Another gathering of releases by independent artists that deserve wider recognition.
Videos by American Songwriter
Jeff Larson
It’ll Never Happen Again
(Melody Place LLC)
Credit Jeff Larson, erstwhile member of America’s music team and a distinctive solo artist in his own right, with paying homage to the great singer/songwriter Tim Hardin, courtesy of his striking new EP It’ll Never Happen Again. Produced by America’s Gerry Beckley, the five songs mostly bank on the familiarity factor, with “Reason To Believe,” “If I Were a Carpenter,” and “Misty Roses” included among the stellar selections. For his part, Larson generally adheres to the sadder sentiments echoed in the original renditions, but his take on “Don’t Make Promises” allows for a surprisingly upbeat and engaging encounter. Larson’s adept execution puts emphasis on the gentler caress these melodies originally embodied, while also offering a reminder that when Hardin died in December 1980 just after his 39th birthday (from what was termed a heroin overdose), he left a legacy that’s forever inscribed in the annals of contemporary folk music. Thankfully, Larson does an admirable job of carrying those credentials forward.
(jefflarson-music.com)
Bobbo Byrnes
October
(Self-released)
Bobbo Byrnes has firmly entrenched himself in Americana realms, but at the same time, that hasn’t precluded him from pursuing his muse beyond any particular parameters. To that extent, he journeyed to two legendary studios to record his new album—Dublin’s Windmill Lane, where the Waterboys and Kate Bush crafted their classic recordings, and Hansa Studios Berlin, home to the iconic albums of David Bowie and U2. The experience clearly impacted him in a most decisive way, and while the arrangements are solo and stripped back to an acoustic essence, they’re expressive and exhilarating all the same. Songs such as “The Cold War,” “October,” and “Too Many Miles” resonate with both desire and determination, yet never forgo the honesty and emotion that Byrnes has always imbued in his work. His take on Bowie’s “Heroes” is especially revealing, transforming the song in a way that instills a personal perspective. That’s one of the reasons why October is so impressive. (BobboByrnes.com)
Mike Stinson & Johnny Irion
Working My Way Down
(Blackwing Music)
Given that music veterans, Mike Stinson and Johnny Irion once worked together in a roots rock outfit dating back some 30 years, the chemistry between the two comes quite naturally. Although each has had a storied solo quarter, this belated reunion finds them working easily in sync, courtesy of songs that make an emphatic impression straight from the get-go. There are any number of obvious examples—the sprawling title track, “The Bottle and Me” (an ode to the temptations of intoxication), the downcast demeanor expressed in “Only Friend I Ever Had” (I know I traded my mystique for a longtime losing streak) and the rollicking trio of “You Came A Long Way from St. Louis,” “Stranger Here Myself,” and “Brand New Love Song,” to name but a few examples. Granted, the tears-in-the-bears sentiment often seems to dominate both the mood and the melodies, but on the whole, it’s clear that Working My Way Down is best an example of how one might consider taking an opportunity to work their way up.
(mikestinsonmusic.com) (johnnyirionmusic.com) (MikeStinsonJohnnyIrion.com)
Turn Turn Turn
New Rays From an Old Sun
(Simon)
As one might surmise based on the band’s name alone—a handle that appears to reference the title of a seminal standard by the Byrds—Turn Turn Turn, the collective consisting of Adam Levy (formerly of the Honeydogs), Savannah Smith, and Barb Brynstad, make music that recalls the classic sounds of ’60s AM radio. Echoes of The Monkees (no, that ought not be construed as a complaint), the Mamas and the Papas, the Grass Roots, and the Lovin’ Spoonful are evident throughout each of these offerings. The giddy “Stranger in a Strange Land,” the sheer optimism of the title track, the ringing harmonies and 12-string sounds of “Schisandra,” and the more emotional strains of “If You’re Gonna Leave Me” being some of the more obvious examples. Happily too, given this generous slab of pure pop perfection, it’s only natural that the emphatic arrangements and extra attention to detail should accentuate the accessibility factor, which, in turn, is naturally primed for perfection. Compared to much of what passes as pop these days, this is a fine turn (turn turn) indeed.
(turnturnturnmpls.com)
Helene Cronin
Landmarks
(self-released)
Whether or not the title holds true remains to be seen, but clearly, Landmarks ups the ante in terms of Helene Cronin’s powers of persuasion. It’s a decidedly emphatic effort, one that veers from energized (opening track “Yesterday’s Heavy,” “Make the Devil,” and “What Do You Lean On”) to the emotive (“Just a Woman,” “Halfway Back To Knoxville,” and the title track), making a most impressive imprint along the way. It’s also an able follow-up to her widely hailed 2019 release, Old Ghosts & Lost Causes, an album that created its own indelible impact. We’ll not be quiet, she insists on “Just a Woman,” an anthem that asserts the right of anyone, regardless of gender, to speak their peace. Cronin has an assertive presence, one that begs attention while establishing her credence as a forceful and forthright artist and individual. Consequently, Landmarks could be considered a breakout album, one that shares life lessons courtesy of Cronin’s dynamic and dramatic delivery. At the very least, it does mark a major milestone.
(HeleneCronin.com)
Photo by Patrick Fore / SRO
