Quaint Delusions is an alternative rock band from the outskirts of Tampa, Florida. They are no strangers to this site, and I was already familiar with their 2023 album This Far Out and a couple of singles. The band’s newest release is a track called "Killing What I Can’t Even See," which is described as “as close as we can get to a folk song.”
Founded by vocalist, guitarist, and multi-instrumentalist Michael Starks, this diverse crew includes Roger Hughes (guitar/vocals), Steve Dicks (bass), David Lane (lap steel/vocals), and Kevin DeHart (drums), along with guests Brian Sutherland (cello) and Roberta Stacks (vocals). What initially struck me about these guys (and still does) is how youthful they sound on record, despite the fact that they are not of college age anymore (unless you count night classes!). Though primarily known for alternative rock, the band enjoys experimenting with different styles. Influences include The Beatles, Guided By Voices, Crack The Sky, glam, and punk. The Beatles influence is quite obvious here, but I love the shout-out to Crack The Sky, one of the greatest prog rock bands that never actually made it big. This new single was recorded in three Florida studios: the Dade City Barn, Two Beagles Studio, and Morrisound Recording (where the album was mixed by Jim Morris). The band says the song grapples with the fact that “giving a shit about things you can't really control can be draining.” First of all, kudos to an amazing cover image by David Monroe Photography. Rarely is a photo or collage so evocative of a song’s title! Musically, this track starts with and is heavily anchored by the cello overdubs by Brian Sutherland. Joined by David Lane’s lap steel, it initially sounds like a morose arrangement for a rock quintet, featuring clever and intriguing guitar filigrees. As the song kicks in, it can’t help but recall the psychedelic Beatles track “I Am The Walrus,” which also featured strings, especially cello. The song appears to be in a minor key, but the band uses some chords I can’t easily identify, so who knows! In an earlier review, I noted that Quaint Delusions sound like college boys, though their photos clearly show “men of a certain age.” This dichotomy appears again as the vocals sound young, vibrant, and full of attitude. Musically, the track pretty much sticks to the verses, building overdubs and power as it progresses. What serves as the “chorus” is essentially a variation on the verses, adding to the overall stony feel of the track. Lyrically, my best guess is that writer Starks is gathering up as much disparate imagery as possible to describe a life that barely makes sense in the best of times. Lyrics like “Slipping out of darkness, Smoothing out the sharpness / Killing what I can't even see” are a bit inscrutable but fit the music and the hypnotic beat perfectly. Another amazing track from a band that has amazed me quite a bit in the past. The time to discover them was yesterday!
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Dino Dimuro's latest offering, "You're Pushing Me Into The Arms of The Print Sisters," piques curiosity from the outset. A quick Google search for "The Print Sisters" yields results about London-based sisters producing eco vintage art for beautiful interiors. But it's safe to say Dimuro's reference lies elsewhere, likely deep within his labyrinthine mind.
Dimuro's music bears the mark of his influences - Zappa, Captain Beefheart, and their ilk. The influence is palpable, from the offbeat aesthetics to the unconventional song structures. There's an absurdist undercurrent here, a Kafkaesque surrealism that seeps into the lyrics. Lines like "You’re pushing me into the arms of the Print Sisters / You’re pushing me to Bashful and Grumpy" resonate with the kind of abstraction David Lynch would nod approvingly at. The track kicks off with a blend of keys and guitars, exuding a regal air before the drums settle into a groove. Musically, the echoes of Zappa and Beefheart are unmistakable, but there are nods to The Beatles, particularly the experimental phases of Revolver and Sgt. Pepper's Lonely Hearts Club Band. The song's catchiness is unique, enhanced by dissonant elements, including what sounds like a detuned accordion that adds a layer of quirky charm. It wraps up with a traditional guitar solo, fuzz-laden and well-deserved, leaving a lasting impression without overstaying its welcome at a concise three minutes. "Your Pushing Me Into The Arms of The Print Sisters" is a compelling listen, a testament to Dimuro's ability to blend the avant-garde with the accessible. Dive into his other works—there's a trove of intrigue waiting.
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Darnomite is a vocalist, songwriter, and producer working from Albuquerque, New Mexico. He has quite a few solo albums available on Bandcamp, but this particular release is a collaboration with rapper Discourse Junkie from San Jose, California. Their new album is called Andaluz, and even a cursory listen makes it clear this is a concept album. For those who don’t know, “Andaluz” is a form of the name “Andalusia,” which is a community in Spain.
I played this album “cold” without reading any of the background information. I was intrigued by the song structures, which unexpectedly feature rap sections, unsure if it was the same guy. My overwhelming impression was that the artist was influenced by “Pet Sounds”-era Brian Wilson but blends that atmosphere with current styles and motifs. It also feels very much like a home-recorded project, which warms my heart and is probably the reason this album got assigned to me! Turns out I wasn’t far off. The promo material states that “Darnomite likes to blend sounds from the 1960s with modern rhythms and instruments.” The collaborators say this was a real passion project, “reflecting our emotions about a changing world and fears of being left behind.” Recording took place at home studios using Logic and a MIDI keyboard. Discourse Junkie wrote and performed his raps in his own home studio and is passionate about “lyricism that challenges listeners to reflect on philosophy.” The project is said to tackle themes of UFOs, AI, and grieving the past. I had to look twice to notice that the colorful cover art shows not just “the shores of Andaluz” but some kind of alien octopus creature hovering above the sea. “The Shores of Andaluz” appropriately begins with rolling ocean waves, under which a peppy synth concoction slowly surfaces. This is the song on which the cover is based, weaving a tale about a UAP (unidentified aerial phenomenon) that parks itself near the shore and inspires tourists and pilgrims to visit. Musically, it’s mostly keyboard (sounding like synths and a harpsichord), bass, and digital drums. Darnomite does an interesting thing with the tempo, slowing down and then speeding back up during certain verses and the chorus. It’s subtle enough that I thought I might have been imagining these changes, but they are there! The stereo mix fills up a bit as the song continues, adding bongo-like percussion and even spacier keyboards. At the 2:40 mark, there’s a definite melodic similarity to Brian Wilson’s SMiLE. “Trust/The Threat” has a cool psychedelic John Lennon vibe (crossed with Pet Sounds), which then goes into a rather inscrutable story read by rapper Discourse Junkie. Story-songs are fun (The Velvet Underground's “The Gift” is a famous example), but for me, they don’t have the staying power of traditional songs. “My Garden” has an interesting opening melody played by a slightly detuned keyboard patch. This track features some of Darnomite’s most intimate and heartfelt vocals thus far. Story-wise, it seems the narrator very much enjoys spending his days in his sunny garden (sounds good to me!) but is taunted in his dreams by the UAP from track one. Fittingly, this song is followed by “Andaluz (Instrumental),” which uses the lack of vocals as an opportunity to explore some lovely, otherworldly themes and complex melodies with some amazing stereo mixing. “Black Box” is a true vocal collaboration between the two artists, with Discourse Junkie’s raps being complimented by Darnomite’s chorus vocals. This track takes the melodic and mixing complexity of the Andaluz instrumental and combines it with vocals, and sounds truly amazing on headphones. Without casting aspersions, there are parts of this song that recall the pop sound of Gilbert O’Sullivan, and toward the end, I’m once again feeling that Brian Wilson vibe. “Just a Vision” is a more baroque-sounding track that again features call-and-response vocals between the two collaborators. They actually sing together at one point! Lyrically, for me, this reads like a heartbroken callout to someone the narrator lost to death, but with hopes to someday reunite. And at the very end, Andaluz itself is given a sad but certain farewell. This is an album that began “okay” for me but slowly grew in stature, maybe because the best tracks seem to pop up after the first third. I’ve enjoyed it a few times now and highly recommend it!
Russ McRee is a studio-based guitarist, composer, and producer from Seattle who records music for the Italian label Raighes Factory. He has an album titled Pasts and Premonitions coming soon, and this advance all-acoustic single is titled "Spirited Away." Based on this track alone, McRee follows the folk guitar tradition of artists like John Fahey or Leo Kottke, though his press release describes it as “a serene ambience made up of country, folk, and chill beats.”
Perhaps it’s the joy of temporarily escaping those workaday shackles that creates the mellow tones found within his own music. This particular track is meant to be “…an experience of gentle love and peaceful introspection, a musical reverie that cradles the heart and soothes the soul. (The music) guides you into a world where time slows, and every moment becomes a cherished memory.” McRee recorded in his home studio in Seattle, Washington using Reaper. Though the full album will feature additional instruments, this track consists of acoustic guitar overdubs against a simple trap loop. He recorded his guitars using live mics and guitar pickups simultaneously, which is a trick I’ve been meaning to try! It sounds amazing! Mastering was done by Roberto Diana at Raighes Factory. As mentioned, the drum loop opening the song is exceedingly simple. The kick has more of a “poof” sound than a hard-edged “beater” with just the slightest snare drum interplay. Initially, I hear two acoustic guitars, both letting their strings ring out for an unusually long time. The opening section is a series of short patterns, with lots of breathing room between sections. The basic melody is simple, but the second guitar harmony quickly goes way beyond what I would have expected. Both the music and the feel of this track remind me of the extended opening of Fleetwood Mac’s “The Chain,” which was famously constructed from a rhythm loop. Up to now, most of the playing has been in a higher register, but at 1:18, the second guitar takes on a deeper, bass-heavy tone that’s quite striking. As the track winds down, all these touchstones are quickly revisited. The tone reminded me of Leo Kottke, but the melodies are much more of the John Fahey school. McRee’s label was nice enough to send copious notes, and their description of this song is better than anything I could come up with: “The acoustic guitar, with its tender bends and nuanced tones, sings a song of longing and solace, reminiscent of distant dreams and quiet nights.” It is indeed a lovely track and an exciting preview of much more to come!
wht.rbbt.obj. is a Chicago blues-rock band with a confusing name and new EP titled Romeo Bravo Bravo Tango. I reviewed the band’s last EP “Whiskey Hotel Tango” and got to know the smoky, sexy alternative rock of married couple Frank and River Rabbitte (and by now you’ve perhaps guessed that their name is a compression of the phrase “white rabbit object”). With this release the band hopes to push their sound even further while maintaining their unique style.
“Your Love’s A Crime” starts with the solid, room-tone drum kit I’ve come to expect, followed by quavering Leslie- speaker guitars and deep bass. River Rabbitte’s voice is capable of sounding great in many genres, and in this blues-pop song she’s affecting a murky, insinuating stance, switching to tender sexuality at the drop of a beat. Her powerful voice at times reminds me of all-time greats like Patti LaBelle or Tina Turner. Frank Rabbitte’s concluding solo is pitched low but is note-perfect. “Heavy Petting” brings the sensuality front and center with a hot, rapid beat and taunting, yearning vocals by Ms. Rabbitte. On this track I’m getting more of an 80’s New Wave Dale Bozzio-like feel, especially in the choruses. “The Ballad of Kitty Collins” is a hard rocker (though maybe hardest for me, as my headphones were cranked all the way up!). Ms. Rabbitte lets herself run loose across the track, chased by a bit of echo. The guitars are heavily riff-based, slicing and dicing through the song with slabs of power chords and a fuzz-heavy lead solo. “White Rabbit Black Sheep” has a Velvet Underground or Iggy Pop menace, establishing a laid-back grunge riff over which River Rabbitte pontificates with abandon, somewhat similar to Grace Slick. The bizarre, eastern-influenced guitars put this track firmly in the psychedelic camp. I love the crazy synth break in the middle, unless that’s an electric guitar through an especially cool stomp box. “Dirty Love” is (perhaps sadly) not a cover of the Frank Zappa classic, but has a lot of the same creative spark. The main driver of this tune is an elliptical guitar riff, fuzzed to a muted nub and sharing the exact sonic space with the bass. Ms. Rabbitte is back on the sexy train in “Heavy Petting” but much heavier and with lots of labored breathing between lyrics. This is a driving track where the level of compression grips the song in a metallic vise, and though it’s a bit distorted in headphones, the power is undeniable. Think early Kinks had Shel Talmy walked away and let the kids run the studio. This is another compelling chapter of the “White Rabbit” mythos, ready to blast listeners with sheer power and personality. Jump in and see!
In an era where novelty in music feels like a rare gem, Umbra and The Volcan Siege manage to carve out a unique niche with their track "Making The Moves." Hailing from Chicago, the band melds an array of aesthetics into a sound that’s both cinematic and epic, crafting a listening experience that transports you to an audial dreamscape.
The track opens with an immersive, lush soundscape that quickly pulls you in. A deep, resonant bass synth soon joins forces with a hard-hitting, industrial drum set, laying down a foundation that’s both gritty and grandiose. The vocals in the verse maintain a straightforward delivery, but it’s in the chorus where they truly shine, transforming into a chant that, while somewhat monotone, feels entirely intentional and hypnotic. The beauty of "Making The Moves" lies in its ability to balance contrasting elements. The ethereal, light atmospheric textures coexist harmoniously with the robust, gritty synths, creating a dynamic and multifaceted sound. The production is crisp and meticulously crafted, allowing each element to breathe while contributing to the overall epic feel of the track. Lyrically, the song stands out with its originality and depth, a refreshing departure from the often formulaic nature of contemporary music. The evocative lyrics weave seamlessly into the sonic tapestry, enhancing the song’s immersive quality. Umbra and The Volcan Siege demonstrate that originality is not only possible but thriving in 2024, proving that fresh sounds and innovative ideas can still captivate and inspire. "Making The Moves" is a testament to the band's creative prowess and a promising glimpse into their evolving artistry.
Boston’s Clash Bowley pretty much defines “prolific.” In fact I just reviewed his previous release a couple months ago! The Clash is Back with another full-length album titled Escapee, which is his 40th. (He’s released yet another album while I was writing this review!)
As I’ve said before, you can get a crash course in Clash Bowley simply by reading past reviews on this very site. Suffice to say that Bowley is a one-man band who not only writes, plays and records all his parts, but mixes the albums and creates his own striking artwork. His genres of influence include orchestral, swing jazz, new wave and electronica. His performance style is mostly based on his unique vocals, which is his main “compositional” instrument. Bowley created this new album around the theme of “all of us being prisoners of something or someone, willingly or not. When I was half way done with this album I walked away, intending to quit again, but the music burst out of me when I had held it in for a week, and I had to let it flow.” Bowley’s songs average about three minutes each, featuring one central idea that he plays around with before quickly moving onto the next one. “Prisoner” starts with a tumbling techno rhythm and call-and-response vocals that remind me of classic Brian Eno. The guitars are quite phasey and funky. Looking at the printed lyrics (thanks, Clash!) I’m reminded that Bowley’s librettos are generally minimalist in nature, with just enough words to convey the point and have a bit of fun. In this song, being a prisoner is described more as a captive of intense, burning love. “Nothing” has a locomotive rhythm with a fuzz guitar in “nasal” setting while Bowley sings over the top, adding one of his signature otherworldly lead guitar breaks almost immediately. This one almost feels like an early demo, which is a quality I quite enjoy. The title track “Escapee” doubles down on the wah wah guitar. Given the vocal intensity, I guess the “prisoner” from track one wasn’t so happy after all! Listening to this track in the car, I thought Bowley was singing “S.K.P. Running Free” in the choruses, which I found weirdly endearing. With “Pity” I started to realize that Bowley is sticking to similar arrangements this time around: drum pattern, congested bass, phasing guitars and somewhat portentous vocals. “No!” is one of Clash’s more clever ideas. The main lyric line is basically “This is the ‘No!’ song, baby” and he sings those words over and over with different harmonies and variations against an Island influenced, conga line beat. “Breakers” in another context might play as a heavy metal track, thanks mostly to the sledgehammer guitar and the “romantic” lyrics sung as if Bowley were describing a nuclear apocalypse. The title “Lycan” was already familiar to me, having cut sound effects for an “Underworld” movie (basically, it’s a werewolf). Bowley sings in his best Werewolves of London growl, while the always-phasing guitars saw away behind him. “Opportunity” features a fun, percolating beat and what sounds like an acoustic guitar played beneath a pillow. The final track “Win” takes a somber turn as Bowley narrates the song for his late sister Karen, who lost her long battle with cancer this year. It’s got all the Bowley trademarks but really does feel sad and regretful. Overall I really enjoy that phasey, wah wah thing Bowley does, but I hope it’s not sacrilegious to suggest he might try different guitar settings in the future. He certainly works fast enough that he could explore different approaches! That said, this is another fine example of his unique style of songwriting and recording.
From the tiny hamlet of East Wall in Dublin, Ireland comes the foursome known as the City Pets with a new indie pop EP titled Moochin’.
City Pets were formed in 2022 and have been called “one of the best bands to come out of Dublin in the past two years” and “the funnest thing since chess.” Their music is described as “loud, hook-driven, anthemic and catchy.” The members are on a first-name basis: Len (Vocals and Rhythm Guitar), Stef (Vocals and Lead Guitar), Dan (Vocals and Bass Guitar) and Bev (Drums). They spent 2023 recording singles and a debut EP called “Heavy Petting” (I see what they did there!) with a follow-up titled “Pet Food.” Overall their songs juxtapose catchy melodies and anthemic lyrics with the difficulties caused by substance abuse and over-stimulation. “Brother Mine” has a fast, driving energy that has both the tinny sound and structure of classic rock and roll (you can start with “The Twist” and go from there!). The guitars are impossibly twangy and the vocals high-pitched with a clear Irish accent. The middle section is a surprise, as the boys suddenly veer from the traditional structure into a more sophisticated chorus. Without sounding exactly like any of these guys, this single recalls the good times of bands like The Knack, The Ramones or The Sex Pistols. “Evergreen” strikingly recreates the jangly pop rock of my (almost) youth, with amp-driven, trebly guitars and vocal harmonies that expertly straddle the chord structures. These songs were recorded and mixed at Yellow Door Music Studios in East Wall and the studio setup definitely adds to the retro feel: it reminds me of how “Louie Louie” was recorded with a single microphone hanging over the band. For most of these songs the vocals and guitars are strong but the drums could have been played on cardboard boxes. Despite the somewhat cramped mix, the boys have really packed this track with exciting changes and lots of action. As the song fades I was surprised to hear an organ, which didn’t seem to be playing before! As if to underline the band’s retro style, “The Real” fades in with vinyl record surface noise, which is an old trick I’ve used myself. Here the group seems to be channeling mid-era Kinks with blues-like resonator acoustic and Ray Davies-style vocals. The roots of the tune may be obvious but it certainly works on its own! I really love the chorus lyrics of “She’s so alive that she could die.” A totally unexpected surprise. The final track “Quirky” returns to the band’s familiar sound, and as if we’d just had our ears cleaned out with steel wool, the mix now sounds much better than before. The boys are using more opaque, interesting chords and the vocals are in a much lower register. When the band says their music is “catchy” this is exactly the kind of song they’re talking about. I’m also able to hear the bass more clearly, and “Dan” is playing quite interesting counter-melodies in the tradition of Sir Paul. Intellectually I know these guys are young, which is why this trip to the past feels so amazing. The sound is just a bit murky here and there but the spirit is infectious. Fun and recommended!
Matthew Dunn of Cardiff, Wales is one half of the transatlantic synth rock band Dark Ghosts. Starting in 2021 he also began releasing his own music, and his new alternative rock solo album is titled Echoes.
With no sidemen listed, I’m assuming Dunn plays pretty much everything here (he has some help with lyrics, mixing and mastering). Dunn says his musical influences and favorite artists include Jason Isbell, Noel Gallagher, Neil Young and Bruce Springsteen. The ten songs here were selected from many contenders and were recorded between March and June of 2024. My first impression of his music is that he’s very much interested in a commercial approach, so that the songs feel new yet familiar at the same time. The very first thing you hear on the opening track “Tempest” is a fuzzy ZZ Top-style guitar riff, but the song itself is a more expansively-produced track than that gritty trio rock would create. Several other guitars (including acoustic) enter the mix, along with piano, rock organ, multiple harmonies and drums (digital? I can’t tell!). I was carried away by the verses but the chorus is an absolute killer, the stuff of Number One Hits. “Among These Ruins” features lyrics by Jamie Dunn, and has a more piano-based rock sound. I keep trying to nail down who this song reminds me of, and the closest would be that forward-driving quality of Bob Seger crossed with the sincerity of Jackson Browne. The guitar solo fits perfectly without being unnecessarily showy. “The World Spins” is based on a big acoustic guitar sound combined with cello and mellotron-like string pads. The chord structure and drumming is almost minimalist but Dunn builds his vocal performance brick by brick on this solid base. I’ve been looking out for the aforementioned Bruce Springsteen influence, which is tricky because Dunn’s voice is much different from the Boss. Musically “Zugzwang” resembles the E Street Band with its focus on keyboards and jangly-rocking guitar. Lyrically it’s a song about feeling lost and alone (more lyrics by Jamie Dunn) but I can’t figure out the title! “Echoes” is the album’s namesake track and as such is presented with special care. The acoustic guitars chime sweetly, the piano is clear and robust and the vocals fully confident. If this is truly Dunn playing everything, he’s done a remarkable job pretending to be a studio band! “Photos of Jesus” is a track title that jumped right out at me (maybe you too?) and it sent my imagination reeling. Turns out it’s a song about finding yourself (or a renewal of love) after a devastating loss. “These photos of Jesus gather dust on the shelf / I’m ready for whatever comes next / When there’s no love lost, I’ll fall in love with myself / A self once again.” The bittersweet harmony vocals, majestic guitars and somber orchestral pads add up to a striking track. My favorite for sure! “Broken Dreams and Shattered Hearts” is a rollicking rocker with piano again the most prominent instrument, like Ben Folds’ piano pop or (again) Bruce and Jackson Browne. In “Abyss” I was reminded of the close-mic vocals of Billy Corgan, with the piano even more prominent (come to think of it, Corgan also loves using keyboards) and layers of digital strings. The concluding “Symphony of Colours” adds the color of acoustic guitar as the lead instrument, with the choruses bringing in all Dunn’s star players (piano, organ, monster guitars) from the previous tracks. It’s another excellent, triumphant track, though maybe a bit similar to the previous few. Overall this was quite an impressive full-band effort from a very single artist. More than worthy of checking out!
Country music artist Banner Johnson of North Carolina has just released a new album provocatively titled Gasoline and Purple Weed. That phrase is a line from his single “The Road is Callin’” and harkens back to his travels after high school, along with the stress of dealing with a 2005 tour in Baghdad with the help of medicinal Marijuana. The full album features 14 original songs and is available on Spotify.
Banner Johnson (Marty Coolidge to his friends and family) hopes to “redefine country music by taking it back to its traditional roots, with a sprinkle of soul.” With a musician father, and having himself written songs from an early age, Johnson was influenced by a wide array of country artists including Garth Brooks, Kenny Chesney, Brooks & Dunn and Sawyer Brown. Among his rock and blues influences are Tom Petty, The Doors, Muddy Waters and B.B. King. Johnson asserts: “My music may not be for everyone, but it's for someone, and it takes a very special person to be that someone." “Old Friend” immediately casts a spell and establishes a mood almost totally based on acoustic guitar, vocal and spare production (kick drum and claps). Not so much country as dark folk, Johnson says this song pays homage to Homer, New York. “It’s a reminder to be thankful for where you came from.” Johnson keeps memories of that small town in his metaphorical back pocket, knowing those experiences helped shape the person he’s become. Musically the guitar chords are beautiful but with a certain foreboding, along with some eerie distant vocal harmonies as the song progresses. With “I See You” Johnson scoots right up close to the vocal mic, so that there’s little separation between singer and listener. This one’s a bit more traditional country, but almost totally thanks to the amazing background electric guitar that underlines and comments on the lyrics. It has a slide guitar tonality without actually sliding; I think it’s all technique! Further along we have a second, lovely lead vocal by “Phoebe” and what might be a Dylan-like organ. This song was inspired by Banner’s travels bringing him “experience with many different cultures, with a few loves and heartbreaks along the way.” “Hello Stranger” takes us even deeper into country territory, given the presence of lap steel, tremolo guitar and the twang in Johnson’s voice. You’d never guess but this song is said to reflect Johnson’s time in Baghdad. I love how lyrically Johnson switches to “goodbye stranger” by the end. “Annie O’i Dunno” features a spooky fiddle, cello, tentative percussion and an almost whispered vocal by Johnson. The song’s title is a brilliant interpolation of “Annie, oh, I don’t know.” This one really gave me the feels! “Cold” is said to illustrate Johnson’s similarity to both Wynonna Judd and Garth Brooks. I can’t confirm that but this track’s got a lot more going on production-wise, beefed up with handclaps and solid drumming and adding harmonica, keys, resonator guitar and more. It’s much more of a wall-of-sound production for sure! Lyrically there’s mention of the Devil and Sinners and Cold Ladies. “Party Again” appropriately brings in fuzz rock guitars for a unrestrained blues-rock slammer, and the mixture of acoustic and electric gittars reminded me of the Allman Brothers. “Health Camp Road” is a familiar reference for the folks of Homer, and is apparently where Johnson and his close friends spent a lot of time in high school. This is a languorous folk tune bathed in bittersweet fiddle and sweet vocal harmonies. “The Wicked Ways” has a similar minor-key vibe, with crispy resonator guitar melodies bathed in reverb with a constant, eerie background whine. The somber mood fits a song about a Navy friend of Johnson’s who struggled with addiction. But as if to close out a small trilogy, “My Saving Grave” is a sweet, optimistic tome about Johnson meeting his wife after his Baghdad tour, who thus became his saving grace. I’m so glad he included this upbeat track as we all needed it! “Baby, you saved me.” “The Road is Calling (Gasoline and Purple Weed)” is sort of the title track, and as previously mentioned has to do with restless travel and Marijuana helping Johnson through a sort of PTSD after the military. As Johnson says: "Marijuana is not a drug, it's medicine, it's a life-changer. There's so much hate, violence, lies, and just plain negative energy in our country, why not escape? Why can't we all get high and get along?!" If anything this track is even more celebratory than his love song, as it portrays a man coming out of depressing fog into a more joyous “fog.” Sort of the flip side of “Weed, Whites and Wine” by Little Feet. In all honesty I’m not a pure country fan, though I love bluegrass and what’s now called Americana. Johnson also says he hates current country radio, saying it’s all about bros, trucks, dirt roads and fishing. He wants his brand of country to reflect true life, and he’s certainly done that here. I loved this album!
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