-track review analysis. Led by the singing/songwriting duo of Molly Miller and Ronnie Rael, the sophomore album is the first to feature Troy Krusz on slide and lead guitars, Barron Preuss on bass guitar, and Haven Willis on drums.
Album opener (and the record's first single) “Smile” comes on intimately at first – with Ronnie's vocals out front asking an existential question “and I wonder how you ever got this far – with a feeling that just won't shake.” The accompanying acoustic guitar is warm and vibrant, as Molly comes in with matching harmonies on the following lines. The rest of the band thunders in and the rootsy, blues/folk/rock progression swings into full motion. This easy groove vibe immediately brings to mind what a guy like Izzy Stradlin brought to GNR as well as his own solo work. Which in turn points back to The Rolling Stones “Exile On Main Street.” The chorus here is simple and to the point – “I wanna smile like you” celebrates the best things in life – all against a backdrop of tight, rhythmic accents and snaking slide guitar.
Follow-up cut “MMIW” sets everything in motion with chunky electric guitar and syncopated deep tom tom percussion. Ronnie sings out with a more passionate, soulful edge right from the start here. Depicting a situation of imbalance and potential negative results, the repeated hook line “heartbeat and a look away” is delivered with precise harmonies and slide guitar. Guest vocalist “Quiltman” adds authentic chanting for a crucial passage, while a blistering guitar solo brings the track around to the final chorus. Third track “Engine” builds off a bright, chiming 12-string guitar instantly laying down a descending progression. Soaring solo guitar lines create a lightness as bass guitar and drums power along this fragmented 1-2 time signature. Full harmony vocals with Molly slightly out front create an enchanting overall feel as the song continues to unfold. There are a number of curiously mysterious sounds emerging underneath, with one approximating a diving down bass texture. Special props must be given to slide guitarist Troy, who's virtuoso playing here is equivalent to David Lindley's outstanding work on so many of Jackson Browne's albums. The overall combination of Ronnie's acoustic and Troy's various electrics are matched brilliantly with Molly and Ronnie's equally impressive star-turn harmony vocals.
Opening once again with vibrant finger-picked acoustic guitar (a Martin HD-28 dubbed “Lines” we learn via recent social media post), “On the Lam” embraces that particular form of escape. “I got to find a way – feed my dog if you would” (ah, that's sweet) “and tell 'em I'll be back some day.” Snare drum propulsion surges forward, approximating the stuttering rhythm of a railroad car. Deep twang guitar doubles down on the southwestern vibe pulsing through these grooves. Poetic lines roll smoothly throughout, like “I've been running that line – since before the railway,” and “you know the land is forever, I could just jump off this car – and go straight to the sky.” A honey-textured guitar solo creates additional melody and motion to this forward chugging train.
“Worth the Weight” adds a soulful feel to those glistening acoustic guitars via a rich extended note undertone and higher pitch-bended fills on top. There's a subtle gospel element to Ronnie and Molly's harmonies here, embracing the spirt of a song like The Black Crowes “She Talks To Angels.” “Bring it down on me, so the truth can mean, what we want it to be” serves as lyrical entry not only to this song's title, but the overall album title too. “And we dream – of a time not so weathered” . . . ultimately concluding “it doesn't matter anyway – let it rain, I'll feel the pain.” Emotionally powerful moments continue to unfold, as on the lyrical refrain “And you can cry like you used to, 'cause it all makes sense. It's not a reason to falter,” (with Molly going solo here) “just a reason to try again.” Repeated passes through the title line creates a sense of duality on the word “weight” whereby “wait” could fit in just as well. An impassioned buildup to the songs ending (Ronnie and Molly's expressive vocals coupled with sinewy guitar figures) wraps up with a left-in studio voice definitively stating “there we go.”
It's a full on bluesy-rock stomp chugging out of the Rolling Stones influenced “Give All.” Ronnie and Molly's cascading vocals on lines “I heaaarrrrr youuuuuuu” joyously recreate the extended phrasing on their psychedelic 1967 release “We Love You.” Even the guitars here emulate the electrified rhythms of Keith along with the slide work Ry Cooder added to that band on their classic albums at that time. One often felt that Aerosmith's “Sweet Emotion” also looked to that original Stones track as point of reference on their hit song. The So Lows keep things closer to rootsy than anything really “psych” - other than the overall “cosmic” feel of everything they seems to put in all their songs. As this track progresses, Ronnie and Molly's tandem vocals push the feel closer to the swampy blue-eyed soul of Delaney and Bonnie. “Lay Down Misfortune” rolls out in three-quarter time, merging Country-Western conviction with a Folk-Troubadour narrative. Sounding like Greg Allman's Georgia-Country-Soul at points, a subtle change occurs in chords and vocal phrasing suggesting the eccentric jazzy folk-pop of underground legend Nick Drake. With those whimsical qualities emerging at times, a steady pedal steel-like guitar solidifies a country-home feel.
Female vocals take center stage with Molly's solo lead vocal turn on “Permanent Horizon.” Once again, an easy-groove Stones-like feel is established with electric guitars and more active, busy-loose drumming. “Sometimes we all need a place to go,” is how the smoky, emotive vocals begin. “What if I can't get it right?” she asks – quickly followed by “what if - it get's worse when I try” (with those 5 words emphasized by bass guitar and drum punctuation). While the repeated title line chorus is smooth and straightforward, a testifying conversational style on subsequent lines adds an intimate charm to the delivery.
“Let Go, My Atlas” dips back into three-quarter time for this acoustic guitar driven, reflective track. Ronnie's voice is fully out front, with Molly's rich harmonies adding depth to the plaintive melody. A variety of guitar fills and textures add color and motion to a song without any drums or bass. This allows focus on voice and lyrics contemplating mysteries of the universe. “In a way I feel I've seen myself in you – before. Rising with the moon – holding on. Trying to make sense of it all,” is how one passage goes. An unusual wind-rushing texture emerges underneath for the songs final :45 seconds, leading out to an ending where that is the only sound remaining.
“Means a Lot” has Molly taking the lead vocals once again, for the final and longest cut on the album. Clocking in at 6:46, it serves an an epic and fitting close to everything leading up to it. While introductory guitar chords and wistful extended notes establish an initial melancholy feeling, a sense of hope develops. “If you really wanna know – we can do time together,” leads sincerely to “thanks so much, it means a lot.” A series of elegant guitar interludes surface in places, as one might expect from a song of this length. Thoughtful questions crop up, with lyrics asking “does anyone see – how I see – how everything connects?” Contemplating that universality progresses to a realization of “how everything reflects.” As the track builds instrumental momentum, mysterious spoken-word elements permeate the undercurrent. The intensity of the band rises, the tempo quickens and drives everything to a dynamic conclusion.
Listen to this band's wonderful new album on Bandcamp, and find how how to acquire it in your preferred format via all of their social media.
* * * * *
Adam Lippman is an indierock singer-songwriter who's been close with the DCW world here for quite some time now. In fact, first contact was established nearly a decade ago. However, his long musical journey goes back much further as a member of various noteworthy bands from the mid 1990's up until recently. Inbetween he released a few solo albums and EP's, while playing well-known tri-state area clubs and festivals as a supporting member as well as fronting his own bands. Adam is now back with his first new solo music in 15 years. With a full album on the way, new single “Sunblind” is the lead track out now on his own Papa Tone label. Mixed and mastered by James Mauri at @aberlin_sound_recorders, the track features Chuck Beckman on bass and Pete Wilhoit on drums. Adam plays all other instruments along with vocals and the songwriting.
A lush synthetic orchestra opens the track with a touch of reverence, until bright chiming guitar chords forcefully push through. Bass guitar and drums rumble up from underneath as additional guitar tones, back-and-forth pulsing keyboards and distant voices mark out the progression. A quaint story unfolds with opening lyrics “Once you gave me a chance - for your hand - at the back yard dance - in the rain - in New York - we were younger.” Those vocals are delivered with soft inflection at a measured pace, with certain words elongated for affecting emphasis. It's a vibe similar to the cool processed voicings on The Alan Parsons Project 1982 hit “Eye in the Sky.” While significantly different than that aforementioned classic, the chorus here jumps just as hard, with the hook lines “takes me forever and forever takes me forever you know. Now we had better get it together bring back that yesterday glow.” Attention to complete songwriting craft is on full display with the post-chorus turnaround “time is all we need to find put it all behind I am on your side.” The second verse serves up an impressively crisp drum fill and the song title reveal with the line “your sun drives me blind.” An instrumental interlude combines rising synth melodies with countering guitar notes, creating a lovely push-pull sensation.
Check out the track right here:
Follow Adam for album updates and info on how to acquire his music on preferred streaming services Hear Now, Spotify and YouTube.
* * * * *
Finding their way back once again into the DaveCromwellWrites universe are the Sydney, Australia based gazey-noise-rockers Trillion. The 5 piece collective have a new single “Sure” set for release on the 27th of October. Having covered their work extensively over the last two years (with the band making “Best Of” in both 2019 and 2020) “Sure” is the first salvo from the band’s forthcoming “Atomic Sunshine” album.
The track kicks off in full motion (no fade in here) with pitch-bended guitar chords sawing back and forth as the bass guitar and drums throttle along. A murky 3-note rise/descend becomes audible, adding ghostly textures to the proceedings. With only a hint of possible voices leaking in, a shift downward into an impressionist murk emphasizes grinding distortion over a recognizably steady drum beat. Exploding back into the initial hook, additional layers of brightness shear through the sonic spectrum, evoking those timeless qualities associated with psych and gaze. A deeper trench is further explored blending low rumble modulation with soft narrated voices. As the steady drums briefly drop out, a shimmering wash of guitars provides momentary reprieve at the 2 minute mark. Quickly bringing the rhythm section back, an elevated wall of sound pushes everything upward for the next :30 seconds. More low-end grumble returns to the fray as a mixture of guitars, voices and tom toms press the behemoth onward. While drums remain busy (in that way Colm Ó Cíosóig does during MBV's otherwise shapeless “Holocaust”) guitars and bass are more about texture than any actual chord progression. Voices float into the overall mix, adding one more level of blissful reverie before it all comes to a quick stop conclusion.
Preview the track right here:
Full song release on on the 27th of October.
Also check out these complete DaveCromwellWrites reviews of previous Trillion releases HERE and HERE.
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.
