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

WE CAN FIND IT: The Cyrkle is back with a vengeance in their all new Big Stir label album, Revival. Editor/Publisher Michael McDowell celebrates this most encouraging release below (Click on above image to enlarge).

CDs AND VINYL - NEW RELEASES

(REVIEWS ARE POSTED IN ALPHABETICAL ORDER BY ARTIST)

REVIVAL -

The Cyrkle (Big Stir)

Name dropping can be counter productive.

In a Cyrkle interview with Blitz Magazine - The Rock And Roll Magazine For Thinking People in the early 1980s, among the topics discussed was the 1981 solo single, I Did It For You, by band co-founder and front man Don Dannemann. That single was released as a tribute to Beatles rhythm guitarist John Lennon in the aftermath of Lennon's December 1980 murder. 

From Dannemann's perspective, I Did It For You was a salute to a one time colleague, with whom his band had Brian Epstein in common as a manager. But with rock and roll in the early 1980s still digging itself out of the protracted aesthetic slump of the early 1970s, such gestures were often viewed within musicologist circles as unnecessary apologetics. 

To wit, rock and roll giants Del Shannon and Gary U.S. Bonds did not need the endorsements that they received around that time from Tom Petty or Bruce Springsteen to justify their formidable track records as pioneers and visionaries. Shannon's and Bonds' legacies most assuredly stood on their own merits.

Likewise, whereas the Cyrkle (who had begun as the Rhondells while attending Lafayette College in Easton, Pennsylvania) certainly benefitted initially from a heightened profile as the result of Epstein's considerable management acumen, theirs was nonetheless a unique musical vision that bowed the knee only peripherally at most to others. 

Foremost among their many attributes was vivid imagery borne of strong songwriting; either from within or via their most competent interpretations of the compelling storytelling of others. The evidence is borne out repeatedly in the numerous triumphs to their credit that were amassed during their affiliation with Columbia. They include definitive renditions of Neil Sedaka's psychedelic romp, We Had A Good Thing Goin', the P-Nut Butter's sublime garage staple, Please Don't Ever Leave Me and the Bee Gees' otherworldly Turn Of The Century. 

In turn, their mid-1966 anthemic Turn Down Day single earned a fathful cover from sibling duo Twinn Connexion for Decca the following year. Most inspiringly, their Camaro single for Columbia Specal Products underscored just how well the band could execute within a rich variety of genres. Conversely, few singles have captured the nightmare of loss as eloquently as did their magnificent I Wish You Could Be Here.

However, by decade's end, the Cyrkle had embarked upon a protracted sabbatical. Dannemann and bassist Tom Dawes both went on to richly rewarding careers as composers and jingle writers. Drummer Marty Fried relocated to the Detroit, Michigan area, graduating from Wayne State University's law school and enjoying a successful legal practice for decades. Keyboard man Mike Losekamp (who had succeeded Earle Pickens in that capacity in 1966, when Pickens opted to pursue a career in medicine) persevered to varying degrees in music, most recently with the Columbus, Ohio-based Gas Pump Jockeys. 

Happily, by the mid-2010s, Don Dannemann and Mike Losekamp began to realize that the time was right to once again build upon the Cyrkle's formidable legacy.  However, Tom Dawes had passed away in 2007 at age 64, following complications from heart surgery. 

The band also initially shared their renewed enthusiasm with drummer Marty Fried, who was still actively involved in his work as a bankruptcy attorney at the time. However, upon his retirement from the law profession, Fried once again availed himself to his Cyrkle colleagues. Tragically, before either side could move forward in that respect, Fried succumbed to a protracted battle against pancreatic cancer in September 2021. He was 77.  

Nonetheless resolute to persevere in the face of tragedy, Dannemann and Losekamp expanded the Cyrkle to a six piece band and began touring with a vengeance in 2016. The added musical muscle has served them extraordinarily well, as evidenced in abundance in this magnificent new album for the Burbank, California-based Big Stir label.

Thankfully, Revival is not so much a concession to that which the legendary Rick Nelson sang out against so resolutely in 1972's Garden Party (and indeed, that perspective can only be found here in the album's debut single, We Thought We Could Fly, more for informational than wistful purposes). For the most part, the album is a bold assertion that the Cyrkle's main attribute of solid storytelling over a sympathetic and immersible musical backdrop remains their strongest such asset.

Thankfully that virtue is borne out repeatedly throughout the proceedings. To wit, the opener, Goin' Steady With You serves as the first half of a two-part tale of the relentless optimism borne of the joy of newfound relationships. For the second installment, Center Of The World brings it into a different setting as a tongue in cheek look at the adventures of internet dating. 

Most encouragingly, the Cyrkle endeavors to take We Thought We Could Fly a step further in We Can Find It. Therein, they endeavor to soar musically in a manner not unlike that undertaken by the New Colony Six in their ambitious Ride The Wicked Wind. Happily, they hit their stride in that respect, as evidenced in the optimistic Singing For Tomorrow. 

The band underscores the enduring strength of their mission statement with a profession of solidarty cover of Harpers Bizarre's The 59th Street Bridge Song, alongside well thought out remakes of Turn Down Day and their 1966 Columbia-era signature single, Red Rubber Ball (which was composed by like minded colleagues Bruce Woodley of the Seekers, in tandem with Tom And Jerry and Tico And The Triumphs alumnus, Paul Simon).

More than a half century after the fact, the notion that a veteran band can still produce at optimum level is nothing short of answered prayer. And with Revival, the one time Rhondells have most assuredly come full Cyrkle in that respect. To paraphrase a standout cut from their 1966 Neon album, the weight of their words has served them well.

MISS YOU BLUE -

Devon Marie

(Devon Marie Music)

I'm Gonna Be Strong.

Those words, which comprise the title of a 1964 Musicor label 45 by Gene Pitney, are most assuredly indicative of the late composer and vocalist's status as one of the absolute masters of high drama. But they only tell half of the story. 

With his trademark bombast tempered by heightened sensitivity borne of the circumstances at hand, Pitney therein professes his determination to stand resolute. However, as the proceedings crescendo to a compelling climax, his defenses begin to crumble, as he succumbs to the inevitable, crushing defeat. I'm Gonna Be Strong arguably remains among the finest moments of the high drama approach overall.

To be certain, there were others who tried their hand at the heightened dramatic approach prior to Pitney. Johnnie Ray's Cry for the OKeh label is one enduring example, as was Joan Weber's Let Me Go Lover for Columbia. 

In the ensuing years, a wide variety of artists found such a setting to be a logical extension of their respective mission statements, from New Traditionalist greats Lorrie Morgan and Holly Dunn to the much loved Laura Branigan. 

The latest to apply her considerable acumen to that most demanding of pursuits is the vocal tour de force, Devon Marie. With a curriculum vitae that is highlighted by such triumphs as fronting the acclaimed Rubix Kube and providing backing vocals for Debbie Gibson, the New Jersey native now takes a decisive leap forward in the high drama department with her solo single, Miss You Blue.

Composed, produced, engineered and mixed by Steve Brown (whose credits include various projects with Def Leppard and KISS co-founder Ace Frehley, among others), Miss You Blue takes Gene Pitney's saga a step further by chronicling the recovery process in all of its challenges. Therein, Devon Marie echoes the determination of the aforementioned Branigan, Morgan and Dunn (and perhaps even Martina McBride) in bringing Frank Sinatra's trademark determination to pick one's self up and get back in the race to the next level.

"That is definitely a broad range", she said.

"I've been hearing many interpretations of this song. Most are going this route. I think the high drama approach would deliver nicely". 

And if Miss You Blue is any indication, it is an approach that will serve both artist and audience sublimely in the long run.

"I love everyone's individual thoughts on the song", Devon Marie added.

"That is why I love the art so much!"

Miss You Blue is presently available on Spotify, Apple Music and Itunes. The video (shot in part in New Jersey's Asbury Park) drops on the thirtieth of August.

KINGDOM -

Amanda Fish

(Vizztone)

No news is good news.

That was the perspective that inspired the Jive Aces in 2011 while filming the video for their magnificent cover of the Mills Brothers' Bring Me Sunshine. Therein, the band (with a bit of good natured assistance from Jim Meskimen and Elsa Fisher as broadcast news presenters) endeavored to counter the despondency that engulfed them with a bit of their trademark relentless optimism.

Conversely, in Mockingbird (the opening track of this, her third album), composer and vocalist Amanda Fish celebrates that same news as a badge of honor or sorts. Rather than opting for a positive spin, Mockingbird takes the despondency a step further by citing familiar examples from present day society. Ironincally, it is a perspective that may well have been difficult for the Jive Aces to bring to fruition a mere thirteen years earlier. 

Throughout the majority of the ten originals herein, Fish underscores the point in an almost encouraging manner. Encouraging that instead of falling into lockstep with the pedestrian twelve bar blues approach common to the work of a number of her colleagues, Fish instead opts for a slight undercurrent of the minor key dirge approach that characterized much of Black Sabbath's early work. 

Indeed, Fish's relative lack of sugar coating does much to get her various points across. They include music industry politics (Sell The Record), the deterioration of society (The World We Leave Behind) and the futility of chasing the dream (the Black Sabbath-like Work).

But where Fish differs decisively from the Jive Aces is that she takes the solution to the next level. While the Jive Aces opted for the quick fix of personal gratification, Fish herein makes it abundantly clear that the only viable long term option is to lay it all down before the Lord and trust in Him. That she does so without minimizing the impact of dealing with the challenges at hand does much to make The Great Reset, The Hard Way and the title track resonate all the more. 

"I'm prayin' for revival, life's more than survival", she sings.

"Wake up and fight before you lose everything".

And as the late Sam Cooke once astutely observed, Ain't That Good News.

ONE GUITAR WOMAN -

Sue Foley

(Stony Plain)

When a charismatic veteran artist releases more than one new album within the span of a year, such is a rare and most welcome blessing.

In the case of composer, vocalist, virtuoso guitarist, and Ottawa, Ontario native Sue Foley, the first such offering came in the closing weeks of 2023 with the Guitar Woman label's magnificent Live In Austin, Volume One album. Therein, Foley's remarkable ability to transcend the seemingly tight parameters of the genre without comprising its basic attributes served  in part to sustain her front runner status within the idiom. 

With this latest release, Foley (who has long been based in central Texas) has once again raised the bar exponentially. She has done so this time around not so much by confounding expectations, but by encouraging the faithful to consistently strive to hold themselves to a higher standard.

One Guitar Woman is Foley's inspired and inspiring salute to some of the most gifted and original pioneers of the movement. The album opens with the magnificent Oh Babe It Ain't No Lie. Composed by beloved guitarist (and pioneer of the aptly named "Cotten Picking" style of finger picking), vocalist and Chapel Hill. North Carolina native Elizabeth Cotten (who recorded it for Folkways in 1958), Oh Babe It Ain't No Lie was Cotten's somewhat tongue in cheek account of being falsely accused of a minor indiscretion by a neighbor during her childhood. 

In Foley's hands, Cotten's signature track becomes a compelling showcase for the intricacies of the technique itself. Cotten is further represented most capably in this collection via her often covered Freight Train; most notably by the Chas McDevitt Skiffle Group Featuring Nancy Whiskey for the Chic label in 1957. 

Foley dives further into the realm of primary personal inspiration here with a pair of compositions by Mississippi native Lizzie "Memphis Minnie" Douglas. The 1941 In My Girlish Days for OKeh is a reflection of the so-called "Dustbowl" methodology championed at the time by such greats as the Almanac Singers, as well as Douglas' OKeh label mates, the Prairie Ramblers (whose utterly stupendous Rollin' Along was arguably one of that year's top singles). In turn, 1940's Nothing In Rambling further underscores Douglas' ongoing impact on Foley's mission statement; affording her as it does the option of bringing the story line center stage alongside the piece's intricate arrangement.  

The Dustbowl approach is further commemorated here with a nod to fellow virtuoso Maybelle Carter. The Carter Family's 1943 Bluebird label 78, Lonesome Homesick Blues,captures the inspiration succinctly in the first half of the proeedings, as does Foley's original Maybelle's Guitar in the second.

Perhaps no other artist tribute in this album was as eagerly anticipated by the Foley faithful than was her salute to Gospel and rock and roll giant, Sister Rosetta Tharpe. Recently the subject of a highly acclaimed collection of heretofore unreleased live recordings made in France in 1966, Tharpe's rare plaintive take on the Gospel is showcased most inspiringly by Foley with My Journey To The Sky.

In keeping with her determination to push the boundaries of her genre of choice beyond its limits, Foley takes the proceedings to the next level with salutes to several greats who made their mark in other musical disciplines. They include classical guitarist Ida Presti (Romance In A Minor), country blues visionaries Elvie Thomas and Geeshie Wiley (Motherless Child Blues and Last Kind Word Blues) and virtuoso Flamenco guitarist, Maria "Charo" Martinez (Malaguena, which had also been recorded by Ritchie Valens in 1958 for his Live At Pacoima Junior High album for Bob Keane's Del-Fi label). 

In the process, Foley triumphed decisively in every aspect.

"It was recorded so well by (engineer) Chris Bell and Mike Flanigin, who produced it", she said.

"They did an amazing job. I can't say how grateful I am for everybody who's diggin' it", she said.

Or, in the words of one of her more memorable early tracks, One Guitar Woman is an album that is certain to Open Up Your Eyes. Easily one of the best new releases of the year to date. 

RESURRECTION -

Brian Gari

(Original Cast)

Freddy Cannon was a relentless perfectionist.

To that effect, the beloved pioneering rocker often insisted upon precision in terms of delivery from the various pick up bands that he worked with in live performances. Cannon was known to literally stop the band in mid-set to correct and/or improve upon certain passages in his generally exuberant material that were not being executed to his satisfaction. 

But off stage, Cannon's intense perfectionism was countered by a relatively more genial approach. That attribute served to make him a most welcome presence in various social gatherings and industry functions. 

Conversely, composer and vocalist Brian Gari has in recent years presented a wealth of original material with each successive release that by its nature suggests a more genial and wistful approach to the recording process. Yet that seemingly elusive attribute likewise came about with a painstaking attention to detail that would have met with Freddy Cannon's satisfaction. This latest  offering is no exception. 

As was the case with Gari's most recent releases (such as his acclaimed Expose Yourself album), Resurrection is comprised primarily of original material that finds its niche in an idyllic, Camelot-like setting. The overall mood is not so much one of escapism as it is the firm resolve of its creator to create and flourish in that capacity.

To wit, Gari herein takes the variety is the spice of life perspective. From the Jerry Lee Lewis-inspired You're Too Much To Take to the cavalier atmosphere of latter day Doobie Brothers found in I Can't Figure Out (What You're Doin' With Me), Gari glides between genres with ease. 

In turn, unrequited love (a recurring theme in Gari's work) is once again on display in matter of fact fashion ("Maybe I'm out of my league") in Way Off Base. Likewise, the plaintive Remains To Be Seen showcases the realization of resignation to the inevitable from the perspective of one who has taken the unrequited road for too long.

Not that Resurrection is bereft of a light at the end of the tunnel perspective, if not full blown relentless optimism. To that effect, the Vaudeville through the eyes of Harpers Bizarre novelty, We Just Gotta Stop Sometime serves that purpose as well as providing a nod of sorts to Gari's legendary grandfather, the late Eddie Cantor. The Perfect Other Half Of Me takes it a step further, with universal nods to the waitressing profession and composer/vocalist Cyndi Lauper. Gari's wife Jeanne brings the proceedings full circle as a duet with her husband in the wide eyed optimism of You Can Dance.

To be certain, Resurrection would make an ideal showpiece for the annual Record Store Day holiday, although Gari said that no such plans are in the works.

"Not that I know of", he said. 

Nonetheless, as was the case with his previous releases, Resurrection makes for an ideal addition to the discerning musicologist's archives. In the words of one of the standout tracks on Gari's aforementioned Expose Yourself album, Resurrection is a magnificent effort that will inspire one and all to Think Again.

NO WAR / NO WAR (ALTERNATE MIX) -

Wally Palmar And Jack de Keyzer (Spider)

Record hunting has been known to provide long term dividends.

At the record collectors conventions hosted by the late Stu Shapiro in suburban Detroit during the mid to late 1970s, two of the regular clientele were the aspiring musicans Mike Skill and Wally Palmar. While each had their own individual preferences, both professed an interest in procuring records by the Dave Clark Five. 

In due course, Skill and Palmar (along with Jimmy Marinos and Rich Cole) formed the Romantics, whose straight ahead original material for the Spider, Bomp and Nemperor labels drew in part from the inspiration of the Dave Clark Five in more ways than one. Most notably, the Romantics (however unintentionally) followed the Dave Clark Five's lead in keeping their uptempo material dressed in timeless lyrics that addressed the basics of the everyday human experience. 

In the rare instances when the Dave Clark Five leaned towards more topical material, it was done either with tongue-in-cheek (their playful swipe at the hippie movement and a certain Liverpool quartet, as found in their Live In The Sky single) or with an outspoken call to arms perspective (their 1971 definitive rendiition of Neil Young's Southern Man).

For the Romantics, it wasn't so much an aversion to the topical approach as it was being certain to align with the right cause. For front man Wally Palmar, that cause was (and is) the ongoing war in Ukraine. 

Joining forces herein with Palmar is the Toronto, Ontario-based composer, guitarist and vocalist, Jack de Keyzer, whose acclaimed releases for Blue Star have been celebrated in Blitz Magazine - The Rock And Roll Magazine For Thinking People over the years. Their resultant No War single and video have made for a most impassioned commentary on that ongoing tragedy. 

On the plus side, the 45 is a homecoming of sorts for Palmar. With its release, long time Romantics manager Arnie Tencer has reactivated the Spider label, whose initial release was the band's 1977 Little White Lies / I Can't Tell You Anything single, which was issued in two different versions. 

In turn, the single's picture sleeve was designed by original Blitz Magazine Art Director, Dennis Loren, whose work has graced counless album covers and posters throughout the past five decades. No War is also available in traditional black vinyl, as well as in limited edition yellow vinyl and blue vinyl, reflecting the colors of the Ukrainian flag.

"Wally and I are planning on a lot more releases", said Tencer.

"We are transfering a lot of old tapes to digital. I have early Romatics. I even have pre-Romantics, going back to 1974".

Indeed, if the sentiments expressed within No War bear fruit, the release of that archival material will most assuredly be cause for celebration.

THE TORTURED POETS DEPARTMENT -

Taylor Swift (Republic)

"I love you, it's ruining my life".

That lyrical excerpt, taken from the opening track, Fortnight and reproduced on the back cover of this album, provides a pertinent clue as to why composer, vocalist and West Reading, Pennsylvania native Taylor Alison Swift has enjoyed massive and sustained acclaim for nearly two decades.

Few experiences resonate with such cut to the heart universal appeal as does the subject of unrequited love. The legendary Hank Williams was among the first to build a musical legacy with that attribute as a recurring focal point, as evidenced in such enduring masterpieces as Moanin' The Blues, Cold Cold Heart, Why Don't You Love Me and Lowdown Blues.

In the present day setting, Swift articulates that resultant despair with savvy and discernment to the degree that it resonates with her faithful in like manner. Given the persistent proclamations from various media sources that despondency and hopelessness persist at record levels in society at large, Swift has found herself in a de facto authoritative position in that respect. 

The prevailing mood throughout this two LP / single CD set is not so much a series of related verse, chorus and bridge essays as it is one of ongoing conversation. To wit, in the title track, Swift looks for common ground with her antagonist, citing solidarity with such proven wordsmiths as Dylan Thomas and Patti Smith. Curiously therein, she alludes to an amenable response in terms of symbols such as wedding rings. Curious in that in Lavender Haze from her Midnights album blanketly dismissed such periphery as "that 1950s s---". Ultimately, the fact that she reaches across the cultural divide with success suggests a welcome work in progress in that respect. 

As the saga progresses, touchstones run the gamut of the human experience, from the "my plastic smile" of My Boy Only Breaks His Favorite Toys and the futile escapism of Florida!!! to the "Am I allowed to cry?" of Guilty As Sin and "I want to snarl and show you how disturbed this has made me" of the somewhat disarming Who's Afraid Of Little Old Me? 

To her considerable credit, the frequent use of the so-called four letter word that found its way into most of the material on Midnights has given way herein to a primarily cerebral approach. Not that The Tortured Poets Department is bereft of that characteristic; it simply avails itself primarily in Down Bad, with an occasional appearance throughout the remainder of the proceedings. The fact remains that a sizeable percentage of the Swift faithful can only draw from personal experience borne of a variation in societal basics, which suggests that such metholdology is no longer a subject of elevated concern as it was at the time when the likes of the Kingsmen, the Fugs and the MC5 each introduced it into their own work. 

Not surprisingly, first day sales of The Tortured Poets Department were brisk upon its 19 April release. A random sampling that afternoon of several Target Department Store locations (which has long maintained a successful business and marketing partnership with Swift) found inventory in both the CD and vinyl configurations either low or significantly depleted. As was the case with Midnights, cover variations and varying vinyl colors fueled the interest of Swifties, musicologists and collectors alike.

To be certain, The Tortured Poets Department showcases a veteran artist who is nonetheless unabashedly a work in progress, in terms of both her art and her ability to navigate and articulate the human experience. If indeed, as Swift herein suggests, I Can Do It With A Broken Heart, then by extension, so can one and all.