A darling of charts and critics alike, Bette Smith is back with her wonderfully ferocious new album, The Good, The Bad And The Bette. Intrinsic to the wild rock and soul singer’s music is the connection that she made between the gospel she heard in church and the soul music she heard on the corner growing up in the rough Bed-Stuy, Brooklyn. Throughout her childhood, Smith was steeped in gospel music. She remembers, “My father was a church choir director. I was singing since I was five years old. I take it to church. I just break out, start speaking in tongues.” She also heard gospel around the house every weekend. “My mother listened to nothing but gospel,” she recalls, citing Mahalia Jackson and Reverend James Cleveland. “Every Sunday morning, she would get up and put on these records while dressing and praising the Lord.” In The Good, The Bad And The Bette, Smith and producers Matt Patton and Bronson Tew explore the power of soul and match it with the edge of rock music, going for a Southern rock soul/Aretha Franklin/”I once was lost but now I’m found” vibe. Sure enough, this album feels very much like rock, but with a blues/gospel attitude, with tracks embodying various feelings of comfort, anger, passion, friendship and even vulnerability in the form of rock-centric bangers, powerful gospel anthems, and even a few tracks that have the taste of a ballad.
But before we can delve into the tracks, we must take a moment to praise Smith’s lustrous vocals. She is gospel, through and through, and you can hear it in the way she sings, but more than that you can feel the years of immersion in gospel and soul that she experienced growing up. Her voice is rough, raw, and absolutely delectable.
But it’s amazing to hear the ways she can apply those vocals to so many different emotions. There’s the groovy comfort in lines like “Don’t be afraid, all is well, I’m here” in “Signs and Wonders” that guides you through the classic blues-rock harmonies, which are revitalized by fresh guitar sounds and colours from the brass. But there’s also the touch of anger that emanates from “Fistful of Dollars” that then diffuses into the passion of the sparkling “Whistle Stop.” Smith sprinkles some sweetness in “Song for a Friend”, complemented by the satisfying backing harmonies in the chorus. But even in the vulnerable, stripped back state of “Don’t Skip Out On Me” she maintains the attitude that can be so central to both rock and soul music, which is quite admirable.
Even in the softer songs, The Good, The Bad And The Bette has this incredible energy to it. This is an album of dance songs, and its magnificence desperately calls out to be heard live (please, COVID…) . Smith herself values the redemptive experience that touring has given her. “It’s amazing, like a dream come true,” she says. “It’s very spiritual and I go into a trance when I’m singing. The fans are like family. I feel very loved. They are very present. I went through all of this so I could sing and now that I can sing I’m finding the love that I’ve been looking for all my life.” Some of the anthems like “Pine Belt Blues” and “Everybody Needs Love” also hold some of the greatest lines that one could belt out with Smith as you watch her on stage. The sultry gospel singing in “Everybody Needs Love”, along with its anthemic harmonies and lines like “Everybody needs love, just like they need the sun and moon and stars above” create a beautiful and totally universal sentiment that would be so powerful in a live setting.
To finish things off, Smith offers “Don’t Skip Out On Me.” The track slows things right down, beginning with just Smith and some acoustic guitar. As more instruments are threaded in, touches of effects create this resonance that makes the space she’s singing in feel so much bigger. Midway through the song, there’s an echoing trumpet solo, which takes individual segments, offsets them and then weaves them together to make beautiful patterns of sound that ring out in their own world before joining the rest of the music once again. It’s this gorgeous interlude that comes as a surprise yet fits in perfectly with the album as a whole that makes the final track on this album the standout. At first the choice to end off with a slow song was surprising, but after listening through, the majesty of this track proved to make perfect sense as an ending.
The Good, The Bad And The Bette is a vivid marriage of rock and soul music that displays Smith’s rich background in the genres and envelopes the listener in a variety of emotions by means of colourful bops and sentimental ballads that are united in their unrelenting attitude and firepower. One can’t help but yearn for the day that these tracks can be heard in their full glory, on stage.
After a major shift in her life, including a divorce and personal upheaval, Lydia Loveless returns with Daughter, her first album in four years via Honey, You’re Gonna Be Late Records. Across 10 songs, she goes beyond her comfort zone to tell her story through heartfelt lyrics. This is a new side to Loveless, but all a part of her journey. With her unmistakable voice and alt-country sound, Daughter is the cathartic release that’s been trapped inside all along. On the album, Loveless explains, “I felt frustrated with myself for going straight from my tumultuous teen years into a marriage so that I could feel safe, and right when I was getting out of the situation, people around me were settling down and having kids. I felt lost and inexperienced, meanwhile the political landscape was turning even bleaker. Many men were coming around to feminism because they had just had a daughter. I’d see billboards on the side of the road imploring people not to hurt women because they were somebody’s daughter or sister or mother. And I was living as an individual for the first time, and don’t have maternal desires. My family was in turmoil so defining myself as a daughter or sister didn’t give me much comfort.”
Starting the album with “Dead Writer”, Loveless wastes no time getting right into the fallout of her divorce. The track is mellow and the lyrics address the end, which previews the vibe for the rest of the album. The singles “Wringer” and “Love Is Not Enough” have already started to gain praise from fans and critics. The singer-songwriter struggles with conflicting desires on “Can’t Think”, continually building until the end of the track. In working on this album, Loveless found unexpected inspiration in learning new techniques and gear and it shows. “Never” can be traced back to her George Michael phase, built on a foundation of synthesizers. The title track can be described as a meditative song where she reckons how her place in the world is defined. “September” is a somber, piano-led arrangement, featuring cellist Nora Barton and guest vocals from her friend Jane Grace. Finally, “Don’t Bother Mountain”, the longest track on the album, is built on drum machines and keys. Her sound is refined and all of the different elements blend together to create a collection that exhibits the true Lydia Loveless.
Lydia Loveless has found a new side of herself and it only is up from here, for both her personal and musical journeys. Daughter was recorded at The Loft in Chicago with Tom Schick (Wilco, Mavis Staples, Norah Jones). She has gained an untapped sense of self that shines throughout the album, unable to hide the emotion behind the lyrics. There always is a light at the end of the tunnel, and Daughter is Loveless’ light.
Melted Bodies released its full-length debut album, Enjoy Yourself, via Sweatband Records. The energy is high and there is a groove that flows through each song into the next, although each has its own unique style. The Los Angeles-based band creates music that goes beyond just the genre of rock, there are different elements throughout that make their sound unique. For those who might not typically listen to metal, it can be hard to differentiate from the music in the genre, but Melted Bodies stand out. Whether it is elements of traditional heavy metal, thrash metal or small hints of electronic and indie rock, the quartet will surprise you with each song.
The production across all 10 tracks is consistent and binds everything together. Starting with a crescendo into “Eat Cops”, sets the tone for all that follows. “99 Scents” raises the bar; ramping up the speed and aggression. “Phone Tumor” is less aggressive and a song I would recommend to listen to first if you aren’t familiar with metal. Similarly, “The Rat” has a chorus that has a riff reminiscent of rock bands like The Strokes, but quickly transitions back to their metal comfort zone. It is the song that I think will stick out to people and one that will call them back to listen closer to. “Ad People” comes with a clever video on YouTube that spoofs vapid Internet content spewing culture. “The Abbot Kinney Pedophiles” flows into “Helplessness” without you even realizing, with a slow tempo opposite of the typical fast-paced sound. “Meat Cleanse” is the perfect finale for the album. It is seven minutes long and encompasses each of the elements visited in each song, without being too much. With solid riffs and true consistency between songs, Melted Bodies created something bound to leave an impact. Enjoy Yourself isn’t just the title, it is a message from the band.
Home Remedy tackles current issues, but gives you feelings of nostalgia with their sound. This album is the first release for Sundressed under their new label Rude Records. The indie-punk band has a sound similar to Modern Baseball, Weezer and All Time Low. The 11 tracks LP follows the 2017 release, A Little Less Put Together, and is a fresh, new sound for the band. Produced by Mike Pepe (Taking Back Sunday, Wasi), the highly anticipated album is finally out. Frontman Trevor Hedges said, “Home Remedy is a record about getting better by any means necessary. Despite many setbacks, I truly believe we were able to make our most authentic and honest record yet.”
Hedges along with AJ Peacox (guitar), Vic Chan (drums), Matthew Graham and Justin Portillo are putting their best foot forward with “Home Remedy”. The title track is everything you would want from the band and more. It is a cathartic release that is meant to be put on at full volume. Fans have been quick to praise the other singles, “Oh Please” and “Size of my Heart”, off the album. “Is This a Drug?” is the song that caught my attention the most. The lyrics are begging to be heard and belted back at the track; you can envision how this track would perform at a concert.
The Atlanta-based band rock out on “The Facts” and “Explode! (Into Pieces)” with strong guitar riffs and drums. Things get serious on “Cash Out”, which tackles the issues of money, insurance and mental health; “Is this the reason why we’re dying? / it’s probably more affordable so just stop trying”. Hedges explains that “Your Frequency”, “is about the “side-hustle” culture. How it’s never okay to relax, how something always comes up when you’re almost ahead. This song is about the desire to have less worry about essential needs and have more time to be human.” All the tracks are honest and catchy at the same time, without being cheesy. Listening to Home Remedy it is easy to see the effort and time put into crafting these tracks.
What started as Hedges project in 2012 to help maintain his sobriety has turned into a place for others to find comfort in themselves. The band tries to make an impact with their music and pushes listeners to keep moving forward. In this record, Sundressed focuses on topics like frustrations with money, hustle culture and mental health issues. While being relevant with the lyrics, there is something about their sound that isn’t forced and feels warm. If you are looking for a sign to listen to Home Remedy, this is it. This is the sign.
I count live music as one of the great pleasures in life. People from disparate backgrounds getting together in one venue, all brought together with a common love of the music. I went to live shows often and already had plans, in some cases purchased tickets, for shows through 2020. Whoops!
During the first weeks of quarantine and isolation, I kept myself busy with all the unfinished projects around my house, waiting to be called back to work. Six months later, I find myself without a job, returned tickets and cancelled plans. I am grateful for all that I have, including my health and the health of my family, and live music.
While the music industry has suffered greatly during this pandemic, art will never be stopped. We see this with street murals, short form videos, soaring interest in crafts and cooking, and all the performance art that is available on your computer, in most cases free of charge or for an artist tip.
Imperfect Fifth celebrated their 3rd anniversary September 7 – 13th and viewers got the gifts – six nights of performances along with seven days of Instagram takeovers that included performances! Here are a few highlights from Day #1!
Instagram takeovers on September 7 included Austin Archer and Griffin Holtby. Austin Archer is a Los Angeles based artist with plenty of great music under his belt (“Sweet Rejection”, “Dangerous Liaison”), as well as acting, writing, and directing credits. Griffin Holtby calls Texas home and gave us a tour of sites in and around Dallas where he would be creating his newest video. The Blues guitar will reel you into his music.
The headliner on FB Live on Day #1 was Eric Dash. The New Jersey native, now living in Los Angeles, played a spirited 40-minute set that covered older material as well as songs he is getting ready to release (“Jealousy” and “I Just Need to Get Away”). Although he hasn’t played a live show in awhile, he sounded fresh and very excited to play. Dash broke out with an acoustic version of the Foo Fighters’ “The Pretender” that was higher energy than you might imagine with just a guitar. The second song he covered was “Lithium” by Nirvana and he made it his own. My favorite of the night was “Stay Arms Reach,” a ballad with energy.
Make a plan to watch the replay of Eric Dash’s show below!
In the midst of all the excitement surrounding Imperfect Fifth’s third-year anniversary event, Evelyn Cools cooled things down with her cozy and beautiful live performance on September 8th. Live streaming is different from recorded music, but it’s also not quite the same as true live performance either. In many ways, it feels like a kind of hybrid between the two, with the excitement from the live aspect, but still feeling intimate in the same way that listening to a record can feel. Evelyn’s performance emphasized the latter well, performing songs from her EP Misfit Paradise with only a guitar and her spectacular voice. The shining star of this performance, Cools’ vocals, were so incredibly striking live, inducing chills at least once on every track she sang. Not only that, the melody lines themselves were so well suited for live performance; their sweetness and beauty radiant amongst the bare musical background. They adapted to the tone of each song Cools performed, sometimes dulcet, other times haunting, but always gorgeous.
Aside from the enchanting sonic aspect of this performance, the visual was also fun to watch. Cools was open and humble, and it felt like she was simply just trying to share her wonderful music with us all. She often made eye contact with the camera, giving it that personal feel that is so elusive when at a live concert; wishing, hoping, and praying that the headliner will notice your face in the sea of the crowd.
It’s safe to say that Evelyn delivered an exquisite performance that engaged her entire audience– if you need proof, know that even her dog was compelled to sing along (and made a brief and adorable appearance on camera)! If you’re disappointed that you missed it, don’t fret! You can find the performance on Imperfect Fifth’s facebook page.
