Excerpt from article:
Had Stevie Nicks ditched Fleetwood Mac and joined Tom Petty & the Heartbreakers circa Damn the Torpedoes, this heartland-rock anthem might’ve found a home on Side A, sandwiched between “Even the Losers” and “Shadow of a Doubt.” A flashback to the glory days of Seventies pop-rock, “Standing in the Shadows” lights up with coed harmonies, electric-guitar jangle and California cool.
“I’ve been going to and leaving Georgia since I was a teenager. There’s an indigenous and regional sound of players and songwriters in Georgia and that music just got all the way to me; hit me right in the middle. I went down to Georgia to get off the damned mountain when I was a teenager; went out to California to get out of the south; got homesick for sweet tea and grits and now I’m in Nashville… So yeah, maybe this song’s kind of in the spirit of that particular Georgia singer-songwriter writing device of being the most vulnerable, wounded part of yourself, offering it up in sacrifice and in celebration for anyone to identify with” – Boo Ray
Nashville-based singer-songwriter Andrew Leahey celebrates life on his forthcoming album Airwaves (out on March 1). Leahey began writing the album while recuperating from a lifesaving brain operation and was drawn to vivacious songs that acknowledge the joy of being alive.
Among those songs was the anthemic, guitar-driven “Make it Last,” which represented a turning point for Leahey.
Radiator King, the Boston-bred/Brooklyn-based musician behind 2017’s A Hollow Triumph After Allis gearing up to release his newest project – the forthcoming EP Roll the Dice, due out February 15th via SoundEvolution records.
While the charm in Silvestri’s earlier catalogue derives from its workmanlike dedication to strain against mountains to unearth gold, on Roll The Dice it emanates from a wary wisdom that no such feats are needed. The gold has volunteered itself for discovery, only now Silvestri knows better than to revel long, if at all, in possessing. READ MORE…
The sense of place runs deep in the grooves of Seneca, the striking debut album by singer-songwriter Charles Wesley Godwin. This 11-song set paints a portrait of his home state of West Virginia that is instantly recognizable yet consistently surprising in its depth.
The music sounds like old-time country and folk music, reinforced with a rock backbone. The standard folk music instruments abound—acoustic guitar, harmonica, mandolin, banjo and fiddle can be heard throughout. But the songs make judicious use of piano, keyboards, electric guitar and horn, providing a subtle edge to many of the tracks.
It’s hard not to be hooked by the infectious beat the second The second Tom Freund’s “Angelus” begins. The opening track on Freund’s most recent album, East of Lincoln, is a practice in mellow rock. Steady, but fun. Clue in on lyrics like “Got a couple stories to tell” and “I can hear sirens coming for us down Washington Way” for a bit more intrigue on a song that seems happy-go-lucky on the surface. In the chorus, Freund acknowledges the subject: “Angelus wait for us in the parking lot.” Toward the end, he sings,“Angelus we are yours for the night. Please shine the light… I think we can make it.”