Interesting & Intriguing!

Bones by the Delta Saints

Delta Saints

Now Bones is an interesting album.  If you are looking for new and unique music, I think you should pay attention to this one.  It opens almost like “Money” by Pink Floyd, with a great bassline that you’ll notice right away.  The singer’s voice is sort of familiar – Black Keys mixed with Ray LaMontagne (it actually works).  This song is bluesy, with rolling, rhythmic guitar and drums that aren’t afraid to just lay it all out there  There is even some synth peeking through, to add a contemporary edge -while organ keys add a bit of honky-tonk style.

It took me awhile to really place the vocals and find several comparisons for you – they are familiar but not commonplace.  The singer is very like the Black Keys when the songs freak out and get growly – but something about this album is more indie, more gentle, more folk than a release by the Black Keys.  There is a little bit of Jack White influence and flavor in here too – OK maybe a lot.  But somehow I find these guys a little more intriguing and dare I say, more authentic?

The second song features lots of organ – there is a more upbeat tempo than the first, and a lighter, faster feeling – while still possessing an eerie and minor-ish twinge.  It reminds me a little bit of “Fly Like an Eagle” by the Steve Miller band, but more updated and fresh.  Bleak, creepy lyrics include:  “Breakin’ my back ‘till the work is done…Bitter fruit feedin’ on the damned…Be the wind, not the willow – rattle them bones” (imagine these words accompanied by echoey backing vocals!).

Track #3 is called “Heavy Hammer” and delivers a 90s party song feel.  I’m not completely sure how to describe this or compare this – maybe a little bit like the Black Crowes?  Very soulful and raucous.  Next, for a song called “Zydeco”, I’ll say I don’t think they’re really maximizing this song name (although there is a lyric “he’s the zydeco inside of me”…).  It starts out similar to “Frankenstein” by the Edgar Winters Band!  The whole thing transforms into a psychedelic 60s-or-70s style, backing-vocal effect-charged mixture, making garbled bubbly sounds before the whole thing winds down – like a flying saucer coming to a halt.

“Butte La Rose” starts out bare but opens up into a multi-instrumental, multi-style extravaganza – definitely the artsiest piece on the album. There’s lots of reverb and sampled sounds – some electronic but many acoustic.  Overall you get the good feeling of experiencing musicians just jamming out and going crazy, while staying grounded with a Neil Young-esque appeal.

I couldn’t help but nod enthusiastically along with this one – track #6 called “Dust”. The intro is just really sassy, twangy, raw and rock, with a heavy but steady basic drum beat.  The lyrics whine above all of this messy goodness so delicately – a chorus of clapping hands chime in as the song picks up even more, and the vocals get intense.  Just when I thought had heard enough to know what this song was about, at approximately 3:10 I was surprised with howling vocals and a wailing guitar solo – all accompanied by the heavy vibrato of an organ.  The song is not especially fast, but there is so much going on it remains extremely compelling.

“My Love” starts out like something from the 70s – a CSNY sort of minor-keyed emotional and folky song, but then it picks up with heavy-hitting drums and a lot of soulful warbling.  Once again this sounds like a group of people just really jamming; recorded-with a live-in-a-house sound.

Track #8 is called “Into the Morning” – finally something that is more my style, easily accessible and less mysterious!  Guitars on this song are à la Rolling Stones, but with more intentionally intense lyrics and varied instrumentation (acoustic piano features prominently among the fuzzy guitars).  I loved the crazy vocal harmonies just coming in and out in a dreamy way, and some of the lyrics are just haunting: “Water and stone / Ashes and bone / Into the morning…”

“Soft Spoken” is really sassy – the vocal performance is amazing with a shrieking intensity on the high notes: “I may not be your clean kind of shiny bright / But I’ll be your pusher man and I’ll be your sugar cane / Baby I do it right.”  This one is full of syncopated rhythms and isolated sprinklings of guitar over mellow, moody bass.  The lyrics are kind of hard to fully pick-up, and they aren’t posted all over the internet yet – but I’m sure they will catch on in a big way soon.  They seem to be very rich and intentional; nothing especially trite or cheesy stuck out to me as being irritating which is a huge (and unusual) plus.

The last song is surprisingly danceable – Track #10 is called “Berlin”.  I’ll mention the vocals again, because here they’re just fantastic.  At the end of the album I realized that in addition to Black Keys with a touch of indie-folk influence, this singer evokes a bit of the Temper Trap sound here too: “Don’t look so tired my dear – we may be bruised by the day is almost here.” Complex guitars under everything complete this stellar song.

I really love that this album starts out a little bit slow, but then the energy is allowed to build and grow as each song gives even more movement than the next.  So many artists mix the slow songs on their albums in with the fast, or they tend to get more moody and delicate nearer the end – I really appreciate something like Bones that just keeps going, and going strong!  You should definitely check this out.

Link to Preview Tracks on Google Play:

Google Play – Delta Saints

Link to Purchase Album on Amazon:

Amazon – Delta Saints

*Photo not taken by RMC – image copied from album art as presented on http://www.eartothegroundmusic.co with the original posting of this music review, published October 11, 2015.

Real Party Music, with Classic Rawness that Rocks!

Under the Savage Sky* – by Barrence Whitfield and the Savages

Barrence

The band’s website suggests that Under the Savage Sky “might be the most soulful punk record – or perhaps the most punk soul record you’ve ever heard”, and I’m not sure I can do a better job of describing this 12-song release of rambunctiousness myself!  The album kicks off with “Willow” sounding a bit like the early White Stripes – I like the energetic abandon of Barrence Whitfield’s approach.  He has a vocal style on this song almost like the monotone of the Beat Happening or LCD Soundsystem, while somehow being Elvis-y in a way that is really fun.

There is a little bit of 70s snazz on the next track – like Steppenwolf’s “Magic Carpet Ride” or an Edgar Winter tune – something my parents would really like, but the rest of us would still enjoy.  Track #3 called “The Claw” features dance-y horns, and a mouth full of soul not unlike a grittier and more raucous John Hiatt would be (if you could imagine such a thing).  The next one has the classic rockabilly chord progression you’ll immediately recognize; with a great old-school recording style that sounds authentic and raw without seeming dated.

The sense of humor and playful wittiness exhibited by this group is evident not only in their musical style, but also in the song lyrics and titles – two of my favorite titles on the album are “Bad News Perfume” and “Incarceration Casserole”.  So creative!  Another one I liked the sound of was “Adjunct Street” – the song itself is a little bit more eerie and minor than the earlier tracks, with some creepy organ sounds evoking the Zombie’s old records, as Barrence warbles “I’m tired of living on adjunct street / where you can’t get no whisky neat / you know my neighbors they can be so unkind”…

Other song lyrics run the gamut of style and form, but you’ll hear select gems pop up like random references to everything from “a hollow leg” to “Pinochet”.  I’ll need some more time to fully absorb everything that is going on here, but in the meantime I’m just rocking out to the music and enjoying it thoroughly!

Track #6 is probably my favorite, as a great example of the blending of old and new, and it is chock-full of college-band-level emotion and enthusiasm.  You will not be able to stay still with all of this energetic organ vibrato peeking through!  I’m hearing some similarities to Little Richard, the Zombies, and even The Doors on a lot of these other tracks – Barrence Whitfield and the Savages as a group have done their rock n’ roll homework! It is clear that this band knows how to throw down wild words to crazy music that supports it all, and really gets you in the mood to move.

If you can’t actually have this band playing at your party in the basement, the next best thing you can do is to make sure you are playing this album at your house whenever you want to give your guests a good time.  If you’re in the Northeast right now then you’re in luck for catching a live show – there are some New England performance dates over the next couple of days before the band heads overseas for a European Tour.  You absolutely must have this CD in your lineup for a back-to-school event or an end-of-the-summer shindig, to keep the impending doldrums of cooler weather at bay.  Now, rock on!

*Photo not taken by RMC – image copied from album art as presented on http://www.eartothegroundmusic.co with the original posting of this music review, published September 6, 2015.

Link to Preview Tracks on Google Play: Barrence – Google Play

Link to Purchase Album on Amazon: Barrence – Amazon

Mixed Styles and The Sounds You Remember…

Edisun – Collision

Edisun

Perhaps with a name like Edisun, you’d expect something science-y and smart – calling to mind the great inventor and our natural energy source.  But what the band puts forward instead, is a stable blend of nostalgia bands (you’ve always sort of enjoyed their alternative radio hits but maybe never really joined the fanclub).  The first song initially struck me as being almost 90s-esque, but I couldn’t quite pin it down.  Then on the chorus I realize what this is really reminding me of is actually – Daughtry.  The vocals are really pretty good!

If you like this style of music and are looking for some fresh songs for the rotation, you will probably like these guys just fine.  According to their website they have been writing and performing music for the past several years – and they are East Coast based, so I’m hoping to check out a live show.

What is a little surprising (and impressive) on the album is the variation in style from song to song – it is almost hard to believe that “Vampires and Wolves” is on the same album as “Secrets” if you ask me – see below for my suggestions on comparable artists for each track on the release and you’ll see what I mean:

  1. Daughtry and Our Lady Peace (“Kill Me With Your Kiss”)
  2. Goo Goo Dolls (“Collision”)
  3. Jakob Dylan from Wallflowers with Hit the Lights or Saves the Day (“Pins and Needles”)
  4. Hard to describe (“Vampires and Wolves”) but let me try. The opening guitar sounds like something by Passenger; this whole thing is a bit more folksy than the rest of the album; and other than the dark title/chorus/lyrics (reminiscent of the Twilight movies!)I think this is a rather pleasant song.
  5. Dashboard Confessional chorus on “Farewell”. I mean these emo lyrics just scream Chris Carrabba on the chorus  – “Jealousy just let me be / caught up in your fame / it will never be the same – farewell to your world / break me from these chains”
  6. Not sure who this reminds me of – but “Arcade” is grittier and heavier than the other tracks so far. I kind of like the more aggressive guitars on the interlude! Somehow I am reminded of Dishwalla and Collective Soul but I just can’t place this sound exactly.
  7. More moody and rock than the rest, and almost Metallica-ish (“Secrets”)
  8. Goo Goo Dolls again, but like their later cheesier slow songs (“Ocean Waves”)

Is anything on the track listing super-inventive, as again perhaps the name “Edisun” would suggest?  Possibly, in the unexpected combination of styles and re-delivery of something you haven’t thought of in awhile (emo and alternative music from the 90s, 2000s, and today) wrapped up in a new package.  Is this album anything you would enjoy?  Probably, given the popularity of the other artists I referred to, and the fact that there is something here for everybody – quite a few different song styles.

I’ll be honest and say that my initial thought upon hearing the opening track at the first listen was “oh I have heard this before”; but when I listened to the album multiple times it started to grow on me.  I think it is mostly a nostalgia thing, as each track brings back a unique set of memories for me – I might have to dust off the Wallflower CD and break out the Dashboard Confessional again, too!

*Photo not taken by RMC – image copied from album art as presented on http://www.eartothegroundmusic.co (and http://www.edisunmusic.com) with the original posting of this music review, published August 30, 2015.

Link to Preview Tracks on Google Play: Google Play – Edisun

Link to Purchase Album on Amazon: Amazon – Edisun

Back After a Little Break…

Hello to my RMC readers!  I wasn’t rocking or commuting last week at all – I was vacationing without a computer on the shores of Lake Michigan.  Now I’m back to the daily grind, and I’ll have something new for you soon.  In the meantime, please check out my most recent review for EarToTheGround Music – Mike Waters’ debut EP entitled LIFE:

Mike Waters Image

I wasn’t sure what to expect at all from Mike Water’s debut EP, called LIFE.  The cover art was a little esoteric and abstract, so I certainly wasn’t expecting the opening track to be so upbeat and approachable.  “Daisy” started with bright guitar, simple drums, and a catchy whistling bit for the chorus.  Right away I thought Mike’s voice sounded a bit like Daniel Bedingfield, blended with a little Ed Sheeran, and tied together with some cheeky boy-band attitude.

Next came “Gambling Man”, a song in a slightly deeper register than the first.  This one seemed a little -richer and more balanced, with piano adding earthiness and depth – yet still positive and pop-y in tune.  The vocal harmonies and piano background reminded me of Five for Fighting – remember that guy?  For a few more throwback references, I’ll add that here Mike’s voice is similar to Third Eye Blind (on their mellow songs) or the guy from Filter.  The buoyant vocal style is balanced with heavier lyrics on this track – Mike is covering serious emotional territory here, with lines like  ” Sometimes I need a drink before I sleep; I can’t keep my  mind from running deep / I’ve got lot of secrets I can’t share / Please don’t stay away, please don’t be scared.”  Somehow it all fits together and sounds pretty good!

Every now and then you might catch a little bit of an Australian accent peeking through, with a slightly nasal and direct tone to Mike’s relaxed and clear way of singing.  The songs touch on some sad-ish topics and deep feelings, but they never feel bogged down or depressing.  Overall this is a refreshing little break from some of the slower, heavier fare out there – something entertaining and positive in tone to have playing in the car, the shower, the house – anywhere you’d like to imagine yourself humming along and tapping your toes to something catchy.

Track #3 is “Feels like Home”, full of snapping finger sounds and a little bit of country style.  The song is cute and strummy, like something you’d hear on a trendy car commercial – or an advertisement for an app that makes family photos into charming keepsakes or office solutions.  I’d say this is neat, trendy, nostalgic, and clean.  There’s even an appealing chorus that is easy to sing along with: “can’t you hear the crowd go – wooooooaaahhhh!”

This smart and charming little 4-song EP ends with “Dreams”.  Of all the songs on this mini-album, it is at once the most acoustic and truly the most intimate.  If you listen to the lyrics, they seem quite personal as Mike sings: “I don’t believe in heaven but I know you’re living on / Be with me forever, every note in every song / Oh I miss you so / Mama please don’t go…Don’t be sad just think of me and smile / Go live dreams as I’ve been living mine.”

I was really intrigued by the press info that said Mike had a normal-guy 10-year professional career while writing all of these songs – this is something I can relate to (for better or worse, I’m still rooted in the corporate world) so I tried to find him on LinkedIn to no avail. I guess I’m glad he found his voice and eventually broke free to the newfound LIFE he wanted to show to the world via this EP.  I think his music has very wide appeal, and he’ll probably get a fair shot at the music business – if he keeps putting out pleasant records like these in the future.

*Photo not taken by RMC – image copied from album art as presented on http://www.eartothegroundmusic.co with the original posting of this music review, published August 16, 2015.

Link to Preview Tracks on Google Play: Google Play – Mike Waters

Link to Purchase Album on Amazon: Amazon – Mike Waters

Vintage Feel with Real Appeal

Rags Across the Sun by Neil Holyoak*

Neil Holyoak

Press the play button on Neil Holyoak’s release Rags Across the Sun and right away, you’ll be pulled into sounds of something something warm and familiar, giving you a wistful yet free “arm-out-the window-on-a-country-drive-in-the-summer” kind of feeling.  

Imagine a fresher, livelier version of Townes Van Zandt, and his would-be protégé M. Ward; sprinkled with the occasional pedal steel sound thrown in for a country feel.  Neil sings calmly with a mellow and sometimes deadpan delivery – self-admittedly influenced by “teenage heroes” Belle and Sebastian (see bio on his website), sounding a little bit like Iron & Wine but with a voice that is less breathy and more whole, more vintage, more round and full.  Sometimes there’s even a hint of a young Neil Young sound and even style peeking through.

Each song is  a bit different from the next; some are more simple and stripped down than the rest – with delicious names like “Sidereal Sunrise”, “Fancy Moonlight”, Silvery Skies”, and “Red Queen of Autumn”.  Neil’s bio also mentions he was inspired by the Smiths – and the honest, straightforward lyrics certain reveal the same sort of vulnerability that is vocally and verbally thrown to the wind by Morrissey (while sounding completely different, of course).

Upon my first listen to the full album, I found that I happily enjoying each song without really catching many of the lyrics – but when I really tried to focus closely on the words the second time around, I found them surprisingly rich in texture and imagery, like this sample from “Fancy Moonlight”:

I’d rather be an old umbrella, wire silk and fallen leaves

Like a broken cigarillo, draped from old man autumn’s teeth

Or the wake of an ocean liner laughing at the harbor trees

This seems so mature and introspective for someone who looks so youthful in their promo photos online (http://www.neilholyoak.com/).  From Neil’s bio you gather that he has run into some hard times as a young kid – perhaps this contributes to his ability to really dig deep as a songwriter, and create something you can really experience and feel.  Knowing that he spent his formative years in Montana conjures images of big sky and lonely open spaces just begging to be filled with art, experience, and of course music.  Now he is Montreal-based, so if you are taking a reflective weekend trip to that part of Canada you should see if you can catch one of his shows.

The album features great rhythms that never drag, a smooth voice that never irritates, pleasant musicianship featured in nice quiet instrumental sections that never stretch out too long – the style of each song seems somehow timeless, as thought it could have come from 50 years ago while still being appreciated today.  This is definitely on my list of some of the best music I have heard all year, and I know I will be looking for this album to comfort and inspire me for many listens to come.

*Review originally posted on http://www.eartothegroundmusic.co on August 9, 2015.

Preview Tracks on Google Play: Google Play – Neil Holyoak

Purchase Album on Amazon: Amazon – Neil Holyoak

“Stranger” could be Stranger…

Stranger In My House – By Vincent Colbert

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When you check out a new release by yet-another singer-songwriter, there is always the challenge of how to describe this new artist in contrast to the rest.  There is usually something different, but it is sometimes embedded deep within the music, and may be hard to find.  Looking at an artists’ website while previewing their music is one of my favorite ways to get started – you learn something more of the person who is creating this work, and this gives you a starting point for interpreting their songs and determining their unique element.

My heart warmed when I noticed on www.vincentcolbertmusic.com that Vincent was based in Ann Arbor.  I myself grew up in this area, and for me that part of Michigan is filled with so many happy memories, and much friendship.  It breaks my heart to learn that Vincent struggled with loneliness and sadness while in this place that I love so much – but without going through this time of melancholy, Vincent would not have been inspired to write and release this new 5-song EP.

The title Stranger In My House sets you up for this feeling of alienation that comes through in the album, even in the cover artwork of a creepy shack that looks like a Dover Edition Paperback of spooky stories.  As I started on the opening track, I was looking for a bittersweet tone and expressions of personal pain in the music – and I realized that Vincent’s appeal is something classic and poetic, a bit like Leonard Cohen.  He’s not one of those singer-songwriters that is borderline bluegrass, or neo-folk.  He’s just presenting his work in a bare, essential, and yes – classic way – to what is hopefully a new crowd of listeners looking for raw beauty and authenticity.

The opening song “Baseline” keeps time with a wooden clapping sound, almost like a metronome turned up extra-loud.  It gets a little grating as it continues through the song – but thankfully later blends into the lovely chorus so you forget about it for a few seconds.  It is presented in an echo-y, vintage-y style of recording that helps feature Vincent’s beautiful yet relatable voice.  He sounds rather like my favorite singer from The Head and the Heart, on emotional songs like “10,000 Weight In Gold”.

As I listened to Vincent singing “Hold on, we have come on hard times / I think I hit the baseline”, I noticed that the overall effect of this song is very basic and elemental – like you are in a small room with a friend who is performing just for you.  I mentioned Leonard Cohen earlier, and while Vincent’s voice is deep, it is not quite as low as Leonard’s – there is a brightness there that sometimes breaks into an energetic vibrato à la Conor Oberst.  The overall effect is mellow, smooth, and warm.

Track #2 opens with guitar arpeggios that seem immediately familiar, and the tempo picks up intermittently with good train-track drums jumping in and out.  If you like some Nick Drake songs, you might like this one too, as Vincent proclaims “I don’t waste time filling space with empty words”.  The next song (“As You Are”) is slower, yet still low, rich, and full of emotion.  The recording style again seems bare, which supports the theme of loneliness on this album.  There is a lot of that scratchy sound that is so intimate – the sound of fingers moving on strings, up and down the neck of the guitar.

The title track is next, and it explores even deeper into darkness with a confession – “I don’t know what to pray, I don’t have the right words to say”. The chords here are less upbeat in feeling, but the listener may be a little surprised with creative transitions on the chorus (which also features great vocal harmonies, filling in around Vincent’s lead).  If you can remember the 90s, maybe you recall “Heaven” by Better Than Ezra?  This song evokes a lot of the same emotions as “Heaven”, via both musical and lyrical means.

The EP fittingly ends with a track called “Closing Hymn”.  The lyrics suggest deep memories, a delusional past, and disenchanted present.  Again the religious imagery in this song reminds me of Leonard Cohen (think “Hallelujah”) as Vincent sings above an appropriately hymn-like chord structure: “Praise The Lord, was the closing hymn”… There is a lovely piano solo on the bridge, before Vincent’s voice sings out strongly one more.

I can see this EP as a collection of songs that would appeal to someone in a time of loneliness or transition – someone looking for understanding, empathy, support, and a special song they can make their own.  Personally I prefer songs that are more built-out, musically fuller in instrumentation, and more positive in tone.  But if you pack this EP away for a big change that you are making independently – or even for just a rainy weekend when you’ll be alone with your thoughts – you just might find something in Vincent’s consoling voice that will speak to you.

Link to Preview Tracks on Google Play: Google Play – Vincent Colbert

Link to Purchase Album on Amazon: Amazon – Vincent Colbert

Strange but Wonderful Mix of Styles

Magnolia – by Michael McArthur

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When I started playing this album on my porch one lazy summer Saturday, I was expecting a good, but run-of-the-mill singer songwriter release with a pleasant name and a few nice songs.  Michael’s voice and jazzy style surprised me right away, and while I wasn’t sure I loved the sound – my curiosity was certainly piqued to check out the rest of the album with rapt attention.  The title track starts out slow, jazzy; with rhythmic guitar and actually a little R&B style that is fitting for the sexy lyrics like “one taste is all it takes, I’m drunk off of you / your chemicals are kickin’ in”.  This song features lots of falsetto, and a chorus that sounds like something by Justin Timberlake – but without all of the flash.

I immediately wanted to know more, so I found Michael’s website www.michaelmcarthurmusic.com to learn about his 2012 debut EP and self-produced 2013 sophomore EP.  These garnered him much positive attention, and the support of a top-notch production team for this new release, Magnolia.  Meanwhile, I was surprised again by the second track – called “Run Around”- that was so completely different from the first:  a slow, strummy song reminiscent of a Jack Johnson tune, in a darker and more minor key.

Enter finger snaps, keyboard, lots of “oooohs” and “na-na-nas” on the intro for “She’s Got It All”.  The simple musical structure and semi-cheesy lyrics are quickly forgiven when the catchy beat hits, and you are sucked into the song!  This struck me as similar to something by Phil Collins like “Easy Lover” or “Sussudio”.  But I still wasn’t hooked until Track #4 – “Clocks”.  There’s a real sassy bassline on this one, and great drums.  It is jazzy like the first track, but with more grit.  This track is almost a dead-ringer for a Maroon 5 song – if you like Adam Levine I think you would definitely like hearing Michael croon “you’re love’s got me spinnin’ like a clock – slow it down!”

I’ve mentioned a lot of other singers to try to give you a feel for what Michael sounds like – but I also want to add that no individual song particularly evokes these additional artists; there is  a sprinkling of these blended styles throughout.  I heard Michael Franti, Daniel Bedingfield, Gavin DeGraw, and even (somehow) Cat Stevens.  Bundle up those musical styles and vocal sounds, and you’ve got the basis for what Michael builds on and makes his own, on this wonderful album.

And yes, by Track #5 (“Lightning Nights”), I considered this a wonderful album.  This is a little bit country-ish, with some sliding steel guitar and smooth, mellow harmonies that still somehow fit in with the rest of the songs on Magnolia. Like you’d expect from a country song, the lyrics are simple – “we’ve got some time – let’s make a little love, and make it right” – but this is the song that made me realize that actually I am really enjoying this Michael McArthur guy!

“Truly, Madly, Freely” starts with a slow, rolling, arpeggio-filled opening that is way stripped-down.  It has a “raise-your-lighters” or “last-song-of-the-night” style that quickly rolls into a full-on waltzing slow-dance that is full of heart and soul.  The next track again is full of sultry rhythm and words, such as “touch like flame – skin like water – get me higher”.  I guess this is all fitting for a song called “Desire”!  The memorable chorus with great backing vocals will have you singing along – with your hands in the air, and major sway in your step.

The album closes with “She’s Got It All (1984 Remix)”.  This is a slightly-corny old-school representation of the earlier song (Track #3) that feels a lot like “All Night Long” by Lionel Ritchie.  Clearly this was not produced in 1984, but this version has all of the great 80s beats and sound effects of the best hits you love from that era.  It is actually really dance-y and cute, especially on the chorus.  I enjoyed this myself, but if this doesn’t style appeal to you I’d worry that you would miss out on the other great songs on this release. I think it is well-placed at the end of the album, so the die-hard listeners can appreciate it – but the more cautious types won’t be discouraged by the sudden 80s party.

The weekend I previewed this album, I was having an overall wonderful time.  Lots of sunshine, summer breezes coming in through my porch – and the music from Magnolia just fit right into the relaxed, positive mood of my surroundings.  Based on the first two songs, I wasn’t really expecting to love this artist, but the album as a whole really made a great impression.  I will definitely keep Michael McArthur at the ready for those days when I really want some groove during my commute.

Note:  Music review by Hannah of www.rockmycommute.com originally appeared on www.eartothegroundmusic.co on July 26, 2015.

Link to Preview Album on Google Play: Google Play – Magnolia

Link to Purchase Album on Amazon: Amazon – Magnolia