Wasted Youth - Young And Bored - The Complete Wasted Youth

During their seven-year career from 1981 to 1988, LA’s Wasted Youth released two albums and an EP, which have now been compiled in the double CD Young And Bored - The Complete Wasted Youth.  Clocking in at just over thirteen minutes, the ten songs on their 1981 debut album Reagan’s In (here on disc two for some reason) are raw, short and fast-paced punk with lyrics that often deal with the ills of society, authority and the system (“Fuck Authority”, “Reagan’s In”, “Born Deprived”).  Having said that they do actually slow things down a little on a couple of tracks like “Punk For A Day” and “Problem Child,” the last of which is notable for its prominent bass and buzzsaw guitars.  The production is raw and could even be considered muddy, and honestly why shouldn’t it be?  Five years and multiple member changes later (guitarist Chett Lehrer was the only member left from their debut, and drummer Joey Castillo, later of bands like Danzig, Queens Of The Stone Age, Circle Jerks and Zakk Sabbath, was a notable addition) they released the Get Out Of My Yard! EP.  By now the band had shifted towards more of a punk and hardcore/metal crossover.  For the most part the songs were longer and more developed and less frantic.  The musicianship was also more developed and therefore not as raw and ragged as the debut, but still largely straight-ahead and aggressive.  My only complaint with the EP is the production, which is a little flat and muted and really lacking in dynamics.  With the addition of Rick Seccombe as second guitarist and Dave Kushner (later of Velvet Revolver) as their new bassist, their final release, 1988’s Black Daze, saw them shifting even further towards metal, most notably with the guitar solos and riffing that had for the most part been nonexistent before (they even cover Van Halen's "On Fire", a definite guitar players showcase), but still maintaining their hardcore and punk roots.  Unlike the short blasts of their debut, the eight songs here total forty minutes, including the almost nine-minute closing track “The Gift Of Death,” and are well-crafted and very dynamics.  Listening to the album today, it could be argued that they were a bit ahead of their time.  It is also by far their best produced release, sounding head and shoulders above the others.  All three of these releases make for a great listen in their own unique way and when collected together they display a fascinating, but short-lived career trajectory for the band.  In addition to the music, there is also a great booklet detailing the band history including interviews with Dave Kushner and vocalist Paul Rossi.

(Dissonance)

Zerrin - Talking to myself EP

Talking to myself is the latest EP from Glasgow-based Australian Zerrin.  She has mentioned artists like Kate Bush, Joni Mitchell and Weyes Blood as inspirations and you can hear elements of them all throughout the four cuts, yet she still makes it sound like her own.  The EP opens with the slow and moody “Maintenance Phase” with vocals that are whispery, and at times almost languid but occasionally juxtaposed against chipper keys and flute.  The quaint baroque and folk pop of “Spring Cleaning” has a swirling dreamlike Kate Bush vibe.  Most of these songs have wonderful little effects and sounds that give them so much texture and this cut is a perfect example.  The ethereal “Cloud Baby” is a gorgeous, very ethereal track that at its core is very simple with her fragile vocals accompanied by quiet piano and some very subdued effects.  “It's Happening Again” closes the EP and is while it’s slow and melancholy there is a taut energy that rears its head at times.  

(Zerrin)

  

Peter Godwin - The Polydor Years

Before embarking on a solo career, Peter Godwin was a member of the band Metro.  Over the course of four years from 1976 to 1980, they released three albums and were best known for their single “Criminal World,” which was later covered by David Bowie on his Let’s Dance album.  As that band was winding down, he wrote some songs that he demoed with Georg Kajanus (best known as singer and guitarist in Sailor).  While Metro was a guitar band, he wanted to experiment with a sound that was more synth based and possibly release a single that was different than Metro.  He played the demos to Midge Ure (pre–Rich Kids and Ultravox) and he really liked “Torch Songs For The Heroine” and wanted to produce it.  At that point they approached Polydor who signed him to a single deal.  During his time with the label, he released an EP and an album, as well as numerous singles and remixes that are now all included in the double CD The Polydor Years.  

Disc one contains his debut EP Dance Emotions and a variety of alternate versions and remixes of those tracks.  Along with the incredibly infectious upbeat synth pop of “Emotional Disguise”, “Images Of Heaven” and “Luxury,” the last of which also adds a bit of a funk undercurrent, there’s the slower, aforementioned Midge Ure produced “Torch Songs For The Heroine,” which has a bit of an Ultravox feel.  While the remainder of the tracks on disc one are variations of these songs, in addition to the standard single versions and instrumentals there are quite a few that are definitely worth mentioning.  “French Emotions” is an interesting take on “Emotional Disguise” with French lyrics and spoken word vocals that are at times bordering on rap, while “Spoken Images” is a similar spoken word take on “Images Of Heaven”, but in English (another remix of "Images..." is from Joseph Watt of Razormaid and includes elements of all the different versions of the song).  There are also a couple of versions of “Torch Songs For The Heroine” that stand out.  While the extended version on the EP had washes of synths on the single version they are jabbing pulses.  Lastly is the ballad version, which is a haunting, absolutely gorgeous, slower version with more stripped down Middle Eastern sounding instrumentation.   

Godwin’s debut full-length release Correspondence opens disc two and is quite an impressive release that largely continues his foray into synth pop with plenty of diversity.  Listening to it you can't help but wonder why he wasn’t more successful.  With a bit of a dance beat added to the mix, the it opens with “Baby’s In The Mountains.”  The album’s first single “The Art Of Love” is up next and it is a more midtempo track that is massively infectious.  “Window Shopping” is more of a new romantic tune that is actually at times a bit reminiscent of Culture Club,  while still maintaining that synth pop sound, “Soul To Soul” is a slow burning soulful song.  The soulful synth pop continues on the next track, “Young Pleasure,” followed up by the upbeat “The Dancer,” which has a really strong Roxy Music vibe.  On the title track, Godwin adds a strong funk groove and some very funk influenced synths.  Originally written by Kajanus for his band Data (and the only track not penned by Godwin), “Over Twenty” is a really pretty song that is not too different than their original recording, but unlike that version which is a little colder, the synths here are warmer and smoother.  “Soul Of Love” closes the album and has an almost ambient feel with a very emotional vocal performance (the song was actually originally written for The Drifters and recorded by Johnny Moore, at one time a singer for that band).  The bonus tracks on disc two consist of a remix for “Window Shopping”, five remixes of “The Art Of Love”, two for “Baby’s In The Mountains” (one of these hit number four on the Billboard Dance Charts and was his biggest dance hit in the US) and five for “The Art Of Love.”  Rounding out the collection is a fantastic booklet with Godwin providing the bio and track by track comments.  

(Strike Force Entertainment)

 

Treasure Pains - Charming

Durham, North Carolina's Treasure Pains was formed through a collaborative writing sessions with members of Youth League and WolvesxWolvesxWolvesxWolves, and Charming is their debut EP.  In just over sixteen minutes, the post-hardcore band blasts through six tracks that are aggressive with taut angular guitars, but dripping with a strong, hook-heavy sense of melody.  Openers “Blowout” and “Charming”, along with “Vines”, personify this perfectly.  “Not Opaque” moves in more of a melancholy direction, although is still not lacking in power.  They shift gears a little on the final two tracks, which are quite possibly my favorites. “Hands Up” kicks off with a Primus-like distorted bass that will throw you at first, but then moves into a mellower, very catchy rock song, while “Empty Paws” is a little less aggressive, but more high energy and will have you bouncing your head.  Hopefully this is just beginning of this collaboration.   

(Wiretap Records)

Eyes Of Blue - The Light We See - The Recordings 1969-1971

Before forming Eyes Of Blue, the five members of the band were in two different Swansea area bands. John “Pugwash” Weathers, Raymond “Taff” Williams and Wyndham Rees were in Chuck Stallion and The Mustangs and Phil Ryan and Gary Pickford-Hopkins were in The Smokestacks, before they eventually also joined The Mustangs.  After starting off playing rock, R&B and the blues, they slowly moved more in the direction of Tamla Motown Soul.  They also started writing their own songs and playing them live.  After winning the Melody Maker National Beat Contest in 1966, they were given a record deal with Deram, a new subsidiary of Decca, as part of their prize.  The label tried to make them a bubblegum band and told them what songs they would record and even had them use a session guitarist.  They ended up releasing two singles for the label, but the band didn’t like them (they are not included here) and when they didn’t sell much, the label let them out of their contract.  Following that they got a residency at the Speakeasy Club, where they met a lot of industry people.  Through these connections they met American record producer and label executive Lou Reizner, who started managing them and signed them to a licensing deal at Mercury Records.  In 1969 they released two albums and then in 1971 released a third, but under the band name Big Sleep.  Now all three albums, along with a couple bonus tracks, are available in the box set The Light We See - The Recordings 1969-1971.

With production handled by Reizner, their debut album Crossroads Of Time was a promising start.  It consisted of seven originals written by Francis, along with covers of tracks from The Beatles and Love, and two songs written for them by the now legendary Graham Bond, another person they connected with through Reizner.  The title track, written by Bond, opens the disc and is a really strong track that shows their prog influence.  It’s a rocker with some Bach influenced organ but also breaks out into some soulful sections (Bond later recorded a version that was a little faster and didn’t really have the prog element).  The next track, “Never Care”, jumps back and forth from bubblegum pop to circus like swirling psychedelia.  It's a bit disjointed and doesn’t work very well, but they turn things around quickly with the powerful “I’ll Be Your Friend”, which is slow and soulful with some great vocal harmonies.  With a little distortion on the vocals, their cover of Love’s “7 + 7 Is” sticks pretty close to the original.  “Prodigal Son” is one of the more interesting tracks here, starting off as a pretty straight-forward rock tune, but about halfway in it explodes into proggy psychedelia with a slight Middle Eastern vibe that then evolves into a West Coast sound that has a hint of The Grateful Dead.  Following the somewhat nondescript, slower psychedelia of “Largo” is Bond’s “Love Is The Law”, a slower, very soulfut song with some really nice organ fills.  With its layered vocals and organ, their quite unique cover of The Beatles’ “Yesterday” at times sounds more like a hymn being performed by a rock band.  Backed with some really nice jazz drumming, “I Wonder Why” is a slower soulful blues tune.  “World Of Emotion” is a catchy, upbeat, organ driven pop tune with an infectious beat, while album closer “Inspiration For A New Day” and instrumental “Q III” (a bonus track here taken from a 1969 single B-side) are a couple of strong bluesy rockers. 

Reizner once again produced album number two, In Fields Of Ardath, but there was a major change as Wyndham Rees was no longer in the band.  Also, unlike on their debut, the writing this time was more of a band effort, and they were more aware of what could be done in the studio and therefore provided alot more input into the production.  They were also more determined to be even more experimental this time, including things like sitar and backwards tapes.  The album opens with the nine-minute plus “Merry Go Round,” a dramatic, keyboard driven, ever-changing prog masterpiece, that is most likely their finest recorded moment.  Following “The Light We See,” a nice midtempo bluesy rock track highlighted by the guitar solo at the end, is “Souvenirs (Tribute To Django)”, the first of three covers on the album.  Originally composed by Django Reinhardt and Stephane Grappelli, their take on the instrumental is quite creative, starting out acoustically and then slowly transitioning throughout the song before ending as bluesy electric rock.  Following “Ardath”, a slower, largely acoustic track that’s kind of laid-back and dreamy, is “Spanish Blues”, another song written by Graham Bond, that had been previously recorded by the Graham Bond Organization on their debut album.  The midtempo cut is a really strong cover that’s blues rock with a jazzy funk groove that really lets the whole band spread their wings.  The experimental side of the band comes through again on “Door (The Child That Is Born On The Sabbath Day),” a seven-minute song with an early prog vibe with lots of shifting styles and a short, spoken word piece at the end.  Completely shifting gears, “Little Bird” is a super catchy, simple little pop tune with more strong vocal harmonies that has a bit of a Beatles feel.  The explosive, hard charging “After The War” is a powerhouse blues rocker that is another standout track.  The laid-back, kind of dreamy, instrumental “Extra Hour” sounds like it would be the perfect background movie music and “Chances” is a stripped down, acoustic tune with a very West Coast singer songwriter sound.  The final track is their cover of the instrumental “Apache” (their version was released as “Apache ‘69”), a song that was a hit for The Shadows.  Here it sounds more like a jam session and less like an actual song, and while it appears to have been an album cut, it’s listed here as a bonus track saying it was a single.  Interestingly, when it was release as a single, they released it under the band name The Imposters.  

When Fields Of Ardath didn't sell much, Mercury dropped them.  At this point Reizner got them a deal with the label Pegasus and with him as producer once again, they recorded a new album called Bluebell Wood.  He also suggested they release it under a different band name, so they became Big Sleep, but by the time the album was released in July 1971 the band was already over.  While it varies greatly stylewise, this is the album where all the pieces really seemed to come together.  The album opens with “Death Of Hope,” a laid-back, very theatrical song with gorgeous string arrangements and sparse instrumentation.  At first, “Odd Song” continues this laid-back pacing and has some beautiful harmonies, but then picks up the pace in its second half with rock guitar and an almost rockabilly / country beat.  “Free Life” kicks things into gear with six and a half minutes of psychedelic prog rock, full of great guitar work accompanied by organ and Weathers’ heavy drumming.  Equal parts prog (especially the organ and drum) and blissful Beatles-esque pop, “Aunty James” is a whimsical tune with massive hooks.  Probably the most full-fledged prog song on the album, “Saint and Sceptic” has lots of tempo shifts along with medieval flavored baroque string arrangements and big vocal choruses, while the eleven-and-a-half-minute title track continues down the prog path, ending with about four minutes of what sounds like the band jamming.  Moving in a completely different direction, “Watching Love Grow” is a pretty little soulful pop ballad.  That brings us to the album’s last track “When The Sun Was Out,” which is not necessarily a bad song, but really doesn’t fit here at all.  It harkens back to the high energy R&B singalongs of The Beatles in their early days and almost sounds like something they just threw down really quick to fill out the album at the last minute.  Rounded out with a very informational booklet, The Light We See is a solid box set that gives Eyes of Blue and Big Sleep some much deserved recognition. 

(Esoteric Recordings)

 Rosalie Cunningham - To Shoot Another Day

To Shoot Another Day is the third solo album from Rosalie Cunningham, and just like its predecessors, it’s a rollercoaster ride of everchanging sounds and styles.  Her songs are well-crafted with lyrics that are often fun and have a sense of whimsy (her partner Rosco Wilson co-wrote five songs).  Alongside her powerful vocals, the musicianship is fantastic with Cunningham and Wilson playing the bulk of the instruments along with drums from her former Purson bandmate Raphael Mura, and on 1 track Itamar Rubinger (ex-Uncle Acid & The Deadbeats), keys from David Woodcock, flute, clarinet and sax from Gong's Ian East and electric violin on one track from Ric Sanders of Fairport Convention.  The album artwork has a very movie industry look, which carries over into the title track that opens the album.  Musically it has a very strong, dramatic James Bond sound, but still stands on its own with a slinky swagger.  Album highlight “Timothy Martin’s Conditioning School” kicks off with a driving Beatles’ groove then adds elements of glam era Bowie and T Rex, resulting in an insanely infectious rocker with a chorus you will find yourself singing all day long.  The six minute plus “Heavy Pencil” is a powerhouse track that is constantly shifting from start to finish.  It opens with some super heavy psychedelic jazz funk with some flute thrown in, then shifts into a laid-back jazzier groove, before adding a little prog to the mix, complete with more flute, clarinet and sax. “Good To Be Damned” is slow and very dramatic with a somewhat cinematic feel that’s reminiscent of “Live And Let Die”, until the choruses kick in with their bouncy, almost celebratory cabaret vibe.  The smokey blues of “In The Shade Of The Shadows” features some great bluesy sax from East, also with a bit of a cabaret flair thrown in, and is followed by “The Smut Peddler”, a short instrumental that’s heavy and psychedelic with thick, fuzzed out guitar riffs, organ and clavinet, providing the perfect segue to the second half of the album.  The swirling psychedelic pop tune “Denim Eyes” takes things in a completely different direction and is absolutely gorgeous, sounding a little like the more adventurous side of The Carpenters.  It also features a fantastic guitar solo from Rosco at the end.  “Spook Racket” explodes out the gate with T Rex styled bombast full of blistering guitars, organ and “glam” handclaps, then towards the middle it slows down into a more haunting sounding song, and as if that wasn’t enough it closes like a gorgeous acoustic flamenco.  The modern-day waltz with a slight country lilt of “Stepped Out Of Time” is absolutely enchanting and brings us to the album’s closing track “The Premiere”, an epic, twisting turning prog track that starts and ends like a paso doble at a bullfight.  While the album ends here, there are two bonus tracks included on the CD that were originally released as a 7” in early 2024.  First up is the hook heavy “Return Of The Ellington”, a song that concludes the three-song arc started on her Two Piece Puzzle album with "Donovan Ellington" and "Donny, Pt. 2.”  While it actually is at times very reminiscent of Jethro Tull she gives it a kick in the pants with heavy fuzzed out guitars and organ along with Sanders’ electric violin and flute from Claudia Gonzalez Diaz from the band Cachemira.  “Home” is the other bonus track, and it is a fun, lighthearted whimsical pop tune that will put a smile on your face.  To Shoot Another Day is absolutely one of my favorite albums to come out this year.

(Esoteric Antenna)

  

Warrior featuring Vinnie Vincent - The Complete Sessions

It was the Spring of 1982, and New England was getting ready to record their fourth album.  Todd Rundgren was on board to produce once again (he had produced their last album), but before they ever made it to the studio, guitarist and vocalist John Fannon quit the group.  The three remaining members, keyboardist Jimmy Waldo, bassist Gary Shea and drummer Hirsh Gardner put out the word they were looking for a replacement.  Gene Simmons contacted them and said they were working on the Creatures Of The Night album and he was working with Vinnie Cusano, who was a guitarist, songwriter and vocalist.  He told them that while he was a great guitarist, he was too short for KISS, but he would be a great fit for them.  They exchanged tapes and made plans for him to go to Massachusetts to audition, but they really liked his songs and when he got there, they had learned them all.  Because of this they decided that instead of this being the next incarnation of New England that they should form a brand-new band and decided on the name Warrior.  The next step was to fly to LA to work on the new material during the day while Vinnie continued to work with KISS at night.  They set up recording time at the Record Plant Los Angeles with hope of getting a record deal, and also decided to bring in a new vocalist, because Vinnie wanted to focus on his guitar playing.  He wanted someone who could sing in a high-pitched voice, choosing Fergie Frederiksen, formerly with the band Le Roux, over Robert Fleischman, who would end up back with Vincent in the Vinnie Vincent Invasion (he also fronted Journey for five months before Steve Perry joined the band).  Frederiksen’s time in the band was very short lived and Vincent once again took over on vocals, while Frederiksen joined Toto.  Unfortunately for the other three members, while they were in the process of mixing the recordings, and less than ninety days after the band got started, Vinnie joined KISS as Vinnie Vincent, the band came to an end and the recordings ended up on the shelf.  At this point, Gardner moved on to producing and Shea and Waldo teamed up with Graham Bonnett and Yngwie Malmsteen to form Alcatrazz.  Fast forward thirty-five years to 2017, and HNE Recordings released a collection of these recordings.  They followed that up two years later with more recordings that had been discovered (some of them better quality) in Gary Shea's personal archive.  Now with the release of The Complete Sessions they have compiled both collections into a three CD box set.

Disc one opens with the demos originally recorded by the band, along with some alternate and writing demos of a couple additional songs.  Half of these songs ended up being released a few years later on the two Vinnie Vincent Invasion albums.  While for the most part those versions aren't that far removed from the demos, they tend to be more radio friendly with a bit of a glam sound while the Warrior versions are heavier with more of a rock ‘n’ roll grit.  Tracks like “Boyz Gonna Rock”, “Baby O Why” (“Baby O” on VVI), although missing the killer guitar solo outro found on the album, and “That Time Of Year,” which is heavier thanks to Waldo’s keyboards, really showcase this.  Several of the tracks that didn’t make those releases are quite notable including the standout “Gypsy In Her Eyes,”, “I Need Love” and the ballad “Tears”, which was later recorded by John Waite.  There is also “It Ain’t Pretty … Being Easy” that’s not necessarily one of the stronger cuts but sounds like it was tailor made for KISS.

Disc two opens with “Thrill Of The Chase,” which is actually a demo from 1988.  Waldo and songwriter Steven Rosen had recorded a demo and when Vincent heard it, he liked it so much that Warrior went into the studio and recorded it with Mark Slaughter on vocals.  It’s a solid melodic rock track with some great guitar work from Vincent that would’ve fit right in with the songs of that era.  With the exception of a demo of “My Heart Goes With You,” the remaining tracks on this disc are rehearsals and vocal demos.  Especially interesting is the twenty minute recording of “That Time Of Year” and “Forbidden” where you can really hear them working through those songs.  While these are largely for completists and not really something you will find yourself listening to over and over they do provide an interesting listen into the inner workings of these songs.

Further insight into some of the songs can be found on the first seven tracks on disc three, which are instrumentals recorded during rehearsals.  Without the vocals you can really hear the composition of these tracks.  The final five songs were recorded during the rehearsals with Fergie Frederiksen on vocals.  While Vincent’s vocals are strong on the prior recordings, there is a rich, soulful sound to these versions with Frederiksen that take them to a whole new level and make the unfulfilled potential of this band even more apparent.  It's unfortunate their time together was so short and we never got a real release, but thanks to HNE we can still hear the potential of what could have been.

(HNE Recordings)

The Eradicats - Best In Show

Recorded in their home studio, The Litter Box, Best In Show is the debut EP from the Kansas City four-piece The Eradicats.  Musically it’s a somewhat lo-fi combination of punk, pop and ska with lyrics that have the whimsical, but at times educational, sense of humor similar to They Might Be Giants.  The EP opens with “Serious Medical Condition”, a ragged punk tune that reminds me a bit of early Nirvana and deals a very important issue - crooked teeth.  Bassist Kristi steps up to the mic to handle the vocals on “New Best Friend”, a raw, kind of dirty punk tune detailing her obsessive relationship with said “friend”.  The short biographical “Billy Bowlegs” brings to mind The Replacements and tells about the life of the “Alligator Chief”, who was a leader of the Seminoles in Florida in the early 1800’s during the Second and Third Seminole War.  On “Frank and the Lighthouse” they shift gears, adding some ska to the mix, with lyrics about climbing a lighthouse to see Frank, the lighthouse keeper.  “Dave Griffin” is a high energy track that’s a cross between power pop and The Pixies.  With tongue firmly planted in cheek, it details the exploits of a stunt horse who “according to the song”, not only was a stunt driver for Steve McQueen, but also sang the high notes for Ricky Nelson in Rio Bravo.  The twenty-three second “Our Last Song” closes the EP and basically tells you what it is.  

(The Eradicats - Bandcamp)

Various Artists - Joe Meek: 1962 - From Taboo To Telstar, Hits, Misses, Outtakes, Demos and More

From Taboo To Telstar is the latest in the outstanding series on Cherry Red Records dedicated to recordings from Joe Meek's infamous Tea Chest Tapes.  Unlike the previous releases, this is the first in what will be a series of chronological releases dedicated to his work by year and covers the year 1962.  Meek recorded over 150 songs that year and this three disc box set contains 93 of them, including 52 that are previously unheard.

  

His biggest song that year, and for that matter his career, was “Telstar” by The Tornados. That unique, way before it’s time, predecessor to space rock, instrumental is the perfect example of Meek’s studio experimentation.  It not only topped the UK Singles Chart, but also was the first British song to reach number 1 on the US Hot 100 Charts.    In addition to an alternate take by The Tornados, it is also represented here with Meek’s demo where he is singing the part that would eventually be played on clavioline (an early keyboard instrument similar to a Moog synthesizer), and in a demo of Kenny Hollywood’s “Magic Star,” a vocal version of the song (several other tracks from The Tornados appear here and never fail to show that Meek influence).  While that song became the one he’s identified with more than any, as you make your way through these three discs, it’s amazing the diversity that he managed to pump out of his studio at 304 Holloway Road in that one year.  The other half of the album’s namesake, The Charles Blackwell Orchestra’s take on “Taboo” gets things rolling and while it’s swinging jazz will get you moving, the flipside is the infectious “Midnight In Luxembourg”, a spacey jazz pop tune reminiscent of Esquivel.  Of course, there were also instrumentals from Meek’s original studio band The Outlaws (The Tornados were actually created to lessen their recording load), as well as Peter Jay & The Jaywalkers and The Packabeats (including their outstanding jazzy surf “Theme From The Traitors”).  Don Charles and Michael Cox were more traditional singers of the era, singing ballads that were fifties and early sixties sounding pop and rock, while Mark Douglas and Neil Christian had songs with more of the sixties “beat” pop with that Joe Meek touch.  The influence of Buddy Holly is very strong at times with Mike Berry on “It’s Just A Matter Of Time” and “Don’t You Think It’s Time” along with John Leyton on “Lone Rider” (his “Down The River Nile” is definitely on of the highlights here). On the other hand, Danny Rivers & The River Men often brings to mind Eddie Cochran, and The Dowlands were two brothers with strong vocal harmonies that were quite reminiscent of The Everly Brothers.  The instrumentals from The Stonehenge Men are horn-driven dance tunes, while The Moontrekers harken back to the effects heavy space sounds of his I Hear A New World album with The Blue Men.  Those quirky space effects are also here on Pat Reader’s novelty song “Cha Cha On The Moon”, while her “May Your Heart Stay Young” is a more traditional orchestrated ballad.  There is early rock ‘n’ roll from Tony Victor with “Dear On” and R&B and rockabilly from Cliff Bennett & The Rebel Rousers with The Peppermints.  Often with orchestrated strings and effects, Andy Cavell’s tunes tend to have a cinematic feel to them, and with Houston Wells and the Marksmen, Meek dabbled in the world of country music, although as can be heard on the “North Wind”, which was not traditional “country music”, they were enhanced further with that Meek production.  On the quirkier side there’s Alan Klein with the skiffle of “Striped Purple Shirt” and “Three Coins In The Sewer”, complete with sound effects provided by Clem Cattini dropping marbles in the toilet, and Ray Dexter & The Layabouts with the “especially dirty for 1962” “The Coalman’s Lament”.

Unlike the majority of the songs on discs 1 and 2, which were released as singles or album tracks (although many of the ones here are alternate versions), most of disc 3 is previously unreleased.  There are five demos featuring Geoff Goddard, who released four singles as a solo artist, but was best known for working with Meek as a songwriter.  His performance of “Thunder Mountain” has hints of “This Land Is Your Land”, while the Buddy Holly influence can be heard on “Lover, Lover” and “Guess That’s The Way It Goes.”  There are unreleased songs from several other artists that weren’t on the previous discs.  Among these are four demos from Kenny Hollywood, including his aforementioned vocal demo of “Magic Star” and his demo of “Ill Cry Tomorrow”, which was later recorded by The Honeycombs.  There is also a stereo version of the instrumental “Oh What A Charlie” from The Flee-Reckers, a couple of really strong cuts from Ricky Wayne, the dramatic “Two Brothers” from The Ferridays (how does a song like this go unreleased), and “It’s Almost Tomorrow” from The Foresters, at times strangely sounding a little like “Puff, The Magic Dragon” (also recorded in 1962).  Cuts from Billie Davis (here singing “Merry Go Round”, a song that would be released the following year by Meek artist Gunilla Thorn), Geri Harlow and a third from an unknown artist all originally appeared on Do The Strum, the Tea Chest Tapes compilation of female artists that Meek worked with.  There is also an alternate mix of Jenny Moss’ “When My Boy Comes Marching Home Again” that appeared on that compilation in its original version, as well as “Time To Go”, a whispery ballad from Jackie, another female vocalist he worked with that year, but whose work did not appear on that compilation.  Some of the other highlights on disc three include a couple of really strong demos from Cliff Bennett & The Rebel Rousers (“I Get Up In The Morning” and “Avenue Of Loneliness”), the country-tinged surf tune “Outcast”, from The Stonehenge Men and Mark Douglas’ “Riding The Rails”.  From Taboo To Telstar (1962: A Year In The Life Of 304 Holloway Road) is a fascinating glimpse into the diverse world of Joe Meek in 1962 that really has me looking forward to future comps from the following years.  

(Cherry Red Records)

Death Sells - Death Sells

Following last year’s debut single “Cold Heat”, the Dutch band Death Sells are back with their eponymous debut EP.   They kick things off with “Confusion”, which was the EP’s first single.  It's loud, aggressive noise rock with a raw punk energy, that does a great job of relaying a sense of panic through its intensity and Michaela Nitsotoli’s vocals.  “Dark Gloves” is up next and while it’s a heavy rocker, the hypnotic, swirling guitars and pop hooks will have you bopping your head uncontrollably.  Shifting in the complete opposite direction, “Cool Homicide” is a slow, dark and extremely intense tune about a woman who kills her boyfriend after he cheats on her, bringing to mind elements of bands like Black Sabbath and Type O Negative.  Opening with a thumping bass that continues throughout the track, “MF” is raw, out of control noisy punk.  Next up is “Despair”, a pummeling blast of explosive noise interspersed with taut, almost introspective sections punctuated by short guitar blasts and near spoken word vocals.  Rounding out the EP is “State Of Mind”, which once again brings out the band’s more melodic side, but with a dizzying, high intensity drive.  If you like your music loud, raw and intense, but with a side of melody, then Death Sells may be just what you need.   

(This Could Be Your Music Label) (Death Sells)

Slik - The Complete Slik Collection

After numerous personnel changes, and a shift away from hard rock to pop, in 1974 the Glasgow based band Salvation settled on a four-piece lineup and changed their name to Slik.  At this same time, The Bay City Rollers were ending their relationship with songwriters Bill Martin and Phil Coulter, who had been responsible for most of their hit songs.  This led to the four-piece, now consisting of Jim (Midge) Ure on guitar and lead vocals, Jim McGinlay on bass, Billy McIsaac on keys and Kenny Hyslop on drums, signing to the Martin-Coulter Productions company.  Over the next three years, they released one eponymous album and numerous standalone singles (many written by Martin and Coulter), including the UK hits "Forever and Ever" and "Requiem", hitting number one and twenty-four respectively, on the UK charts.  These are all included here as well as some bonus tracks from three bands that members formed after Silk.  While they definitely had plenty of songs that were reminiscent of the poppy glam of the Rollers (“Boogiest Band In Town”, “The Getaway”) and the more glam rock sound of the extremely catch “The Kid’s A Punk” (complete with sax), there was really a lot more diversity in Slik’s sound.  For starters, the two hit singles both had strong elements of prog but mixed in glam (“Forever and Ever”) and Beatles-like pop (“Requiem”).  There are also New Wave pop tracks like “Do It Again”, “Don’t Take Your Love Away” and “It’s Only A Matter Of Time” and ballads like the Beatles-esque “Darlin’” with its great harmonies and “Better Than I Do”, which is more of a power ballad.  “Everyday Anyway” found them dabbling in reggae, “Again My Love” is almost easy listening, and there were even dance tunes like “Dancerama”, which is pretty much disco, and “Bom-Bom”, a calypso cover of an Exuma song that also includes what sounds like a talkbox.  By the time the band recorded their last single they were starting to embrace the punk scene, something that is on full display on the b-side “No Star”.  Right before their last tour as Slik, McGinlay left and was replaced by Russell Webb, followed a short time later by their decision to change their name to P.V.C.2.  Under that moniker they released an outstanding three track single of raw, aggressive punk that’s included here among the bonus tracks.  By the time the single was released, Ure had left the band to join the Rich Kids, and the remaining members teamed up with singer / guitarist Willie Gardner to form Zones.  Rounding out the bonus tracks are a couple of Zones songs showcasing their infectious new age / power pop and the Rich Kids version of P.V.C.2’s “Put You In The Picture”, which is a little more polished than the original, but loses none of that raw punk edge.  While their time in the spotlight was very short, The Complete Slik Collection showcases a band that had alot going for them with song after song full of infectious hooks and strong harmonies.    

(7T's)

Max Koste - 1999

I’ll start off by saying that beyond the fact that he’s a Swedish multi-instrumentalist and producer, I know virtually nothing about Max Koste.  That’s not for lack of trying, I scoured the internet and could find almost nothing about him.  What I can tell you is that his new EP 1999 is a fantastic collection, which makes the fact that his internet presence is pretty much non-existent that much more confounding.  “Funk Baby” gets things started and is a massively infectious track with a laid-back, soulful psychedelic groove that digs in and sticks until the end.  That psychedelia is present throughout the EP from the indie pop of “Love Is A Game” and the shoegazer “Something In The Air” to the slow burning rockers “Never Knew How Much I Needed You” and “Nothing To Lose” (this one has a hint of The Pixies).  I would highly recommend hunting this one down.  

The Aerovons - World Of You: The Complete Recordings

In late 1963, 12-year-old Tom Hartman was captivated by The Beatles after seeing a news story about them on TV.  As a result of this he ended up spending hours and hours with his guitar learning how to play "I Want To Hold Your Hand".  After a stint in the local St Louis band The Dartels, in 1966 Hartman formed his own band, The Aerovons.  That initial lineup went through some personnel changes and in late 1967 consisted of original members Hartman (lead vocals, guitar, piano) and Bob Frank (rhythm guitar) along with Nolan Mendenhall (bass) and Mike Lombardo (drums).  Tom's mother (also their manager at this point) told them the best thing for them to do was record an original song, so they booked a studio and recorded "World Of You" accompanied by a hired cellist. A short time later a rep from Capitol Records stopped by the studio, heard the demo, and asked if they wanted to go to LA to audition.  Hartman said he would prefer to record in London at Abbey Road, where The Beatles record.  Capitol put them in touch with EMI's UK chief Roy Featherstone and in January 1968 they went to London to meet the band.  In the fall of that year they were signed.  The label told them they wanted them to wait until March to record and to go home and write songs.  By the time they got to the studio there had been more lineup changes with Billy Lombardo (Mike's brother) now on bass and Phil Edholm on rhythm guitar.  Featherstone had decided that they had enough good songs to release an album, but the band ended up recording them as a trio after getting rid of Edholm, who was complaining that they didn't consider his songs.  The album was finished in June 1969, and they headed back to the States, but before they could return to London for the album launch, drummer Mike Lombardo left the band after dealing with personal issues in his marriage.  This left them with only two members, and while they did end up releasing two singles, since that meant they couldn't promote the record, the label canceled its release.  Fast forward to 2001 and the album finally got a vinyl release, followed by a CD release in 2003, which included four bonus tracks.  Now with the new 2 CD set World Of You: The Complete Recordings all of those tracks have been reissued, along with outtakes, demos, alternate version and more, including eleven previously unreleased tracks.

As you make your way through the album and singles on disc one, it is more than apparent how much of an influence The Beatles were on tracks like "With Her" and "Something Of Yours", which are primarily guitar, vocals and drums with a little keys on the latter.  There are also a few where it’s more than that.  Apparently, an EMI engineer let Hartman hear “Across The Universe” and “Oh Darling” before they were released and he said he heard them a little too well, resulting in “Resurrection” and “Say Georgia” sounding extremely similar to those two songs.  Having said that, songs like their debut single "The Train" draw strongly from early Bee Gees (flipside “A Song For Jane” is a gorgeous, acoustic psychedelic tune that was strong enough to be the A-side), while the second single, the gorgeous baroque pop tune "World Of You" walks the line between both The Beatles and Bee Gees (the 1967 demo, with just a cellist they hired instead of the full string section, is also included here).  They showcase their vocal harmonies on “Words From A Song”, a slower tune with a nice arrangement that brings to mind The Lettermen, and “Quotes And Photos” is a slow, kind of lazy, blues track with some great guitar work.  Some of the other tracks that bring to mind The Beatles include "She's Not Dead", which has a bit of a jazz beat, the bouncy "Everything's Alright", that has a chorus a bit like "With A Little Help From My Friends", and the captivating psychedelic suite "The Children" (there is also an alternative version with Edholm on vocals).

The second disc contains a demo Hartman wrote upon returning home after the band broke up, his solo single that was released in 1971, some songs he recorded over the years from 1980 to 2020 and then released as an album in 2021, and a handful of previously unreleased songs he recorded after 2020.  For his solo single "Sunshine Woman", Hartman went in a more hard rock direction than his previous work, sounding a bit like the Stones, while the flipside "A Little More" was a very McCartney influenced ballad.  The songs on the 2021 album still have a lot of that McCartney sound, but often with elements of power pop that weren’t really present on his earlier work.  The influence of Jeff Lynne and ELO can be heard at times, especially in a song like “Shades Of Blue”, while “The Things Went Tonight”, with its fantastic harmonies, has The Beach Boys written all over it.  There isn’t a bad cut among these eight cuts, but the definite standout to me is the brilliant “Swinging London.”  The final six cuts were recorded after 2020 and while they are more polished and produced, they still continue down the path he laid over fifty years earlier.  “Here” is a gorgeous Beatles-ish ballad, “Airline 59” harkens back to early Bee Gees, “Mary’s Purple Village” has that late sixties psychedelic sound and “Little Red Rocket” is pure power pop.  This two-CD set is an outstanding release that not only shines the light again on this once largely undiscovered band, but also does a great job of showing what mainman Tom Hartman has been up to over the years.  Per the liner notes, The Aerovons advertised themselves as “the fabulous group with that ‘smashing’ English sound” – were influenced by The Beatles, but also by The Who, The Bee Gees, The Kinks and, in Tom’s own words, “others who were masters of the hook-laden single”, which absolutely describes them perfectly.  

(Grapefruit)

Tracey Thorn: A Distant Shore, Expanded Edition

In 1982, 19-year-old Tracey Thorn, who was soon to become half of Everything But The Girl, recorded some songs with Pat Bermingham in his garden shed studio where she had previously recorded the Beach Party album with her band Marine Girls.  She sent the songs, which were recorded for 138 pounds, to Mike Alway, the A&R rep who signed her to Cherry Red (the label that had released the Marine Girls album).  She thought they were basically demos, but he said he felt they were perfect and should be released just as they were, resulting in her debut solo release A Distant Shore.  The album, which has been newly mastered at Abbey Road Studios for this reissue (available on CD and vinyl), is a gorgeous piece of work presenting the music at virtually its most basic with nothing but Thorn’s beautiful vocals accompanied by her guitar work (usually acoustic).  Along with seven originals, the album has a brilliant interpretation of Velvet Underground’s “Femme Fatale”, which she turns into more than just a cover with her unique delivery.  This reissue also contains five previously unheard demo recordings that Tracey found in a box of cassettes.  “Lucky Day” is a song that was recorded during the same session but was left off the album, while the remaining four were recorded at a later session and actually ended up being re-recorded for the debut Everything But The Girl album, Eden.  These bonus cuts flow seamlessly with the rest of the album and are a fantastic addition.  It’s also interesting to hear the future Everything But The Girl tracks in their infancy, especially “The Spice Of Your Life”, which is more intense than the mellow, jazzier version that came later.   

(Cherry Red Records)

Interview with Harley Olivia

Harley Olivia has gone from flight attendant to vocalist with both the metal band Anthems In Ashes and circus punk band Mineta, to now releasing her debut solo EP Hiding Little Pieces. I recently interviewed her and we covered all that as well as her theater and opera background, her Youtube covers, her work as a voice teacher and much more.    

I read that you were a flight attendant before you focused on singing.  What motivated you to take that step and make that career change?

I worked as a flight attendant for about 10 years. In the beginning, it was really exciting and I enjoyed traveling a lot! However, I knew it wasn't what I was put on this earth to do. Singing and performing have been my greatest passions and over time I realized that if I stayed in my job, my life would pass me by, and I'd never get to see if music would have worked out for me. I was afraid to quit but eventually staying in a job I didn't want to do began affecting my mental health - I got very depressed, and it became clear to me that I had to leave the airline behind and dive into music.

You graduated from Humber College’s Theatre Performance Program and then continued your voice studies as an apprentice to contemporary opera legend and author Fides Krucker.  Do you think that theatre and opera background has helped in your rock career?

Absolutely! The performance coaching I received at Humber was amazing and it helped an anxious person like me feel confident on stage. I also use my theatre training when practicing my songs and have learned to analyze them like I would a script. I decide who I'm talking to, what the story of the song is and perform it that way on stage, so it feels more authentic to me. I also learned a lot of vocal health tips and techniques so I can take care of my voice for years to come.

Your bio refers to you as a neurodivergent, alt-rock artist.  Are you comfortable to further elaborate on that?

Sure! For years, I thought I had depression, but it turns out I had undiagnosed ADHD and anxiety. I've always been a big dreamer with lofty goals but struggled with all the necessary skills to bring those dreams to fruition, so I was in a constant state of frustration which led to depression. I went through a period of time where I couldn't get out of bed because my mood was so low, everything felt impossible, and I didn't know how to verbalize what was going on in my brain. Getting diagnosed with ADHD as an adult was really validating and over time, I got better at managing it. I have a great support system now and I write songs about my annoying, spicy brain instead of succumbing to it. Of course, I still struggle and have down days but writing about my experiences and finding other neurodivergent people has been really healing.

You’ve previously fronted metal and circus punk bands like Anthems In Ashes and Mineta.  What made you decide to go the solo route?

I really loved being a part of those bands but unfortunately during COVID, they dissolved. During the pandemic, I was listening to a lot of catchy indie rock and pop rock music, and I ended up writing a bunch of songs that were more upbeat and catchy. That's when Siegfried and I started collaborating and my EP was born. 

I think what you are doing on the EP allows you to really showcase the power and versatility of your vocals more than those bands.  Was that a motivating factor behind doing a solo release?

Thank you! I actually sang the first dance song at my sister's wedding and it was the most scared I've ever been for a performance. I couldn't hide behind electric guitars or lean on my screaming if something went wrong. I realized I have always gravitated towards performing metal and heavy rock music and even though I love it, it became a crutch. I wanted to push myself vocally and tighten up my technique and not hide behind screams or growls when I was vocally tired. I wanted to see what my voice was capable of.

You worked with JUNO award-winner Siegfried Meier, who has worked with a multitude of bands including Kittie and Face To Face.  Can you tell me a little about working with him?

Siegfried is awesome! He has such a passion for music and is really fun to work with. He built this amazing recording studio called Beach Road Studios and it has incredible views of Lake Huron. We do all our writing and recording there and it feels magical and inspiring. We really understand the vision for the music we write and that allows us to work fast and effectively.

I notice most of your songs have been co-writes with Meier.  How does that process tend to work?  Have you also written in the bands you’ve been in?

Yes, I’ve always written in the bands I’ve been in, but the writing process was a little different than it is now. In previous bands, the instrumentation was usually written first and then I’d write my vocal melodies and lyrics after, but in my solo project, I write my vocal melodies and lyrics first. Once I have a verse, chorus and beginnings of a bridge, I’ll bring it to Siegfried and he will write the guitar and bass parts and then we’ll really fill out the song's instrumentation from there. It's my favourite way to work because I get to see each song grow from a just little melody in my head.

Your lyrics sound like they may draw a lot on real life experience.  How much is real life versus fiction?

They are all based on real life experiences. I may exaggerate, use metaphors or indulge in my feelings at times to make the song more dynamic but they all develop from real feelings which came out of some true event in my life. 

Compared to the heavier sound of Anthems In Ashes and Mineta, which reminds me a lot of the craziness of Mr Bungle, the songs on the EP tend to have more of an alt rock edge, but there is a much stronger pop side as well.  Is that something you were striving for?

Yes! I’ve always loved both heavy music and pop music, respectively.  I have a lot of experience in heavy bands, but I wanted to showcase another side of myself that I've never shared before. The cool thing about being in a solo project is you get to really be your authentic self and show all the dimensions of your personality and music tastes.  In Anthems, I always felt like I had to be heavy and dark, but in reality, I have this funny, mischievous side to me. I'm really enjoying stepping out of my comfort zone and sharing that side of me now.

The EP opens with “You’re Not Ready”, which has a rock edge, but also that pop side.  Then, to me, as you make your way through the EP, each song seems to get a little heavier, and by the time you get to closer “Haunted”, a lot darker.  Was the song order planned that way, or did that just happen?

That was definitely intentional! I wanted to lure people in with a catchy pop rock hook and get heavier and more emotional as the EP builds. I’m stoked you picked up on that!

I don’t know if it’s just me, but I hear touches of an Eighties influence on several cuts.  “You’re Not Ready” has some keys that remind me of The Cars, the opening of “Cherries” brings to mind Alphaville’s “Forever Young” and “Diggin’” also has some moments with that electronic music vibe.  Would you agree with that?

Yes! We love the synth from "Just What I Needed" by The Cars and Siegfried had the awesome idea to use a similar sounding synth in the bridge for “You’re Not Ready”. Sieg grew up in the 80s and I love Lady Gaga so we both gravitate towards that retro 80s synth vibe. We also felt that including that electronic element elevates our rock sound and keeps things a little interesting!

I love the pop punk sound of “Cherries” and how it perfectly encapsulates getting older and reminiscing.  Can you tell me about the inspiration for that song?

Yeah, so Cherry Colas was a bar in Toronto that I spent a lot of time in during my 20s. It was this sexy, underground burlesque bar with red walls and a tiny stage. I played there a lot in my previous bands and saw a lot of my best friends play there too. It was a hub for the rock and metal music community, and I felt at home there. Shout out to Cherish! During the pandemic, it unfortunately closed and I had moved out of the city. One night after the pandemic, I was back in the city and found myself walking by Cherry Colas. I felt super nostalgic for all the memories I'd had there during my "glory days" but I was also proud because I realized my life had changed so much and I had grown up a lot since then. I wasn't drinking and partying every night anymore. I was now dedicated to my music in a way I hadn't been before, and I felt proud. That complicated feeling of nostalgia, loss and empowerment is what started me humming the melody of "Cherries".

“Diggin’” is such a massively infectious song and has a kind of dirty swagger to it that really sets it apart.  Can you tell me a little about that song?

Yeah! 'Diggin'' is definitely a crowd favorite. I wrote it after breaking up with someone who tried to make me out to be the bad guy. At first, I felt sad, guilty, and horrible about the situation. But over time, this ex showed their true colors, becoming vindictive, cruel, and spreading rumors. The song captures the moment I let go of that shame, realizing it wasn’t mine to carry. It's also a warning to that person to back off because I see what they’re doing, and now, I’m standing up for myself.

Can you tell me about the production on “No More Tears” and “Haunted”?  Unlike the rest of the EP, those two songs are moodier, and in the case of “Haunted”, a lot darker.  I would say they are also the most elaborately produced songs on the EP with strings and a lot of layers.  

Yeah, I’d agree with that. The strings in 'No More Tears' always hit me emotionally because they come in at such a pivotal moment. When Siegfried created that string part, it really moved me; they sound like a string quartet you'd hear at a wedding, which added so much emotional weight to a break-up song. Sieg is a genius when it comes to adding those elements that really tug at your heartstrings.

For 'Haunted,' the concept was that my mind is like a horror movie, and my thoughts and anxieties are the ghosts haunting me. We wanted it to feel more cinematic and intense. The ghostly “ahs” I sang at the end of the song that follow the melody of the bridge really heightened the emotion and tied into that haunting theme perfectly.

  

You do a lot of videos of cover songs on your YouTube channel, but you chose Audioslave’s “Like A Stone” to include on the EP.  What was it about that song that made you include that? (Just a note - Kudos to whoever is playing for guitar for nailing one of my favorite little solos)

I absolutely love the lyrics of that song, and Chris Cornell’s melody is so haunting. I felt it fit perfectly on the EP because it’s emotional and introspective but also has that heavier edge. 'Haunted' is my darkest song, and 'Like a Stone' compliments it really well, adding depth and intensity that enhances the overall darker tone of the EP.

Speaking of your covers videos.  Most of them are songs that people would be familiar with, but then you do a cover of Bif Naked’s “I Love Myself Today”, which is great. I’ve always loved her music since hearing her debut all those years ago, but unfortunately, she never got much recognition here in the States.  Can you tell me about deciding to cover that?

I'm Canadian so I love Bif Naked. I grew up watching her music videos on Much Music. I used to sing "I Love Myself Today" in a band when I was about 16 years old so when I was thinking of songs to cover that was one of my first choices. I also thought it would be a fun video idea to perform a Bif Naked song while naked.

You have a video for almost every song on the EP, and most of them have a bit of humor to them.  How involved are you in the concept and production of the videos?

I'm very hands-on when it comes to my music videos. For 'No More Tears,' 'Cherries,' and 'Haunted,' I created the concepts, produced, directed, set dressed, costumed, edited, and starred in the videos myself. For 'Diggin',' I co-created the concept, brought in all the props/set pieces and designed all the looks I wore. I really love making music videos and even went to film school a few years back, so I enjoy adding another layer of depth to the songs through video. It allows me to use a different aspect of my creativity.

Do you have a consistent band or does it change based on their availability?

I always perform with Siegfried Meier as my guitarist on stage. We wrote the songs together so he really gets them and he is a fantastic, energetic guitar player. We have a rotating cast of drummers based on their availability, but we have chosen the best of the best! We play with Nathan Bulla of Intervals and Auras, Melvin Murray of Texas King, Mercedes Lander of Kittie and Kaelin Chase of Full Throttle. They all bring something a little different to the table, but they're all amazingly talented.

Do you have any plans to do any touring down here in the States?

Yes, I would absolutely love to tour the States. It's definitely part of the plan! Right now, I'm playing as many shows as I can and as I build momentum, it's slowly taking me farther and farther away from home base. I'm hoping to make the leap across the border some time next year.

In addition to being a performer you are also a voice teacher.  Can you tell me about that?

Yes, I am really passionate about the voice! I get a lot of satisfaction from coaching other vocalists and helping them achieve their goals. I especially love helping artists that want to focus more on their technique in preparation for the studio or a long tour. It's awesome because I'll get these random texts or phone calls at odd hours of the night from my students after they've finished their gigs because they're excited they achieved something. That is the best feeling!

I read an older story about you that said the EP was originally coming out in October, 2022.  What happened that it’s now being released almost two years later?  

Well, this is my debut EP and I learned a lot about the process as I went along. There were some scheduling delays and I didn't want to rush the release. I'd rather take the extra time to make it exactly how I'd envisioned it.

Now that the EP is out in the world, what’s next for you?

The digital release of 'Hiding Little Pieces" is out now, so that's super exciting! The vinyl for the EP will be releasing early November so I will be putting that up for purchase on my store when it's ready! I also won the Rising Sun Award at the Gussapolooza Music Festival this past September, so I'll be back on the main stage next year. Come January, I begin recording my next EP and I just found out that The Ontario Arts Council awarded me a grant for that, so I'm really excited to get back in the studio to record! Other than that, just lots and lots more shows and content!

Is there anything else you would like to share with readers?

I just want to thank everyone who has taken the time to listen to my new EP. As a small, independent Canadian artist, it can be challenging to reach the right listeners who truly connect with my music. I love when new listeners reach out because they often have a personal story or reason why my songs resonate with them, and we end up chatting and becoming friends. Social media can be daunting, but it’s moments like those that make it so rewarding. So, if you're an anxious, neurospicy human like me, love cats and love rocking out at shows - come say hi!

(Harley Olivia)