Willie Nile And More
We listen to new releases from Willie Nile, Neverland Ranch Davidians, Secret Monkey Weekend and Hughes Taylor.
Willie Nile - The Great Yellow Light
It's always good news when Willie Nile releases new music; the native New Yorker has been a regional favorite for decades and he's beloved worldwide by those who've heard his streetwise and relatable songs (fans include Bono, Graham Parker, Ian Hunter and Lucinda Williams.) Here the singer and guitarist presents a 10-song set that begins with the rave-up "Wild Wild World," a cut that comments on various situations plaguing the globe and where a temporary respite from those ills is found in the arms of a loved one. Many listeners will hear a similarity in the cut and the sound of early Elvis Costello, thanks in part to Hammond B3 playing by Rob Hyman of the Hooters. Rocker "We Are, We Are" is the antithesis of "Wild Wild World;" it's an anthemic blast of positivity in an encouraging "we can do it!" vein. "Electrify Me" is an ode to a hot love affair while "An Irish Goodbye" moves with a Celtic lilt and features famed Irish musician Paul Brady. Title cut "The Great Yellow Light" is a somewhat subdued look at a lover's infatuation and lots of folks will relate to the rollicking "Tryin' to Make a Livin' in the U.S.A." which has an irresistible chorus. Steve Earle is a guest singer on "Wake Up America;" other guests include ace guitarist Waddy Wachtel, members of Black 47 and Eric Bazilian of the Hooters. This 21st album from Nile reaffirms his place as one of the top artists working in the blue collar rock genre.
Neverland Ranch Davidians - Shout it On the Mountain
Singer and guitarist and punk journeyman Tex Mosley (Bad Actor, the Slaves, Whores of Babylon) is the front man for this band that's rounded out by guitarist Will Bentley, drummer Max Hagen and bass man Gregory "Smog" Boaz and here they present a raucous set that begins with the R&B-tinged "Swamp Feet," a really fun cut that begs for a singalong, including when the guys take a brief detour to reel off some "bomp de bomp" scat vocals. The band also is rockingly soulful on a cover of the Booker T. Jones/Eddie Floyd chestnut "Big Bird" where spontaneous singalongs are guaranteed. "The Gripper" is a punk rocker in the vain of Social Distortion while "Signified Monkey" leans toward Iggy Pop. The title cut has a blues rock feel complete with slide guitar and a walking rhythm. "Cactus Cooler" is a radio ready rocker, again with a fine chorus to singalong to; "Death Penalty in Texas" is an instrumental that boogies like mad, as if it's the soundtrack to someone trying to outrun the hangman. This very impressive offering ends with a slow-boiling take on the classic Skip James cut "Hard Time Killing Floor Blues."
Secret Monkey Weekend - Lemon Drop Hammer
Secret Monkey Weekend is a trio and a family affair featuring singer and guitarist Jefferson Hart and his stepdaughters Ella Brown Hart on bass and vocals and Lila Brown Hart on drums and vocals. Lemon Drop Hammer begins with "So Much Joy," a mash-up of southern jangle rock and '60s-style pop (and a smidgen of psychedelia) that sounds a bit ominous despite the notion of being overwhelmed with glee. "Na Nanana" uses the song title as the chorus, and yes it is an earworm, and it's set to a rhythm that recalls Rod Stewart's "Maggie Mae." The band is more concerned with hooks than clever lyrics but it's quite charming when they rhyme the title of "Merida" with "esoterica" and once again channel '60s pop on the breezy "Things You Threw Away," sounding not unlike the Mamas & the Papas. The eerie groove "Way Way Out" will be the favorite of many listeners as it hints at the otherworldly, "It came from way way out/I don't wanna find out." Vaunted producer Don Dixon twiddled the knobs on this one and Peter Holsapple (the dBs) plays various keyboards on several songs and it's easy to hear why these bigwigs are involved; Secret Monkey Weekend have lots of cool ideas and clearly have tons of fun bringing them to life here.
Hughes Taylor - Roasted
Taylor has been around a while; this is his sixth release. And it's a really good time for those not familiar with his work to get on board. A singer and guitarist, Taylor shows a fondness for Stevie Ray Vaughan with opening cut "Moondance Baby" where he only breaks from showy picking long enough for side man Zach Wilson to play a keyboards solo (drummer Nich Gannon gets a brief moment too.) "Ballad of Big Bill McGuire" finds the sound shifting to the Delta blues; it's a murder song and carries an appropriately frightening tone. "Until it Hits" is smooth and jazzy like an Allman Brothers Band tune, slide guitar and gospel overtones flavor the slow and sizzling "Midnight Angel" and "(In the Morning) When It's Over" nods again to Stevie Ray Vaughan and those that Stevie learned from. Funk creeps into Taylor's sound on "Before You Fall," both through his psychedelic guitar riffs and a popping rhythm. The album closes with "Rochester," a strutting and jazzy instrumental with, of course, a steaming guitar solo. As new blues rock goes, it doesn't get much better than
Roasted.
