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http://thedailyrippleorg.americanamediapro.com/index.php/art-music/music-reviews-all-reviewers 2026-07-26T16:44:20+00:00 The Daily Ripple Joomla! - Open Source Content Management 2023-04-17T13:01:53+00:00 2023-04-17T13:01:53+00:00 http://thedailyrippleorg.americanamediapro.com/index.php/art-music/cat-blog-reviews-david-masciotra/68-music-review-murder-of-songs-by-grant-peeples-dm Terry Ryan

5 April 2023   Grant Peeples has no time for nonsense. The veteran singer/songwriter and poet has released a passionate new protest record, A Murder of Songs, that confronts the grim threats facing American democracy with sadness, rage, defiance, and even a dose of dark humor. His country and folk music delivery extracts emotional investment from the listener, and pays homage to the familiar sounds of Willie Nelson and Emmylou Harris. Peeples is at his best when acting as a creative composer of music as well as a poet. There are songs that, like Springsteen’s The Ghost of Tom Joad, have so little musical accompaniment that they sound and feel more like spoken word exercises than music. But, also like Springsteen, Peeples is a lyric-forward songwriter. Whether it is a beautiful fiddle leading Peeples through the bouncy, “Revolutionary Reel,” or the Irish march, “Insurrection Song (January 6),” the thoughtful and tough lyrics benefit from the corresponding jolt of crafty music. The latter is one of the highlights of the record – a fiery condemnation of the January 6th insurrectionists and their leaders. Peeples offers a clever paraphrase of Kris Kristofferson’s most famous lyric when he sing, “Freedom’s just another word for all we have to lose,” and concludes, “Let the sons of bitches rot in jail for what they tried to do.” Anyone who believes in American democracy will reply with a hearty “amen.”   “Liberal with a Gun” allows Peeples to showcase his dark sense of humor, warning right wing extremists that “liberals too have guns,” and that they are prepared to fight for justice, equality, and their own rights. “Let’s Start Killing Each Other” is another amusing, but sharp treatment of the cultural divide. Peeples offers his titular advice with a sardonic grin, but at the same time, makes the listener think about where the hatred will finally end – certainly, nowhere healthy.   Peeples’ A Murder of Songs is a clear-eyed, rough and tumble response to the dangers facing American democracy. It is not only good music, but relevant art.         David Masciotra (www.davidmasciotra.com) is the author of four books, including Barack Obama: Invisible Man (Eyewear Publishing, 2017) and Mellencamp: American Troubadour (University Press of Kentucky, 2015). To read all of David's reviews, click here          

5 April 2023   Grant Peeples has no time for nonsense. The veteran singer/songwriter and poet has released a passionate new protest record, A Murder of Songs, that confronts the grim threats facing American democracy with sadness, rage, defiance, and even a dose of dark humor. His country and folk music delivery extracts emotional investment from the listener, and pays homage to the familiar sounds of Willie Nelson and Emmylou Harris. Peeples is at his best when acting as a creative composer of music as well as a poet. There are songs that, like Springsteen’s The Ghost of Tom Joad, have so little musical accompaniment that they sound and feel more like spoken word exercises than music. But, also like Springsteen, Peeples is a lyric-forward songwriter. Whether it is a beautiful fiddle leading Peeples through the bouncy, “Revolutionary Reel,” or the Irish march, “Insurrection Song (January 6),” the thoughtful and tough lyrics benefit from the corresponding jolt of crafty music. The latter is one of the highlights of the record – a fiery condemnation of the January 6th insurrectionists and their leaders. Peeples offers a clever paraphrase of Kris Kristofferson’s most famous lyric when he sing, “Freedom’s just another word for all we have to lose,” and concludes, “Let the sons of bitches rot in jail for what they tried to do.” Anyone who believes in American democracy will reply with a hearty “amen.”   “Liberal with a Gun” allows Peeples to showcase his dark sense of humor, warning right wing extremists that “liberals too have guns,” and that they are prepared to fight for justice, equality, and their own rights. “Let’s Start Killing Each Other” is another amusing, but sharp treatment of the cultural divide. Peeples offers his titular advice with a sardonic grin, but at the same time, makes the listener think about where the hatred will finally end – certainly, nowhere healthy.   Peeples’ A Murder of Songs is a clear-eyed, rough and tumble response to the dangers facing American democracy. It is not only good music, but relevant art.         David Masciotra (www.davidmasciotra.com) is the author of four books, including Barack Obama: Invisible Man (Eyewear Publishing, 2017) and Mellencamp: American Troubadour (University Press of Kentucky, 2015). To read all of David's reviews, click here           2023-04-21T13:28:22+00:00 2023-04-21T13:28:22+00:00 http://thedailyrippleorg.americanamediapro.com/index.php/art-music/cat-blog-reviews-david-masciotra/69-music-review-car-crash-life-by-shoebox-letters-dm Terry Ryan

7 March 2023   Lynyrd Skynyrd titled their third record, Nuthin’ Fancy. Even if Skynyrd is a Southern Rock band, the same description fits the new album from country band, Shoebox Letters. With their memorably-named collection of songs, Shoebox Letters delivers straightforward, no frills country. It is a refreshing break from the gimmicky and slick production that has come to dominate contemporary country radio. Most of the songs are the creation of lead vocalist and guitarist, Dennis Winslow. He shows a deft range of lyricism and country composition, but the success of Car Crash Life is far from his alone. Stephanie Cox often takes lead vocals, bringing an enjoyable tenderness to Winslow’s Dan Baird-like growl. The guitar work is honky tonk authentic, while the rhythm section – Dave Stricker on bass, Brian David Willis on drums – keeps a steady, and sometimes raucous, beat. The songs range from the hardboiled confessions of classic country territory – “Drinking Till I Can’t Walk Straight,” “Car Crash Life” – to more romantic fare. “Under the Same Roof” is a mature love song, celebrating the bond of matrimony and the ways that affection grows, rather than diminishes, with time. “If I Can’t Have You,” an effective duet from Winslow and Cox, speeds through the desirous end of unrequited love. The eight song record clocks in at 25 minutes. It is direct, and despite its brevity, feels like a full album experience. With most song ending under three minutes, Shoebox Letters is still able to not only demonstrate musical skill, but also explore various emotional facets of life.       David Masciotra (www.davidmasciotra.com) is the author of four books, including Barack Obama: Invisible Man (Eyewear Publishing, 2017) and Mellencamp: American Troubadour (University Press of Kentucky, 2015). To read all of David's reviews, click here         

7 March 2023   Lynyrd Skynyrd titled their third record, Nuthin’ Fancy. Even if Skynyrd is a Southern Rock band, the same description fits the new album from country band, Shoebox Letters. With their memorably-named collection of songs, Shoebox Letters delivers straightforward, no frills country. It is a refreshing break from the gimmicky and slick production that has come to dominate contemporary country radio. Most of the songs are the creation of lead vocalist and guitarist, Dennis Winslow. He shows a deft range of lyricism and country composition, but the success of Car Crash Life is far from his alone. Stephanie Cox often takes lead vocals, bringing an enjoyable tenderness to Winslow’s Dan Baird-like growl. The guitar work is honky tonk authentic, while the rhythm section – Dave Stricker on bass, Brian David Willis on drums – keeps a steady, and sometimes raucous, beat. The songs range from the hardboiled confessions of classic country territory – “Drinking Till I Can’t Walk Straight,” “Car Crash Life” – to more romantic fare. “Under the Same Roof” is a mature love song, celebrating the bond of matrimony and the ways that affection grows, rather than diminishes, with time. “If I Can’t Have You,” an effective duet from Winslow and Cox, speeds through the desirous end of unrequited love. The eight song record clocks in at 25 minutes. It is direct, and despite its brevity, feels like a full album experience. With most song ending under three minutes, Shoebox Letters is still able to not only demonstrate musical skill, but also explore various emotional facets of life.       David Masciotra (www.davidmasciotra.com) is the author of four books, including Barack Obama: Invisible Man (Eyewear Publishing, 2017) and Mellencamp: American Troubadour (University Press of Kentucky, 2015). To read all of David's reviews, click here          2023-04-21T13:30:44+00:00 2023-04-21T13:30:44+00:00 http://thedailyrippleorg.americanamediapro.com/index.php/art-music/cat-blog-reviews-david-masciotra/70-music-review-gratitude-by-dan-imhoff-dm Terry Ryan

5 October 2022   Dan Imhoff demonstrates delightful dexterity and variety on his new record, Gratitude. Aptly titled, given that he composed and recorded it at the height of the pandemic, the album showcases a light, soulful touch as Imhoff and his adept crew of supportive musicians move through gospel, folk, pop, and jazz. Imhoff’s knack for melody, composition, and arrangement emerge most clearly and colorfully on the lighter material. “Coming Into View” sounds like a soulful-pop hit, and it leads into, perhaps, the album’s highlight, “So Good To Be a Dog.” Showing an effective sense of humor, Imhoff sings about the pleasures of the canine life, and the endless enjoyment of having humans cater to one’s every need. The song moves into a jazzy shuffle after each chorus, occasionally slowing down for drawn out verses. Imhoff has ample skills as a guitarist, playing with a rock and roll rhythm on the opening title track, and even picking with a southern rock meets jazz fusion hybridity on the innovative, “Accidentally Valencia.” A mini-choir of backup vocalists provide a gospel punch, but never overwhelm the arrangements. The production choices are always tasteful and element, allowing the songs to shine no matter how virtuosic the instrumentation. Another triumph, “Factory of Tangled Dreams,” exemplifies a Steely Dan style understanding of how jazz can meet pop/rock, along with richly emotional and detailed lyrics about the small frustrations of the blue collar grind. Forgive such an on-the-nose and predictable closing, but Gratitude offers an auditory of pleasure. Give it a spin, and prepare to feel grateful.          David Masciotra (www.davidmasciotra.com) is the author of four books, including Barack Obama: Invisible Man (Eyewear Publishing, 2017) and Mellencamp: American Troubadour (University Press of Kentucky, 2015). To read all of David's reviews, click here         

5 October 2022   Dan Imhoff demonstrates delightful dexterity and variety on his new record, Gratitude. Aptly titled, given that he composed and recorded it at the height of the pandemic, the album showcases a light, soulful touch as Imhoff and his adept crew of supportive musicians move through gospel, folk, pop, and jazz. Imhoff’s knack for melody, composition, and arrangement emerge most clearly and colorfully on the lighter material. “Coming Into View” sounds like a soulful-pop hit, and it leads into, perhaps, the album’s highlight, “So Good To Be a Dog.” Showing an effective sense of humor, Imhoff sings about the pleasures of the canine life, and the endless enjoyment of having humans cater to one’s every need. The song moves into a jazzy shuffle after each chorus, occasionally slowing down for drawn out verses. Imhoff has ample skills as a guitarist, playing with a rock and roll rhythm on the opening title track, and even picking with a southern rock meets jazz fusion hybridity on the innovative, “Accidentally Valencia.” A mini-choir of backup vocalists provide a gospel punch, but never overwhelm the arrangements. The production choices are always tasteful and element, allowing the songs to shine no matter how virtuosic the instrumentation. Another triumph, “Factory of Tangled Dreams,” exemplifies a Steely Dan style understanding of how jazz can meet pop/rock, along with richly emotional and detailed lyrics about the small frustrations of the blue collar grind. Forgive such an on-the-nose and predictable closing, but Gratitude offers an auditory of pleasure. Give it a spin, and prepare to feel grateful.          David Masciotra (www.davidmasciotra.com) is the author of four books, including Barack Obama: Invisible Man (Eyewear Publishing, 2017) and Mellencamp: American Troubadour (University Press of Kentucky, 2015). To read all of David's reviews, click here          2023-04-21T13:35:17+00:00 2023-04-21T13:35:17+00:00 http://thedailyrippleorg.americanamediapro.com/index.php/art-music/cat-blog-reviews-jim-hynes/71-music-review-murder-of-songs-by-grant-peeples-jh Terry Ryan

26 February 2023    If you feel, like this writer has in recent years, that the outspoken folk singer has disappeared, then you’d best listen to the latest, A Murder of Songs, from Grant Peeples. His is a brutal commentary on our country’s divisive, troubled state. If only Peeples had recorded this album after learning that the Fox News hosts knew they were lying about the 2020 election, and that Speaker McCarthy turned over 40,000 hours of Jan 6 footage to Tucker Carlson, of all people, it would be even a stronger gut punch. Nonetheless, Peeples shines a light on the absurdity of our current situation. Welcome back to protest music that we’ve dearly missed. But Peeples is the exception. He’s been writing substantive songs for over two decades now through eleven albums, three books of poetry, live albums, and multi-media videos made during the pandemic called Clay Tablets. He opens in soft, acoustic style with the only non-original song, a spare rendering of Mark Knopfler’s classic anti-war anthem, informed by the Falklands War “Brothers in Arms” likely with Jan 6 and possibly Ukraine in mind- “That we’re fools to make war on our brothers in arms.” He continues in a pensive state with the co-write with co-producer Danny Goddard, “This Is the Good News,” explaining that we must stay vigilant and on-guard because – “Anything is possible, nothing is for sure, anyone can do these things, things never done before. This is the good news, this is the bad news.”  With the Pete Seeger-like banjo (Scott Anderson) and fiddle (Christian Ward) driven “Revolutionary Reel” the style and tempo go upbeat. These various changes trace to the album being recorded in ten different studios and a couple of dozen musicians and engineers over a two-year span (yes, the pandemic). “Revolutionary Reel!” was written shortly after the death of George Floyd and calls us to action with these words – “Though I’m not here to say I know what a dead man feels/ Might be time to abandon caution, a little action instead of talking/Play a little revolutionary reel. Peeples sound as if he’s fronting the rebel Irish band The Wolfe Tones or the Pogues on his tongue in cheek but still searing “Insurrection Song (January 6).” He cleverly repurposes one of Kristofferson’s indelible lines - It was an insurrection, so patriots must stand/And heed the call for justice and let leniency be damned/Cause freedom’s just another word for all we have to lose/Let the sonsabitches rot in jail for what they tried to do.” Some of these, however, are not flat-out protest songs. “Dear Sadie” is a lullaby of sorts written for his grandniece, reflecting on ancestry, and the choices one must make for a better future. Peeples considers it one of the best he has ever written. ”Elisabeth” speaks to comforting a close friend. Another standout is the autobiographical and identifiable “The Restless Ones,” where Peeples expresses his solidarity with like-minded rebellious types. The first verse is read by Scottish poet Lorna Simes, which complements the feel and raw emotion of the song. Landon Gay’s pedal steel gives the requisite gravitas to these lyrics - Artists; rebels who will pick a fight/I keep’ um close, don’t let ‘um slip away/Cause they got ‘it’ and it’s the only thing/The only thing I ever count on, cause…/I’ve always run with the restless ones. Peeples angst comes to the fore on his 2007 reworked “Liberal With a Gun” where he makes it clear it’s not just the liberals who hold the guns. We are living in a frightful culture of gun violence that has only worsened 15 years later. He closes, using his humor, wit, and sarcasm with jaunty, vaudeville-like music to share the ominous message “Let’s Start Killing Each Other” – “Got your leftwing, rightwing, your black and white/Conservatives and Liberals just itching for a fight/When you know they’re wrong and they swear they’re right/You can bet there’s gonna be trouble/So, just whip out a switchblade, pull out a gun/Pistol whip some sumbitch just for fun/And don’t stop dealing till the dealing’s done./Till we start killing each other.” Peeples is not shy about speaking his mind and has commendably put his thoughts across with an enjoyable, varied musical palette. His rather plain singing voice is emblematic of who he is – an honest, no-holds barred, rebel folk singer. He’s here to remind us that his kind is still offering vital messages.       Jim Hynes is an independent contributor on music for several magazines, including Elmore and Country Standard Time. He has also written for Variety. He was a listener-supported public station(s) radio host for 25 years in CT, MI, NJ and PA. He is also a Live music host/Emcee at several national and regional venues. To Read All of Jim's Reviews, Click Here        

26 February 2023    If you feel, like this writer has in recent years, that the outspoken folk singer has disappeared, then you’d best listen to the latest, A Murder of Songs, from Grant Peeples. His is a brutal commentary on our country’s divisive, troubled state. If only Peeples had recorded this album after learning that the Fox News hosts knew they were lying about the 2020 election, and that Speaker McCarthy turned over 40,000 hours of Jan 6 footage to Tucker Carlson, of all people, it would be even a stronger gut punch. Nonetheless, Peeples shines a light on the absurdity of our current situation. Welcome back to protest music that we’ve dearly missed. But Peeples is the exception. He’s been writing substantive songs for over two decades now through eleven albums, three books of poetry, live albums, and multi-media videos made during the pandemic called Clay Tablets. He opens in soft, acoustic style with the only non-original song, a spare rendering of Mark Knopfler’s classic anti-war anthem, informed by the Falklands War “Brothers in Arms” likely with Jan 6 and possibly Ukraine in mind- “That we’re fools to make war on our brothers in arms.” He continues in a pensive state with the co-write with co-producer Danny Goddard, “This Is the Good News,” explaining that we must stay vigilant and on-guard because – “Anything is possible, nothing is for sure, anyone can do these things, things never done before. This is the good news, this is the bad news.”  With the Pete Seeger-like banjo (Scott Anderson) and fiddle (Christian Ward) driven “Revolutionary Reel” the style and tempo go upbeat. These various changes trace to the album being recorded in ten different studios and a couple of dozen musicians and engineers over a two-year span (yes, the pandemic). “Revolutionary Reel!” was written shortly after the death of George Floyd and calls us to action with these words – “Though I’m not here to say I know what a dead man feels/ Might be time to abandon caution, a little action instead of talking/Play a little revolutionary reel. Peeples sound as if he’s fronting the rebel Irish band The Wolfe Tones or the Pogues on his tongue in cheek but still searing “Insurrection Song (January 6).” He cleverly repurposes one of Kristofferson’s indelible lines - It was an insurrection, so patriots must stand/And heed the call for justice and let leniency be damned/Cause freedom’s just another word for all we have to lose/Let the sonsabitches rot in jail for what they tried to do.” Some of these, however, are not flat-out protest songs. “Dear Sadie” is a lullaby of sorts written for his grandniece, reflecting on ancestry, and the choices one must make for a better future. Peeples considers it one of the best he has ever written. ”Elisabeth” speaks to comforting a close friend. Another standout is the autobiographical and identifiable “The Restless Ones,” where Peeples expresses his solidarity with like-minded rebellious types. The first verse is read by Scottish poet Lorna Simes, which complements the feel and raw emotion of the song. Landon Gay’s pedal steel gives the requisite gravitas to these lyrics - Artists; rebels who will pick a fight/I keep’ um close, don’t let ‘um slip away/Cause they got ‘it’ and it’s the only thing/The only thing I ever count on, cause…/I’ve always run with the restless ones. Peeples angst comes to the fore on his 2007 reworked “Liberal With a Gun” where he makes it clear it’s not just the liberals who hold the guns. We are living in a frightful culture of gun violence that has only worsened 15 years later. He closes, using his humor, wit, and sarcasm with jaunty, vaudeville-like music to share the ominous message “Let’s Start Killing Each Other” – “Got your leftwing, rightwing, your black and white/Conservatives and Liberals just itching for a fight/When you know they’re wrong and they swear they’re right/You can bet there’s gonna be trouble/So, just whip out a switchblade, pull out a gun/Pistol whip some sumbitch just for fun/And don’t stop dealing till the dealing’s done./Till we start killing each other.” Peeples is not shy about speaking his mind and has commendably put his thoughts across with an enjoyable, varied musical palette. His rather plain singing voice is emblematic of who he is – an honest, no-holds barred, rebel folk singer. He’s here to remind us that his kind is still offering vital messages.       Jim Hynes is an independent contributor on music for several magazines, including Elmore and Country Standard Time. He has also written for Variety. He was a listener-supported public station(s) radio host for 25 years in CT, MI, NJ and PA. He is also a Live music host/Emcee at several national and regional venues. To Read All of Jim's Reviews, Click Here         2023-04-21T13:37:24+00:00 2023-04-21T13:37:24+00:00 http://thedailyrippleorg.americanamediapro.com/index.php/art-music/cat-blog-reviews-jim-hynes/72-music-review-gratitude-by-dan-imhoff-jh Terry Ryan

03 October 2022    Gratitude is the fifth solo album for California singer-songwriter Dan Imhoff. Wait, that doesn’t do this creative artist justice. Imhoff is also an activist, a podcaster, and the author of ten nonfiction books about farming, conservation, and eco-design., the latter of which play in just slightly to the uplifting music found here. Most of these songs were written during the pandemic lockdown and even though there’s a distinct roots-rock thread running through them, the album was recorded in Spain with a host of Spanish musicians. As it turns out, Imhoff lives in Spain part-time and often records there. The album was recorded in two separate studios, outside of Valencia and Girona, with two different teams. Imhoff calls his songwriting “cosmic gospel.” Cosmic references the roots of northern California tradition of folk rock, blues, and jazz but performed by Spanish musicians. Gospel indicates that most of the songs have strong background choruses and rich harmonies. Imhoff confesses to the fact that most of these songs took a long time to write as it took a while to get to that place mentally and emotionally when optimism would flow naturally. We could have used these hopeful tunes during those weary pandemic months, but joyous music never arrives too late. The hook in the titular opener is infectious from the outset. “There There” is a snappy mid-tempo tune that alludes perhaps to the struggle in the writing process (“Gotta find a way to keep believing”). “When a Great Tree Falls” employs a great use of echo effects and likely points to his environmental activism, coupling sequoias in his native Northern California with this teeming chorus “Will we be strong enough to fight for what we believe?”)  The lightly strummed, banjo infused “Coming Into View” rings with the insistent chorus “Love is the only game.” The perky, jug band-like “So Good To Be a Dog” hits at a thought most of us have likely had as we admire the oft-relaxed state of our favorite pet. There’s a similar tongue-in-cheek vibe to the piano ballad “Why I Drink The Wine” suggesting it’s “to get closer to Jesus.” Although there are some common threads to Imhoff’s lyrics, no two songs sound alike as he adeptly shifts tempos and instrumentation. Case in point is “Dark Side,” another mostly acoustic tune, but one where the lyrical tone shifts too. He’s being honest. Even the most upbeat people have moments of sadness and frustration. This kind of balancing act, which he turns to again later on “Crazy Town” of course, gives the uplifting tunes even more impact, such as the inspiring, celebratory nature song, “Lie Down With the Wild Things.” He follows with an ode to the comfort of his part-time home in “Accidentally Valencia.” Bassist Jaume Guerra Menue, the co-writer of “Factory of Tangled Dream,” adds a jazzy touch to the carefree tune. Following the bleak “Crazy Town” it’s only fitting that Imhoff end on a high note, and though he points to ultimate satisfaction in “Angel Touching Down” he does so pensively, not with the rollicking hooks heard on some of the tunes, but it is the most vocally expressive tune of the strong dozen he penned. Imhoff paints hope as a goal one must attain. It’s not readily available to those who don’t struggle and aren’t stoic when called for. When earned however, it’s rewarding. As the title suggests, he’s thankful and we should all share in that glee at least for a few moments. We’ve made it through the difficult pandemic months but just the same, we’re living in troubling times and should remain on guard.          Jim Hynes is an independent contributor on music for several magazines, including Elmore and Country Standard Time. He has also written for Variety. He was a listener-supported public station(s) radio host for 25 years in CT, MI, NJ and PA. He is also a Live music host/Emcee at several national and regional venues. To Read All of Jim's Reviews, Click Here      

03 October 2022    Gratitude is the fifth solo album for California singer-songwriter Dan Imhoff. Wait, that doesn’t do this creative artist justice. Imhoff is also an activist, a podcaster, and the author of ten nonfiction books about farming, conservation, and eco-design., the latter of which play in just slightly to the uplifting music found here. Most of these songs were written during the pandemic lockdown and even though there’s a distinct roots-rock thread running through them, the album was recorded in Spain with a host of Spanish musicians. As it turns out, Imhoff lives in Spain part-time and often records there. The album was recorded in two separate studios, outside of Valencia and Girona, with two different teams. Imhoff calls his songwriting “cosmic gospel.” Cosmic references the roots of northern California tradition of folk rock, blues, and jazz but performed by Spanish musicians. Gospel indicates that most of the songs have strong background choruses and rich harmonies. Imhoff confesses to the fact that most of these songs took a long time to write as it took a while to get to that place mentally and emotionally when optimism would flow naturally. We could have used these hopeful tunes during those weary pandemic months, but joyous music never arrives too late. The hook in the titular opener is infectious from the outset. “There There” is a snappy mid-tempo tune that alludes perhaps to the struggle in the writing process (“Gotta find a way to keep believing”). “When a Great Tree Falls” employs a great use of echo effects and likely points to his environmental activism, coupling sequoias in his native Northern California with this teeming chorus “Will we be strong enough to fight for what we believe?”)  The lightly strummed, banjo infused “Coming Into View” rings with the insistent chorus “Love is the only game.” The perky, jug band-like “So Good To Be a Dog” hits at a thought most of us have likely had as we admire the oft-relaxed state of our favorite pet. There’s a similar tongue-in-cheek vibe to the piano ballad “Why I Drink The Wine” suggesting it’s “to get closer to Jesus.” Although there are some common threads to Imhoff’s lyrics, no two songs sound alike as he adeptly shifts tempos and instrumentation. Case in point is “Dark Side,” another mostly acoustic tune, but one where the lyrical tone shifts too. He’s being honest. Even the most upbeat people have moments of sadness and frustration. This kind of balancing act, which he turns to again later on “Crazy Town” of course, gives the uplifting tunes even more impact, such as the inspiring, celebratory nature song, “Lie Down With the Wild Things.” He follows with an ode to the comfort of his part-time home in “Accidentally Valencia.” Bassist Jaume Guerra Menue, the co-writer of “Factory of Tangled Dream,” adds a jazzy touch to the carefree tune. Following the bleak “Crazy Town” it’s only fitting that Imhoff end on a high note, and though he points to ultimate satisfaction in “Angel Touching Down” he does so pensively, not with the rollicking hooks heard on some of the tunes, but it is the most vocally expressive tune of the strong dozen he penned. Imhoff paints hope as a goal one must attain. It’s not readily available to those who don’t struggle and aren’t stoic when called for. When earned however, it’s rewarding. As the title suggests, he’s thankful and we should all share in that glee at least for a few moments. We’ve made it through the difficult pandemic months but just the same, we’re living in troubling times and should remain on guard.          Jim Hynes is an independent contributor on music for several magazines, including Elmore and Country Standard Time. He has also written for Variety. He was a listener-supported public station(s) radio host for 25 years in CT, MI, NJ and PA. He is also a Live music host/Emcee at several national and regional venues. To Read All of Jim's Reviews, Click Here       2023-04-21T13:39:49+00:00 2023-04-21T13:39:49+00:00 http://thedailyrippleorg.americanamediapro.com/index.php/art-music/cat-blog-reviews-john-b-moore/73-music-review-deluge-of-hurt-by-tornado-sky-jm Terry Ryan

27 October 2022   Husband and wife Jerry Careaga and Stephanie Gladhart have been writing songs together for two decades now, but Deluge of Hurt marks their debut as Tornado Sky, a project that came to be in part thanks to the Covid pandemic that shut down the world. Careaga’s songwriting credits go back to the early 1980s having written for a slew of artists across different genres over time, while Gladhart focused more on longform writing, while still collaborating with her husband from time to time. But the global pandemic forced just about everyone into a two- year isolation that led to the duo combining efforts and finally collaborating on their own project, christened Tornado Sky. The result of their efforts is a deeply personal album that dips in and out of genres, like Americana, folk and snatches of light pop here and there. Aptly titled, there are some dark sentiments throughout, with “Walking Next to Me” being a prime example with Gladhart singing about losing her brother to cancer and her father dealing with dementia. But it’s not all loss and heartache. Careaga sings about that feeling of pure love for someone on “Damn You.” Regardless of the subject, deep, relatable emotions are at the core of every song the duo writes. Their band is fleshed out by a collection of stellar musicians for hire including drummer Aaron Sterling (Taylor Swift, Keith Urban, Harry Styles), guitarist Dave Levita (Alanis Morissette, Katy Perry, Tim McGraw) Death cab For Cutie’s keyboardist Zac Rae, among others.      John B. Moore has been covering the seemingly disparate, but surprisingly complimentary genres of Americana and punk rock for the past 20 years. Blurt/New Noise Magazine/InSite Atlanta/NeuFutur Magazine twitter @jbmoore00 To Read All of John's Reviews, Click Here    

27 October 2022   Husband and wife Jerry Careaga and Stephanie Gladhart have been writing songs together for two decades now, but Deluge of Hurt marks their debut as Tornado Sky, a project that came to be in part thanks to the Covid pandemic that shut down the world. Careaga’s songwriting credits go back to the early 1980s having written for a slew of artists across different genres over time, while Gladhart focused more on longform writing, while still collaborating with her husband from time to time. But the global pandemic forced just about everyone into a two- year isolation that led to the duo combining efforts and finally collaborating on their own project, christened Tornado Sky. The result of their efforts is a deeply personal album that dips in and out of genres, like Americana, folk and snatches of light pop here and there. Aptly titled, there are some dark sentiments throughout, with “Walking Next to Me” being a prime example with Gladhart singing about losing her brother to cancer and her father dealing with dementia. But it’s not all loss and heartache. Careaga sings about that feeling of pure love for someone on “Damn You.” Regardless of the subject, deep, relatable emotions are at the core of every song the duo writes. Their band is fleshed out by a collection of stellar musicians for hire including drummer Aaron Sterling (Taylor Swift, Keith Urban, Harry Styles), guitarist Dave Levita (Alanis Morissette, Katy Perry, Tim McGraw) Death cab For Cutie’s keyboardist Zac Rae, among others.      John B. Moore has been covering the seemingly disparate, but surprisingly complimentary genres of Americana and punk rock for the past 20 years. Blurt/New Noise Magazine/InSite Atlanta/NeuFutur Magazine twitter @jbmoore00 To Read All of John's Reviews, Click Here     2023-04-21T13:41:20+00:00 2023-04-21T13:41:20+00:00 http://thedailyrippleorg.americanamediapro.com/index.php/art-music/cat-blog-reviews-eleni-p-austin/74-music-review-deluge-of-hurt-by-tornado-sky-ea Terry Ryan

18 October 2022   “If it were possible for Bob Seger and Stevie Nicks to have a musical love child, it might sound a bit like Tornado Sky.  The L.A. two-piece features renowned songwriter Jerry Careaga and his wife, Stephanie Gladhart’ whose background has primarily been in the creative writing field.  Although they have been collaborating informally for more than 20 years, “Deluge Of Hurt” is their first official album together.             The title track kicks the album into gear. Bluesy bottleneck guitar, wily bass.  supple electric piano and a kinetic backbeat anchor this mid-tempo groover. Stephanie and Jerry’s vocals wraparound like honey and woodsmoke as they attempt to pick up the pieces of a failed romance; “How can I think of starting over when my heart’s still reeling from a deluge of hurt?”             Stephanie takes the lead on three tracks. Despite the breezy arrangement, the song is a bittersweet encomium to lost loved ones, as she wryly notes; “One window opens, one window closes, born to this life of tears and roses.” Meanwhile, “Am I Mighty” is a restless,  twangy two-step that limns the dissatisfaction that bubbles over from  an orderly and predictable life. Pondering the road not taken, she wonders “Am I the sapling, or a mighty tree?” Finally, the  “Two Beat Up Hearts” traces a chance encounter  at a bar between a pair of  romance-weary strangers just looking for some emotional rescue.             Most of the songs here wrap indelible melodies around rich narratives that navigate the rocky shoals between love and loss. “The Well,” which is powered by panoramic pedal steel and fleet acoustic fretwork is just seeking comfort in a turbulent world. The Blues-inflected “Red Cloud Road” finds a  former couple tentatively reconnecting, hoping for some  common  ground. “Somebody’s Looking Out For Me,” chronicles a bit of divine intervention. The album closes with the tender benediction of “Blow Me Away.”                 Eleni P. Austin - I was born into a large, loud Greek family and spent my formative years in the Los Angeles enclaves of Laurel Canyon and Los Feliz. My mother moved us to the Palm Springs area just in time for puberty and Disco.  I have spent over 40 years working in record stores, starting back in High School. I wrote music reviews for the Desert Sun from 1983 to 1988. I began doing the same for the Coachella Valley Weekly in 2012. I live in Palm Springs with my wife and our amazing dog, Denver.  To Read All of Eleni P.'s Reviews, Click Here  

18 October 2022   “If it were possible for Bob Seger and Stevie Nicks to have a musical love child, it might sound a bit like Tornado Sky.  The L.A. two-piece features renowned songwriter Jerry Careaga and his wife, Stephanie Gladhart’ whose background has primarily been in the creative writing field.  Although they have been collaborating informally for more than 20 years, “Deluge Of Hurt” is their first official album together.             The title track kicks the album into gear. Bluesy bottleneck guitar, wily bass.  supple electric piano and a kinetic backbeat anchor this mid-tempo groover. Stephanie and Jerry’s vocals wraparound like honey and woodsmoke as they attempt to pick up the pieces of a failed romance; “How can I think of starting over when my heart’s still reeling from a deluge of hurt?”             Stephanie takes the lead on three tracks. Despite the breezy arrangement, the song is a bittersweet encomium to lost loved ones, as she wryly notes; “One window opens, one window closes, born to this life of tears and roses.” Meanwhile, “Am I Mighty” is a restless,  twangy two-step that limns the dissatisfaction that bubbles over from  an orderly and predictable life. Pondering the road not taken, she wonders “Am I the sapling, or a mighty tree?” Finally, the  “Two Beat Up Hearts” traces a chance encounter  at a bar between a pair of  romance-weary strangers just looking for some emotional rescue.             Most of the songs here wrap indelible melodies around rich narratives that navigate the rocky shoals between love and loss. “The Well,” which is powered by panoramic pedal steel and fleet acoustic fretwork is just seeking comfort in a turbulent world. The Blues-inflected “Red Cloud Road” finds a  former couple tentatively reconnecting, hoping for some  common  ground. “Somebody’s Looking Out For Me,” chronicles a bit of divine intervention. The album closes with the tender benediction of “Blow Me Away.”                 Eleni P. Austin - I was born into a large, loud Greek family and spent my formative years in the Los Angeles enclaves of Laurel Canyon and Los Feliz. My mother moved us to the Palm Springs area just in time for puberty and Disco.  I have spent over 40 years working in record stores, starting back in High School. I wrote music reviews for the Desert Sun from 1983 to 1988. I began doing the same for the Coachella Valley Weekly in 2012. I live in Palm Springs with my wife and our amazing dog, Denver.  To Read All of Eleni P.'s Reviews, Click Here   2023-04-21T13:42:44+00:00 2023-04-21T13:42:44+00:00 http://thedailyrippleorg.americanamediapro.com/index.php/art-music/cat-blog-reviews-eleni-p-austin/75-music-review-flight-risk-by-shoebox-letters-ea Terry Ryan

24 June 2022   “She looks good on paper, she dots all the I’s, you can’t decipher the truth from a lie/She makes an impression, she’s hard to forget, she has all the answers, she’s always correct, don’t fool yourself, she’s a flight risk.” That’s the Shoebox Letters sounding the alarm about a too-good-to-be-true temptress on the title track that opens their latest EP, Flight Risk. Hailing from the Pacific Northwest, this four-piece includes Dennis Winslow (acoustic/electric guitars, keys and vocals) Dave Strickler (bass), Stephanie Cox (vocals) and Greg Paul (backing vocals, steel guitar and bass). The aforementioned opener cuts a wide swath, the melody and arrangement echo ‘70s Power Pop antecedents like The Raspberries and Badfinger, while a wash of steel guitar adds a bit of high lonesome ache. The six-song set is uniformly excellent, front to back, but stand-outs include the raucous “I Drink To Much” which is powered by angular guitars, wily bass lines and a hi-hat kick. Introspective lyrics reference Phil and Don Everly and kinda contemplate sobriety. Then there’s the low-key charm of “Bed Of Roses.” “Red Handed In Love” Slashing power chords strafe across a rock steady rhythm. The lyrics offer up a tender encomium to a long-term romance. The record closes with “A World Out There.” Something of a restless farewell, it features sparkly guitars and burnished keys. It’s a moodily elegant finish to the EP. On Flight Risk, Shoebox Letters serve up a deft combo-platter of infectious Power Pop and good ol’ Country Comfort.   Eleni P. Austin - I was born into a large, loud Greek family and spent my formative years in the Los Angeles enclaves of Laurel Canyon and Los Feliz. My mother moved us to the Palm Springs area just in time for puberty and Disco.  I have spent over 40 years working in record stores, starting back in High School. I wrote music reviews for the Desert Sun from 1983 to 1988. I began doing the same for the Coachella Valley Weekly in 2012. I live in Palm Springs with my wife and our amazing dog, Denver.  To Read All of Eleni P.'s Reviews, Click Here      

24 June 2022   “She looks good on paper, she dots all the I’s, you can’t decipher the truth from a lie/She makes an impression, she’s hard to forget, she has all the answers, she’s always correct, don’t fool yourself, she’s a flight risk.” That’s the Shoebox Letters sounding the alarm about a too-good-to-be-true temptress on the title track that opens their latest EP, Flight Risk. Hailing from the Pacific Northwest, this four-piece includes Dennis Winslow (acoustic/electric guitars, keys and vocals) Dave Strickler (bass), Stephanie Cox (vocals) and Greg Paul (backing vocals, steel guitar and bass). The aforementioned opener cuts a wide swath, the melody and arrangement echo ‘70s Power Pop antecedents like The Raspberries and Badfinger, while a wash of steel guitar adds a bit of high lonesome ache. The six-song set is uniformly excellent, front to back, but stand-outs include the raucous “I Drink To Much” which is powered by angular guitars, wily bass lines and a hi-hat kick. Introspective lyrics reference Phil and Don Everly and kinda contemplate sobriety. Then there’s the low-key charm of “Bed Of Roses.” “Red Handed In Love” Slashing power chords strafe across a rock steady rhythm. The lyrics offer up a tender encomium to a long-term romance. The record closes with “A World Out There.” Something of a restless farewell, it features sparkly guitars and burnished keys. It’s a moodily elegant finish to the EP. On Flight Risk, Shoebox Letters serve up a deft combo-platter of infectious Power Pop and good ol’ Country Comfort.   Eleni P. Austin - I was born into a large, loud Greek family and spent my formative years in the Los Angeles enclaves of Laurel Canyon and Los Feliz. My mother moved us to the Palm Springs area just in time for puberty and Disco.  I have spent over 40 years working in record stores, starting back in High School. I wrote music reviews for the Desert Sun from 1983 to 1988. I began doing the same for the Coachella Valley Weekly in 2012. I live in Palm Springs with my wife and our amazing dog, Denver.  To Read All of Eleni P.'s Reviews, Click Here       2023-04-21T13:45:36+00:00 2023-04-21T13:45:36+00:00 http://thedailyrippleorg.americanamediapro.com/index.php/art-music/cat-blog-reviews-dan-macintosh/76-music-review-deluge-of-hurt-by-tornado-sky-dmac Terry Ryan

31 October 2022   Disaster, as a metaphor, plays a big part in this act’s overall presentation. Its group name, for instance, describes a sky view just before a tornado. Next, the album’s title track references hurricanes, as the word ‘deluge’ refers to an overflowing of the land by water, a drenching rain or an overwhelming amount or number. In other words, it’s an event that is just too much for an overcome human to handle. We all hurt, but we all – eventually – heal. However, it’s difficult to know what to do whenever the pain bowls us over and doesn’t seem to give us any way out. This, one surmises, is what Tornado Sky is singing about with this particular title track. The album’s standout inclusion is one called “Two Beat Up Hearts,” which Gladhart sings lead on. It finds its narrator sitting at a bar, drinking her way through brokenhearted-ness. This hurt one, however, luckily found an empathetic soul on the barstool next to her at this watering hole. Both are applying alcohol therapy to their wounds. The recording includes plenty of Rusty Danmyer’s steel guitar, which gives it the lonesome, lowdown sound of a country weeper. A couple of the other songs where Gladhart sings lead, are also quite personal. Opener, “Am I Mighty,” finds Gladhart struggling to find her identity. Over a gentle, quiet arrangement, Gladhart describes a little of her life history, wondering what it will all add up to in the end. It incorporates some especially lovely backing vocals. “Walking Next To Me” is a really sad one. “I lost my brother out of the blue,” she begins, “Cancer can do that to you.” She wastes no time in setting the scene, that’s for sure. She goes on to explain how she feels like he’s still with her, somehow. The realm of the afterlife is filled with mystery, even for those that have strong religious beliefs. Losing a sibling is one of the toughest experiences for all family members left behind. Songs where Careaga sings lead, tend to be the most folk-ish. One called “Go,” for instance, finds Careaga trying desperately to understand the right direction to travel using the map of a relationship. What may seem like a ‘go,’ may actually be a ‘stop,’ and sometimes we don’t know the right answer until long after we’ve passed that fork in the road.   For an act with such an ominous approach, Tornado Sky sure makes impending doom sound sonically lovely. Maybe that’s the best way to face one’s fears – by creating something beau tiful through music. Storms will come and go, and there’s no getting away from that or around it. Someone once said that life will always be hard. The key to growth is learning to do hard things better. Music may not heal our wounds, but it is certainly a comforting distraction, if nothing else. Tornado Sky counters the deluge of hurt with an equally powerful deluge of beautiful sounds.        Dan MacIntosh - Dan MacIntosh has been a professional music journalist for 30 years and his work has regularly appeared in many local and national publications, including Inland Empire Weekly, CCM, CMJ, Paste, Mean Street, Chord, HM, Christian Retailing, Amplifier, Inspirational Giftware, Stereo Subversion, Indie-Music, Soul–Audio, Roughstock.com, Country Standard Time and Spin.com.  To Read All of Dan's Reviews, Click Here  

31 October 2022   Disaster, as a metaphor, plays a big part in this act’s overall presentation. Its group name, for instance, describes a sky view just before a tornado. Next, the album’s title track references hurricanes, as the word ‘deluge’ refers to an overflowing of the land by water, a drenching rain or an overwhelming amount or number. In other words, it’s an event that is just too much for an overcome human to handle. We all hurt, but we all – eventually – heal. However, it’s difficult to know what to do whenever the pain bowls us over and doesn’t seem to give us any way out. This, one surmises, is what Tornado Sky is singing about with this particular title track. The album’s standout inclusion is one called “Two Beat Up Hearts,” which Gladhart sings lead on. It finds its narrator sitting at a bar, drinking her way through brokenhearted-ness. This hurt one, however, luckily found an empathetic soul on the barstool next to her at this watering hole. Both are applying alcohol therapy to their wounds. The recording includes plenty of Rusty Danmyer’s steel guitar, which gives it the lonesome, lowdown sound of a country weeper. A couple of the other songs where Gladhart sings lead, are also quite personal. Opener, “Am I Mighty,” finds Gladhart struggling to find her identity. Over a gentle, quiet arrangement, Gladhart describes a little of her life history, wondering what it will all add up to in the end. It incorporates some especially lovely backing vocals. “Walking Next To Me” is a really sad one. “I lost my brother out of the blue,” she begins, “Cancer can do that to you.” She wastes no time in setting the scene, that’s for sure. She goes on to explain how she feels like he’s still with her, somehow. The realm of the afterlife is filled with mystery, even for those that have strong religious beliefs. Losing a sibling is one of the toughest experiences for all family members left behind. Songs where Careaga sings lead, tend to be the most folk-ish. One called “Go,” for instance, finds Careaga trying desperately to understand the right direction to travel using the map of a relationship. What may seem like a ‘go,’ may actually be a ‘stop,’ and sometimes we don’t know the right answer until long after we’ve passed that fork in the road.   For an act with such an ominous approach, Tornado Sky sure makes impending doom sound sonically lovely. Maybe that’s the best way to face one’s fears – by creating something beau tiful through music. Storms will come and go, and there’s no getting away from that or around it. Someone once said that life will always be hard. The key to growth is learning to do hard things better. Music may not heal our wounds, but it is certainly a comforting distraction, if nothing else. Tornado Sky counters the deluge of hurt with an equally powerful deluge of beautiful sounds.        Dan MacIntosh - Dan MacIntosh has been a professional music journalist for 30 years and his work has regularly appeared in many local and national publications, including Inland Empire Weekly, CCM, CMJ, Paste, Mean Street, Chord, HM, Christian Retailing, Amplifier, Inspirational Giftware, Stereo Subversion, Indie-Music, Soul–Audio, Roughstock.com, Country Standard Time and Spin.com.  To Read All of Dan's Reviews, Click Here   2023-04-21T13:47:09+00:00 2023-04-21T13:47:09+00:00 http://thedailyrippleorg.americanamediapro.com/index.php/art-music/cat-blog-reviews-dan-macintosh/77-music-review-1000-horses-by-bruce-smith-dmac Terry Ryan

05 October 2022   Bruce Smith’s 1000 Horses album opens with “Campbellton,” which rocks and rolls to a rockabilly rhythm. What follows, though, is not some sort of Stray Cats offshoot, however, but a collection of mainly country-leaning roots rock. For example, the memory-jarring “Take a Picture” combines a chunky electric guitar groove along with empathetic fiddle. The album’s title track, “1000 Horses,” has a folk-ish tint to it, as it begins with mournful harmonica. Smith sings its words with a desperately sad vocal tone. It’s a twangy number that merges folk sounds with more distinctly country ones. One titled “Venus Fell,” however, is the album’s most intriguing inclusion. It sounds, both vocally and melodically, like that old Frankie Avalon 1959 hit, “Venus.” It’s driven by gypsy fiddling and a lightly loping groove. Unlike Avalon’s plea to the Greek goddess of love to help him with his romantic troubles, however, Smith’s song is more about the mythological character’s personal issues. Smith returns to the upbeat sounds initially explored with “Campbellton” for “See You in the Movies,” about a girl with big screen dreams. Smith sings it over an instrumental bed that includes both piano and organ, as well as an electric guitar solo. Although Smith rocks a bit on the song, he nevertheless rocks rather gently. His vocals have a bit of a working-class character weaved into his performance, which may remind you of early Bruce Springsteen. Its retro approach, however, comes off more like an old school description of an acting jones. It doesn’t really address the more cutthroat nature of the contemporary film world. The project’s best shot at a hit single is “Everything I Need.” On it, Smith comes off wide open and optimistic. It’s infused with the joys of love and romance. The guitar fills mirror his happy vocals. It sounds a little like some of those great old soul songs from the ‘60s and ‘70s. The future just seemed wide open whenever these songs came over the radio. One suspects the same good vibes would be produced by this song being played on radio today. And in a perfect world, it would be all over the radio, all over the world. Speaking of happy songs, “Don’t Forget to Look Up” is a little like a positive thinking pamphlet put to music. Just as hopeful people encourage the stopping and smelling of roses, Smith doesn’t let the listener forget about the need to look up and away from sad sights. These words of encouragement are accompanied by an upbeat groove similar to a church gospel song – only a white country church, rather than an African American one. Smith closes the album with “Late Night DJ,” which is about hoping the DJ will play the right song to lift his spirits. By the language he uses, these are oldies he’s hearing that are making him feel “not so all alone.” There are times when that radio DJ can feel like your only friend. Of course, this was back when DJs had more recognizable personalities and radio stations had more playlist flexibility. Bruce Smith sometimes sounds like he’s stuck in a time warp, back when we all lived in more innocent times. If this music is a journey back in time, though, it’s sure one pleasurable blast from the past.     Dan MacIntosh - Dan MacIntosh has been a professional music journalist for 30 years and his work has regularly appeared in many local and national publications, including Inland Empire Weekly, CCM, CMJ, Paste, Mean Street, Chord, HM, Christian Retailing, Amplifier, Inspirational Giftware, Stereo Subversion, Indie-Music, Soul–Audio, Roughstock.com, Country Standard Time and Spin.com.  To Read All of Dan's Reviews, Click Here  

05 October 2022   Bruce Smith’s 1000 Horses album opens with “Campbellton,” which rocks and rolls to a rockabilly rhythm. What follows, though, is not some sort of Stray Cats offshoot, however, but a collection of mainly country-leaning roots rock. For example, the memory-jarring “Take a Picture” combines a chunky electric guitar groove along with empathetic fiddle. The album’s title track, “1000 Horses,” has a folk-ish tint to it, as it begins with mournful harmonica. Smith sings its words with a desperately sad vocal tone. It’s a twangy number that merges folk sounds with more distinctly country ones. One titled “Venus Fell,” however, is the album’s most intriguing inclusion. It sounds, both vocally and melodically, like that old Frankie Avalon 1959 hit, “Venus.” It’s driven by gypsy fiddling and a lightly loping groove. Unlike Avalon’s plea to the Greek goddess of love to help him with his romantic troubles, however, Smith’s song is more about the mythological character’s personal issues. Smith returns to the upbeat sounds initially explored with “Campbellton” for “See You in the Movies,” about a girl with big screen dreams. Smith sings it over an instrumental bed that includes both piano and organ, as well as an electric guitar solo. Although Smith rocks a bit on the song, he nevertheless rocks rather gently. His vocals have a bit of a working-class character weaved into his performance, which may remind you of early Bruce Springsteen. Its retro approach, however, comes off more like an old school description of an acting jones. It doesn’t really address the more cutthroat nature of the contemporary film world. The project’s best shot at a hit single is “Everything I Need.” On it, Smith comes off wide open and optimistic. It’s infused with the joys of love and romance. The guitar fills mirror his happy vocals. It sounds a little like some of those great old soul songs from the ‘60s and ‘70s. The future just seemed wide open whenever these songs came over the radio. One suspects the same good vibes would be produced by this song being played on radio today. And in a perfect world, it would be all over the radio, all over the world. Speaking of happy songs, “Don’t Forget to Look Up” is a little like a positive thinking pamphlet put to music. Just as hopeful people encourage the stopping and smelling of roses, Smith doesn’t let the listener forget about the need to look up and away from sad sights. These words of encouragement are accompanied by an upbeat groove similar to a church gospel song – only a white country church, rather than an African American one. Smith closes the album with “Late Night DJ,” which is about hoping the DJ will play the right song to lift his spirits. By the language he uses, these are oldies he’s hearing that are making him feel “not so all alone.” There are times when that radio DJ can feel like your only friend. Of course, this was back when DJs had more recognizable personalities and radio stations had more playlist flexibility. Bruce Smith sometimes sounds like he’s stuck in a time warp, back when we all lived in more innocent times. If this music is a journey back in time, though, it’s sure one pleasurable blast from the past.     Dan MacIntosh - Dan MacIntosh has been a professional music journalist for 30 years and his work has regularly appeared in many local and national publications, including Inland Empire Weekly, CCM, CMJ, Paste, Mean Street, Chord, HM, Christian Retailing, Amplifier, Inspirational Giftware, Stereo Subversion, Indie-Music, Soul–Audio, Roughstock.com, Country Standard Time and Spin.com.  To Read All of Dan's Reviews, Click Here