MIND YOUR STEP: The San Diego-based composer and guitarist LAURA CHAVEZ puts her distinctive spin on the instrumental workout in her latest Ruf Records release, My Voice. Editor / Publisher Michael McDowell sings her praises below. (Click on above image to enlarge).
CDs AND VINYL - NEW RELEASES
(REVIEWS ARE POSTED IN ALPHABETICAL ORDER BY ARTIST)
MAN'S BEST FRIEND -
Sabrina Carpenter (Island)
Humor is in the eye of the beholder.
Witness Manchild, the recent instant classic single by composer, vocalist and Quakertown, Pennsylvania native Sabrina Annlynn Carpenter. Therein, Carpenter laments her circumstances with a curious mixture of disconcertment and subtle resignation borne of a cavalier reaction with regards to the failure of others to live up to expectations.
Carpenter dismisses such concerns out of hand at first with several pejoratives (stupid, slow, useless) before taking a slightly more charitable high road with the less abrasive Manchild before reasserting her upper hand with, "Why you always come running to me?"
The reaction to Manchild among the rank and file to date has been anything but united. Many have dismissed it out of hand, only to be admonished by some to engage in a bit of introspection before passing judgement.
Conversely, Manchild has received glowing accolades from others. It has proven to be one of the most successful singles of the year to date.
For those who perhaps do not have such a vested interest in the subject matter and who maintain an art for art's sake perspective, Manchild stands out as a sterling example of the return to form that has blessed the overall musical landscape throughout the past year. Its strong verse, chorus and bridge template and inventive turn of phrase is in keeping with that which has long graced the best of the most impacting musical movements.
Indeed, Carpenter shines in that respect throughout the remainder of Man's Best Friend, which was recorded at Electric Lady Studio (once the venue of choice of Jimi Hendrix). While her stark lyricism remains the predominant theme, the musical settings therein (aided and abetted by John Ryan and Jack Antonoff, who served as co-producers with Carpenter) most encouragingly suggest anything but genre myopia.
To wit, the album's second single, Tears treads the fine line between Patrice Rushen's Forget Me Not and Debbie Gibson's Shake Your Love. My Man On Willpower stays the course in that respect, with a relatively more lavish arrangement worthy of Donna Summer's Love's Unkind. We Almost Broke Up Again Last Night brings it full circle, with a brief aside to the victim as anti-hero perpsective championed in recent years by Taylor Swift.
Conversely, Nobody's Son offers a pleasant turning of the corner with its mid-tempo arrangement in the spirit of Led Zeppelin's D'yer Maker. In turn, When Did You Get Hot? (a variation of sorts on Carpenter's 2024 Bed Chem single) provides an amusing adjunct to the 1978 monster classic Luv' hit, U.O. Me. Carpenter brings the musical diversity full circle with a good natured, tongue in cheek sing along in Go Go Juice (a term that became a permanent part of the landscape via its use by the great Jerry Reed's charismatic Cledus Snow character in the 1977 motion picture, Smokey And The Bandit before wrapping it up with the matter of fact opulence of House Tour and the operatic in a Bohemian Rhapsody way of the album's closer, Goodbye.
However, there persists an ongoing concern within some circles with regards to what is perceived as an impasse in terms of the methodology of the lyrical approach. The reasoning stems in part from a particular interpretation of Ephesians 4:29 about the uplifting nature of words.
That perspective is largely championed by a well intentioned contingent that (for example) most likely has first person experience of the mixed reactions to the lyrical approach of such singles as the Kingsmen's Louie, Louie and the MC5's Kick Out The Jams.
But what is often overlooked in such sectors is that there is an entire demographic (of which Carpenter is a part) that has no such cultural baggage in that respect, and which simply does not view such matters from that perspective. From their point of view, such verbiage no longer produces such an impact and is generally accepted within the the scope of everyday vocabulary.
Nonetheless, for both camps, Man's Best Friend is a win-win solution. On one hand, that perspective has enabled Carpenter to soar as an inventive lyricist. Meanwhile, those who continue to remain true to certain linguistic guidelines can at least do so with an element of optimism for the future of the art, especially in light of the return to form that has blessed music overall in recent months. In the words of one of Carpenter's earlier triumphs, Man's Best Friend allows for all concerned to persevere with their Eyes Wide Open.
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.
GREETINGS FROM YOUR HOMETOWN -
The Jonas Brothers (Republic)
It was time to break camp.
When the Wycliff, New Jersey sibling trio Kevin, Nick and Joe Jonas released their debut album, It's About Time in 2006, they were undergoing an inevitable season of growing pains. Therein, cuts such as 6 Minutes and Year 3000 reflected hardcore aspirations that were tempered by a sense of bravado that was still a work in progress.
But when the group signed with Hollywood Records and released their breakout album, Jonas Brothers the following year, the benefits of the team approach began to avail themselves. Their behind the scenes team provided the right balance of support and direction to enable them to better find their footing. The group soared over the next several years as a result.
However, one of the byproducts of working within the system in that capacity is that those providing the support will seek a return for their efforts via maximum exposure in a variety of settings. In the Jonas Brothers' case, that exposure culminated with their appearance in the 2008 motion picture, Camp Rock alongside Demi Lovato.
With few exceptions, steps such as those usually signal that the mutual admitation society between artist, support system and the faithful has run its course. To their considerable credit, the Jonas Brothers took note and ultimately opted to embark upon a six year sabbatical in 2013 to pursue individual interests and reassess their priorities for the long haul.
Greetings From Your Hometown proves that their self-imposed hiatus was not an exercise in futility. While remaining faithful to the basic precepts implemented during their tenure with Hollywood Records, the Jonas Brothers herein reflect a subtle yet impacting maturation in mission statement that is not so much the byproduct of chronology as it is a reflection of lessons well learned.
While all encompassing in its outreach, Greetings From Your Hometown nonetheless reflects in spots the need to meet certain factions of the faithful on their own terms. To that effect, Heat Of The Moment and Star both downplay the prerequisite strong verse, chorus and bridge template to serve as a potential adjunct for an alternate media source; a variation of sorts on the late Michael Nesmith's "book with a soundtrack" concept. Moreover, Slow Motion (with Marshmello) placates the faithful who relate on an individual basis, underscoring the attribute of intimacy that has been germaine to their mission statement from the onset.
Conversely, the single No Time To Talk reflects the inspiration of the Bee Gees' Stayin' Alive to the degree that Barry, Robin and Maurice Gibb are credited as co-composers. Ultimately, those strong vocal harmonies and the impeccably structured verse, chorus and bridge template of Love Me To Heaven provide the trio with arguably their finest moment to date.
In the process, the Jonas Brothers have brought it full circle; reuniting with Lovato as co-producers for the third installment of the Camp Rock series. Likewise, Greetings From Your Hometown sustains that momentum by staying the course while ultimately taking it to the next level. To paraphrase a key track from their It's About Time album, it is still time for them to fly.
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.