THE SHAPE OF THINGS TO COME (NEW RELEASES) By Michael McDowell

SMACK DAB IN A MIRACLE:  The Austin, Texas-based composer and vocalist LEEANN ATHERTON sings the praises of Jesus and augments it with an astute smattering of like minded feelgood material in her latest Rainstorm Records release, Good God.   Editor / Publisher Michael McDowell professes solidarity below. (Click on above image to enlarge).

CDs AND VINYL - NEW RELEASES

(REVIEWS ARE POSTED IN ALPHABETICAL ORDER BY ARTIST)

GOOD GOD - 

Leeann Atherton (Rainstorm)

If the issue of semantics is a focal point for the rank and file musicologist and record collector, then this album should definitely garner their attention.

The title of this album alone would suggest that it is comprised of Gospel material. By definition, the Gospel is the good news of Jesus Christ, as chronicled in detail in the books of Matthew, Mark, Luke and John in the Bible. 

To be certain, Good God contains a generous helping of Gospel music. But herein, the Gospel message is also augmented by so-called "songs of peace, love and unity". That is, material that takes on a more general perspective, while remaining sympathetic to the primary cause at hand. 

In any case, the Austin, Texas-based composer and vocalist Leeann Elizabeth Atherton (whose 1998 Lady Liberty album became an instant classic in some circles) delivers both with mastery and exuberance. The opener, Saved sets the stage impeccably, with Atherton executing with the abandon found in earlier renditions by LaVern Baker and Elvis Presley. 

All of which makes the segue into feelgood territory all the more intriguing. To wit, Drinkin' That Wine. Loosely based on the 1950 rendition by Bob Waiser (which in turn drew from a collection of nineteenth century spirituals that was published in 1926), the lyrical artistic license ("13,000 years", in spite of the archeologically-substantiated timeline that places the Adam and Eve acount of Genesis 3 in a setting of roughly half that duration, as well as the subjective nature of the attributes of liquor, which has prompted multiple trains of thought based upon John 2:1-11 versus I Timothy 3:3). 

Most astutely, Atherton shifted focus slightly away from the song's title with a backdrop that draws from Creedence Clearwater Revival's Born On The Bayou. In the process, she made a solid case for reiterating the mission statement of early twentieth century academician, Bascom Lamar Lunsford, whose extensive research on the subject has few peers.

Thankfully, any such perceived impasses are kept to a minimum, with the feelgood camp (further represented by her impassioned takes on Joe South's Games People Play, and the Dave Clark Five / Jackie DeShannon standard, Put A Little Love In Your Heart) meshing quite well with the purist perspective championed in the Selah Jubilee Singers' 1941 signature 78, I'll Fly Away, as well as How Great Thou Art (the adaption of Carl Boberg's 1885 poem O Store Gud, which was also covered in 1960 by the aforementioned Elvis Presley, and perhaps most famously by George Beverly Shea). Atherton then states her case most decisively via three like minded originals: Joy, Call On The Lord and Smack Dab In A Miracle.

The proceedings draw to a most sublime conclusion with a Leeann and Austin Storm Atherton duet on Angel Band. Earlier renditions by the Stanley Brothers, Emmylou Harris and the Monkees each set a very high standard, commensurate with the subject matter at hand. Not surprisingly, Atherton rose to the challenge triumphantly. To be certain, Good God gets the job done in a most inspirational way.

MY VOICE -

Laura Chavez (Ruf)

During the so-called Golden Age of Instrumentals, it was often noted that many a musician learned to play guitar by studying the instructional albums produced by the Ventures and the Kingston Trio.

Prior to running its course, that movement began to diversify. Lavishly orchestrated singles began to take center stage, as typified by classic singles from Raymond LeFevre, Nick DeCaro, Hugo Montenegro and Paul Mauriat.

Although she draws her inspiration from a variety of sources, the San Diego, California based composer and guitarist Laura Chavez is most assuredly a firebrand whose mission statement stands in solidarity (however unintentionally) with that of the Ventures. To that effect, My Voice showcases a variety of original and cover material to underscore the point.

In the latter category, My Voice opens with a faithful reading of Creedence Clearwater Revival's Born On The Bayou. Dedicated to her father Tony (a self-professed devotee of the former Golliwogs' work), Chavez's rendition is at once faithful to the original while reflecting her own inspiration. 

In turn, Southern California's beloved Blasters are saluted with a spirited take on their stage favorite, So Long Baby Goodbye. Therein, Chavez does a remarkable job of instrumentally simulating the trademark intense and passionate vocal delivery of Phil Alvin, complete with a healthy dose of Bob Bogle-inspired power chords and a bit of Dave "Baby" Cortez-like keyboard flourishes from Lea Worms to bring the mission statement full circle. The mid-tempo take on Booker T. And The M.G.s' Chinese Checkers follows suit impeccably.

Perhaps the only anomaly within the proceedings is the slow blues take on the traditional La Llorona. Included at the insistence of label head Thomas Ruf (in part keeping with the label's overall mission statement), Chavez rallied to the cause only after a pause for reflection to make certain that she was in solidarity with the results. 

Thankfully, original material such as Mind Your Step, Wanderer and Mamba Negra brings a much welcome element of diversity to the proceedings; an attribute that is often in short supply within those circles. 

"I had to find a way, with my guitar as the primary voice to communicate the same things my favorite singers were able to communicate through true songs with hooks, melodies, and most importantly, my own voice and personality", Chavez said.

To that effect, with My Voice, Chavez's words ring loud and clear.

SECRET ADMIRER -

Jeanne Gari (Original Cast)

Some artists celebrate, while others contemplate.

On one particular weekend around the turn of the century, the city of Reno, Nevada hosted one of its frequent large scale celebrations. Visitors to the city were greeted by (among other things) loudspeakers along its main thoroughfare, which were broadcasting at high volume on repeat play the monster classic 1966 Warner Brothers single, Who Am I by Petula Clark.

The choice of material could not have been more ideal for the occasion. During her highly productive run at Warner Brothers, Clark released a most impressive string of singles and albums that highlighted relentless optimism from a cerebral perspective. There was cause for celebration in Reno, and Clark's single fit the bill perfectly. 

Conversely, under the stewardship of Jeanne Gari, Who Am I assumes a contemplative atmosphere, losing nothing in the translation. While Clark proclaimed the answer with her trademark self assurance, Gari herein poses the question not from the standpoint of diffidence, rather (in part) out of intellectual curiosity.

That relative propensity for quaintness provides a recurring theme of sorts throughout the fifteen tracks on Secret Admirer, Gari's second offering for the Original Cast label. To wit, the references in Peter Allen's Pretty Pretty reflect a wide eyed optimism with regards to weekend clubbing and Mick Jagger posters, despite Allen's portrayal of the subject matter in the past tense. Likewise, Robin Ward's 1963 Dot label signature single, Wonderful Summer makes a transition from reflectiveness to the best is yet to come in Gari's eyes. Her profession of solidarity with Cilla Black in the latter's Step Inside Love brings that perspective full circle, as does her magnificent reading of the beloved and legendary Revelers' January 1930 sublime Victor label 78, A Cottage For Sale.

Perhaps the lone deviation from this perspective comes from Gari's interpretation of the late Meri Wilson's 1977 GRT label signature single, Telephone Man. At the time of its release, Wilson's somewhat coy delivery was sufficient to generate an atmosphere of caution in some mainstream media circles. But with the benefit of nearly a half century of hindsight, Gari sustains Wilson's momentum more in a manner befitting the plot line of many a daytime network television drama. 

As was the case with Jeanne (her 2022 debut album), this second offering includes a generous helping of original material that was composed by her husband, Brian Gari. Widely renowned for both his own solo releases (many of which have been celebrated at length in Blitz Magazine - The Rock And Roll Magazine For Thinking People) and his extensive work as a musicologist and journalist, Brian Gari reasserts herein the seemingly paradoxical aspects of their collective mission statement via such sympathetic offerings as Easier To Love, Not In Touch, When You Comin' Back Red Ryder? and the title track. 

"Paradoxical" in that the Garis have managed to sustain that endearing attribute of quaintness in their respective projects, in spite of maintaing a home base in the not exactly low key atmosphere of New York City. As Secret Admirer impeccably underscores, if Petula Clark answered her own question decisively in Who Am I, then in the words of a standout track from Jeanne Gari's 2022 debut, Secret Admirer follows suit in a manner that reaffirms We're On The Same Page.

KISS ALL THE TIME.

DISCO, OCCASIONALLY -

Harry Styles (Erskine / Columbia)

Flourishing in a solo career after a protracted season as part of a successful group is not always a given. 

Some artists managed to sustain their momentum, such as Brian Wilson of the Beach Boys or David Ruffin of the Temptations. On the other hand, the best intentions of Highway 101's Paulette Carlson or William Lee Golden of the Oak Ridge Boys did not quite live up to their earlier group endeavors.

In the case of Harry Edward Styles, both he and fellow One Direction alumnus Niall James Horan have managed to flourish as solo artists since the quintet called it a day in 2016. Not content to rest on their respective laurels, Horan and Styles have both made a concerted effort to produce first rate solo material. 

Styles' most recent outing finds him increasingly diversifying his portfolio of inspirations. To wit, the album's opener, Aperture (a term occasionally invoked in music circles in reference to the proper positioning of the mouthpiece of a horn) underscores the cerebral nature of the project, augmented by a backdrop straight from the Kraftwerk catalog. 

In turn, American Girls draws from the classic template of a Sunrays or Hondells slice of relentles optimism. It is then rendered with deliberate understatement to underscore the point for a target demographic that may not yet be familiar with those inspirations. 

Indeed, the Redditch, Worcestershire native is part of a growing contingent of front line artists who are reaching out in solidarity to their inspirations. Their numbers are arguably led by composer, vocalist and avid record collector Sabrina Carpenter, although that inspiration can also be found in abundance in the recent works of Sienna Spiro, Bruno Mars, Olivia Dean and others. 

Styles runs the gamut of revisionist history throughout the remainder of the proceedings, Highlights include the dramatic semi-narrative Are You Listening Yet? (complete with a Pink Floyd-tinged interlude), the new wave vibe of Taste Back and the rollicking Pop. 

To be certain, a veteran musicologist and / or record collector would do well to investigate. In the words of one of Styles' earlier triumphs, Kiss All The Time. Disco, Occasionally is but a Fine Line between the two camps.

THE BIG STIR RECORDS

HIT MACHINE -

Various Artists (Big Stir)

Being involved in the recording industry in the later years of the twentieth century had its advantages for the record collector.

One such perk was the practice by a number of labels to service media outlets with promotional Various Artists 45 EPs, cassettes, LPs and CDs. Those samplers highlighted representative tracks from the latest releases by the label's key artists in the hopes of inspiring the recipients to investigate the work of those artists in greater detail.

True to form, the Big Stir label followed suit at the end of 2025 with the release of the twenty-five track CD collection, The Big Stir Records Hit Machine. The Burbank-based label, which has earned high praise in recent years for giving a home to such highly respected veteran artists as the Cyrkle, the Strawberry Alarm Clock and Graham Parker has in turn done much to bring such proven methodolgies into the modern day setting.

Indeed, The Big Stir Records Hit Machine features much that will inspire. The latest offerings from the aforementioned Strawberry Alarm Clock and Graham Parker (with Mike Gent) are included, along with new material from such like minded artists as 20/20, Nelson Bragg, the Spongetones, the Jack Rubies, Sparkle * Jets U.K., the Gold Needles and Librarians With Hickeys. Pleasant surprises also abound, best evidenced by Michael Simmons' magnificent interpretation of the Beach Boys' Sail On, Sailor.

With the twenty-first century entering its second quarter in 2026, Big Stir has done much to sustain the momentum of proven artists and methodologies; setting the stage for the ongoing betterment of the art to the satisfaction of all factions. In the words of the Bablers' contribution to this collection, it's One Of Those Dreams that requires ongoing oversight. But it is nonetheless worth the effort.

I'M THE PROBLEM  - 

Morgan Wallen

(Big Loud)

"Keep it Barbershop".

That simple admonition became an ad hoc mission statement for the late, great Richard W. "Dick" Briel. A tireless champion of the vocal harmony genre known as Barbershop, Briel was a lead vocalist with the San Gabriel Valley Harmony Statesmen during much of the second half of the twentieth centuy. Adamant in his resolve to keep the group's repertoire within that framework, Briel underscored his point by delivering unwaveringly as the consummate showman; augmented by his genial persona and impeccable sense of comedic timing.

Ironically, during its prolific run as the focal point of music's last collective gasp of consequence (the so called New Traditionalist movement of the late 1980s and early 1990s), country music found itself facing a similar dichotomy in some circles. While by definition the New Traditionalist contingent championed a return to form that in part saw some of the genre's most beloved pioneers (including George Jones, Johnny Cash, Buck Owens and Waylon Jennings) enjoy a late career renaissance, it also brought with it a faction that sought to take the genre to the next level via the incorporation of classic rock into the mix. Reactions among the hardcore faithful were mixed, to put it mildly. 

In a sense, composer, vocalist and Sneedville, Tennessee native Morgan Cole Wallen herein finds himself at a crossroads of sorts between those two perspectives. The beneficiary of extensive media exposure at the onset of his career in the mid-2010s, Wallen was rewarded at the onset with substantial mainstream acclaim.

But with I'm The Problem (a somewhat tongue in cheek profession of self-depreciation that was inspired in part via its use in Taylor Swift's October 2022 Anti-Hero single), Wallen finds himself at his own impasse of sorts between the multi-genre red carpet afforded him via his substantial media platform versus his innate leanings towards the purist perspective. 

To his considerable credit, Wallen herein draws from the best of both worlds and emerges triumphant. To wit, the thirty-seven originals in this collection (recorded over a two year period) find Wallen steadfastly walking in solidarity with the basic precepts of the country music experience and its prerequisite periphery. Wallen's resolve is perhaps best showcased in Revelation, in which he professes the need for salvation in the wake of listening to Billy Graham sermons after a disillusioning encounter with Jim Beam.

Conversely, Wallen's consistent mainstream exposure has afforded him the opportunity to join forces with artists whose own musical visions espouse a multi-genre perspective. His recent projects with Tate McRae (What I Want) and one-time Taylor Swift collaborator Post Malone (I Ain't Comin' Back) were both successful singles and are included here. Each provided a catalyst of sorts for Wallen's propensity towards a broader mission statement. That attribute is showcased quite well herein by his solo single, Love Somebody, as well as such standout tracks as Working Man's Song, Where'd That Girl Go and Leavin's The Least I Could Do.

Interestingly enough, Wallen brings the first half of I'm The Problem together as a thematic medley of sorts, in a manner similar to that executed in 1968 by the Amboy Dukes on the second side of their Journey To The Center Of The Mind album for Bob Shad's Mainstream label. Wallen further drives the point home by augmenting partially developed concepts with dreamscape interludes, as did the Rationals on their debut album for the Crewe label. 

All told, I'm The Problem is a best of both worlds endeavor that ultimately allows for the growth and expansion that has been indigenous to the genre all along. As Wallen himself somewhat prophetically observed in 2023, it is a methodology that is best realized One Thing At A Time.