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https://thedailyripple.org/index.php/art-music/reviews-lee-zimmerman 2025-01-28T04:15:28+00:00 The Daily Ripple Joomla! - Open Source Content Management 2023-04-21T13:50:35+00:00 2023-04-21T13:50:35+00:00 https://thedailyripple.org/index.php/art-music/cat-blog-reviews-lee-zimmerman/79-music-review-car-crash-life-by-shoebox-letters-lz Terry Ryan

13 March 2023   Having made slow but steady progress towards gaining wider recognition, the Portland Oregon-based band known as Shoebox Letters has arrived at a place where appreciation is definitely due. The band — guitarist, keyboard player, vocalist, songwriter, and erstwhile front man Dennis Winslow, singer Stephanie Cox, guitarist, steel guitar player, keyboardist, and backing vocalist  Greg Paul, and bassist Dave Stricker, augmented here by drummer and utility player Brian David Willis — have always proven themselves to be an able ensemble, and given the right break, they clearly have what it takes to find a prominent place within the Americana elite. Every album thus far has proven that point, and indeed, their latest, Car Crash Life, is no exception. Happily, the band makes no concession to any sort of commercial consideration. Rather, the songs find them adhering to their rustic roots, whether it’s through the hard bitten ballad, “Under the Same Roof,” rousing, robust roots rockers like “Under the Same Roof,” the straight-ahead stride taken with “If I Can’t Have You,” or the folksy, candid and confessional approach of “Drinking Till I Can’t Walk Straight.” These are songs designed to muster down home appeal, the kind of sound that would work equally well in a neighborhood bar, some rowdy roadhouse environs or under the auspices of a featured showcase. In that sense, Shoebox Letters are the kind of band capable of garnering true populist appeal, sans any posturing or pretense. In that regard, “Another Kiss,” “Something I Don’t Know” and “Takeoff” come across with an unblemished attitude that’s rife with honest emotion, a clear reflection of the Everyman approach that’s tempered Shoebox Letters’ every effort. Those are, in fact, the band’s best assets, a sound that’s nurtured with both flourish and finesse. In the title track, they sing of a “Car Crash Life,” but one gets the impression their efforts are no accident. Shoebox Letters are nothing if not deliberate and decisive.       Lee Zimmerman To Read All of Lee's Reviews, Click Here            

13 March 2023   Having made slow but steady progress towards gaining wider recognition, the Portland Oregon-based band known as Shoebox Letters has arrived at a place where appreciation is definitely due. The band — guitarist, keyboard player, vocalist, songwriter, and erstwhile front man Dennis Winslow, singer Stephanie Cox, guitarist, steel guitar player, keyboardist, and backing vocalist  Greg Paul, and bassist Dave Stricker, augmented here by drummer and utility player Brian David Willis — have always proven themselves to be an able ensemble, and given the right break, they clearly have what it takes to find a prominent place within the Americana elite. Every album thus far has proven that point, and indeed, their latest, Car Crash Life, is no exception. Happily, the band makes no concession to any sort of commercial consideration. Rather, the songs find them adhering to their rustic roots, whether it’s through the hard bitten ballad, “Under the Same Roof,” rousing, robust roots rockers like “Under the Same Roof,” the straight-ahead stride taken with “If I Can’t Have You,” or the folksy, candid and confessional approach of “Drinking Till I Can’t Walk Straight.” These are songs designed to muster down home appeal, the kind of sound that would work equally well in a neighborhood bar, some rowdy roadhouse environs or under the auspices of a featured showcase. In that sense, Shoebox Letters are the kind of band capable of garnering true populist appeal, sans any posturing or pretense. In that regard, “Another Kiss,” “Something I Don’t Know” and “Takeoff” come across with an unblemished attitude that’s rife with honest emotion, a clear reflection of the Everyman approach that’s tempered Shoebox Letters’ every effort. Those are, in fact, the band’s best assets, a sound that’s nurtured with both flourish and finesse. In the title track, they sing of a “Car Crash Life,” but one gets the impression their efforts are no accident. Shoebox Letters are nothing if not deliberate and decisive.       Lee Zimmerman To Read All of Lee's Reviews, Click Here             2023-08-18T13:52:21+00:00 2023-08-18T13:52:21+00:00 https://thedailyripple.org/index.php/art-music/cat-blog-reviews-lee-zimmerman/80-music-review-stanger-in-my-town-by-nick-justice-lz Terry Ryan

18 August 2023   Nick Justice is one of those artists whose name may not be widely known but whose music seems like its been in the ether forever. Best typecast as Americana, he doesn’t opt for a carbon copy sound. Instead, he puts the emphasis on affecting melodies and simple, unassuming songs that still manage to create a formidable impression if based only on instinct and emotion. Then again, Justice has been around long enough to know what constitutes an affecting approach. Born in the Bronx, he moved to Southern California where he had a hand in fronting several early bands. He rubbed shoulders with various influential icons — the Blasters, X, the Go Gos, The Plimsouls, the Bangles and any number of other artists who were part of L.A’s burgeoning post-punk scene throughout the ‘70s and ‘80s. He relocated to Seattle in the 90’s, making his name as a traveling troubadour who was equally at home playing coffee houses, house concerts, juke joints, and any other locale that offered an opportunity to show off his skills. Nevertheless, he failed to get the big break he hoped for and returned to L.A., quit the music biz but kept on writing. He made his return to active involvement in 2015 courtesy of an EP titled The Cry of the Street Prophet. That put him back on the road to making records, and, in the process, scoring critical kudos for recent releases The Road Not Taken and Rope the Wind, both of which also scored significant gains on the folk music charts. Justice’s latest effort, Stranger in My Town, consolidates those gains while keeping to a generally mellow mood and an easy, affable approach. The quietly contemplative feel of the title track finds an ideal fit with Greg Leisz’s shimmering steel guitar on “Let the Wind Blow” and the tender touch of reflection and remorse found in “The Night My Heart Caught Fire.” The music maintains its gentle caress throughout, with songs such as “Don’t You Know,” “America Walking By” and “Hard Times” combining low-lit  arrangements with a generally solitary sound.   Producer Joel Rafael, a well-tempered troubadour himself, keeps the instrumentation generally simple and supple, with the jaunty “Thanks for the Smiles,” the winsome and whimsical “Dream #9” and the gospel groove of “Save Somebody” accounting for the slightest uptick in energy. Overall, Stranger In My Town is the kind of album that shares its charms in subtle ways. And yet despite it’s low-key illumination, it’s undeniably affecting and appealing. With a little luck this particular stranger will find the appreciation and affection he so decidedly deserves.   Lee Zimmerman To Read All of Lee's Reviews, Click Here    

18 August 2023   Nick Justice is one of those artists whose name may not be widely known but whose music seems like its been in the ether forever. Best typecast as Americana, he doesn’t opt for a carbon copy sound. Instead, he puts the emphasis on affecting melodies and simple, unassuming songs that still manage to create a formidable impression if based only on instinct and emotion. Then again, Justice has been around long enough to know what constitutes an affecting approach. Born in the Bronx, he moved to Southern California where he had a hand in fronting several early bands. He rubbed shoulders with various influential icons — the Blasters, X, the Go Gos, The Plimsouls, the Bangles and any number of other artists who were part of L.A’s burgeoning post-punk scene throughout the ‘70s and ‘80s. He relocated to Seattle in the 90’s, making his name as a traveling troubadour who was equally at home playing coffee houses, house concerts, juke joints, and any other locale that offered an opportunity to show off his skills. Nevertheless, he failed to get the big break he hoped for and returned to L.A., quit the music biz but kept on writing. He made his return to active involvement in 2015 courtesy of an EP titled The Cry of the Street Prophet. That put him back on the road to making records, and, in the process, scoring critical kudos for recent releases The Road Not Taken and Rope the Wind, both of which also scored significant gains on the folk music charts. Justice’s latest effort, Stranger in My Town, consolidates those gains while keeping to a generally mellow mood and an easy, affable approach. The quietly contemplative feel of the title track finds an ideal fit with Greg Leisz’s shimmering steel guitar on “Let the Wind Blow” and the tender touch of reflection and remorse found in “The Night My Heart Caught Fire.” The music maintains its gentle caress throughout, with songs such as “Don’t You Know,” “America Walking By” and “Hard Times” combining low-lit  arrangements with a generally solitary sound.   Producer Joel Rafael, a well-tempered troubadour himself, keeps the instrumentation generally simple and supple, with the jaunty “Thanks for the Smiles,” the winsome and whimsical “Dream #9” and the gospel groove of “Save Somebody” accounting for the slightest uptick in energy. Overall, Stranger In My Town is the kind of album that shares its charms in subtle ways. And yet despite it’s low-key illumination, it’s undeniably affecting and appealing. With a little luck this particular stranger will find the appreciation and affection he so decidedly deserves.   Lee Zimmerman To Read All of Lee's Reviews, Click Here     2023-09-13T20:36:30+00:00 2023-09-13T20:36:30+00:00 https://thedailyripple.org/index.php/art-music/cat-blog-reviews-lee-zimmerman/115-music-review-rhododendron-highway-by-brook-dixon-lz Terry Ryan

28 August 2023   Brook Dixon’s debut solo album, Rhododendron Highway, is the culmination of a burgeoning ten year career that found him first taking the stage while a student at Clemson University in 2012 and subsequently releasing his debut EP, Stone Pile in 2014.  Since that time, he’s kept at it consistently, putting out a second EP titled Weather the Storm in 2016, forming a band by name of Brooks Dixon; The Noble Sound, and eventually finding his way to the stages of various clubs, venues and festivals throughout the Southeast, winning his fair share of critical kudos along the way. Another EP, White Roses, followed in early 2018, garnering further notice at the same time. Meanwhile, the band released its first full-length LP, Pocketful of Dreams, in late 2019. Now, seemingly intent and content to pursue possibilities all on his own, the new album finds Dixon returning to the softer style he pursued early on. Songs such as “Charleston,” “Stranger’s Bed”, “Married in the Mountains,” and “Would You Say Yes” are flush with tender and touching sentiments, while other entries — “Stranger’s Bed” and “After All” being but two examples — take a thoughtful approach that’s both reflective and relaxed. Dixon’s supple style has been compared to those of James Taylor and Amos Lee, but that’s not to detract from his own carefully crafted designs. When he infuses a bluesy tint on a song such as “Hey Hey,” it adds an upbeat element to the proceedings, while still keep the sound supple enough to maintain its easy, affable glow. Dixon’s expressive vocals offer more than a hint of charm, as well as a certain poignancy based on a decidedly personal perspective. The fact that Dixon is responsible for writing each of these entries confirms his confidence and credence, and indeed, on certain songs — “Good Conversation,” “Rolling Stone” and “Not In This Alone” — he conveys an affirmative attitude and a soothing sensibility that can’t help but make the listener feel comforted and assured. That, after all, is what any especially skilled singer and songwriter ought to do. It’s only natural then that with Rhododendron Highway, Dixon leads his listeners down a pathway that’s both peaceful and pastoral.       Lee Zimmerman To Read All of Lee's Reviews, Click Here  

28 August 2023   Brook Dixon’s debut solo album, Rhododendron Highway, is the culmination of a burgeoning ten year career that found him first taking the stage while a student at Clemson University in 2012 and subsequently releasing his debut EP, Stone Pile in 2014.  Since that time, he’s kept at it consistently, putting out a second EP titled Weather the Storm in 2016, forming a band by name of Brooks Dixon; The Noble Sound, and eventually finding his way to the stages of various clubs, venues and festivals throughout the Southeast, winning his fair share of critical kudos along the way. Another EP, White Roses, followed in early 2018, garnering further notice at the same time. Meanwhile, the band released its first full-length LP, Pocketful of Dreams, in late 2019. Now, seemingly intent and content to pursue possibilities all on his own, the new album finds Dixon returning to the softer style he pursued early on. Songs such as “Charleston,” “Stranger’s Bed”, “Married in the Mountains,” and “Would You Say Yes” are flush with tender and touching sentiments, while other entries — “Stranger’s Bed” and “After All” being but two examples — take a thoughtful approach that’s both reflective and relaxed. Dixon’s supple style has been compared to those of James Taylor and Amos Lee, but that’s not to detract from his own carefully crafted designs. When he infuses a bluesy tint on a song such as “Hey Hey,” it adds an upbeat element to the proceedings, while still keep the sound supple enough to maintain its easy, affable glow. Dixon’s expressive vocals offer more than a hint of charm, as well as a certain poignancy based on a decidedly personal perspective. The fact that Dixon is responsible for writing each of these entries confirms his confidence and credence, and indeed, on certain songs — “Good Conversation,” “Rolling Stone” and “Not In This Alone” — he conveys an affirmative attitude and a soothing sensibility that can’t help but make the listener feel comforted and assured. That, after all, is what any especially skilled singer and songwriter ought to do. It’s only natural then that with Rhododendron Highway, Dixon leads his listeners down a pathway that’s both peaceful and pastoral.       Lee Zimmerman To Read All of Lee's Reviews, Click Here   2023-09-15T18:11:07+00:00 2023-09-15T18:11:07+00:00 https://thedailyripple.org/index.php/art-music/cat-blog-reviews-lee-zimmerman/120-music-review-i-just-cant-call-it-quits-by-patterson-barrett-lz Terry Ryan

May 5 2023   One would be hard-pressed to find a more affable or good-natured artist and entertainer than Patterson Barrett. Always a reliable support player — his credits include work with Jerry Jeff Walker, Buddy and Julie Miller, Chuck Berry, Nancy Griffith, Deborah Holland — he can also claim a captivating string of albums recorded under his aegis. It’s little wonder he titled his new album "I Just Can’t Call It Quits". There’s simply no need to consider retirement at this juncture. Yet, if he has any doubts about that decision, he certainly doesn’t show it. His jaunty rhythms, folksy vocals and good-natured attitude reflect the fact that he genuinely enjoys what he does. A quirky take on the Sam and Dave standard “Soul Man” attests to that disposition, but so does practically every song in the set, whether it’s the easy, breezy sway of “Where Do We Go” and “Another Beautiful Day,” the calming caress of the upbeat and optimistic “Dream Geography” or the sweep of pedal steel and mandolin bolstering “Who’s Left to Keep the World Turning.”   Barrett garners any number of indelible influences — the latter day Byrds, the Burrito Brothers, Doug Sahm, and Poco among them — but it’s his reassuring embrace that binds it all so emphatically. He comes across like a companion and confidant who makes you feel instantly at ease, without the need to put up any artificial posture or pretense. Even when he expresses a sense of yearning and desperation on a song such as “Longing For Sun,” he never abandons that sincere sense of dreamy desire. The down home designs of “I’m Pretending,” a tune credited to Buddy and Julie Miller and featuring harmonies from Buddy Miller as well, attest to his sweeter sentiments     Lee Zimmerman To Read All of Lee's Reviews, Click Here    

May 5 2023   One would be hard-pressed to find a more affable or good-natured artist and entertainer than Patterson Barrett. Always a reliable support player — his credits include work with Jerry Jeff Walker, Buddy and Julie Miller, Chuck Berry, Nancy Griffith, Deborah Holland — he can also claim a captivating string of albums recorded under his aegis. It’s little wonder he titled his new album "I Just Can’t Call It Quits". There’s simply no need to consider retirement at this juncture. Yet, if he has any doubts about that decision, he certainly doesn’t show it. His jaunty rhythms, folksy vocals and good-natured attitude reflect the fact that he genuinely enjoys what he does. A quirky take on the Sam and Dave standard “Soul Man” attests to that disposition, but so does practically every song in the set, whether it’s the easy, breezy sway of “Where Do We Go” and “Another Beautiful Day,” the calming caress of the upbeat and optimistic “Dream Geography” or the sweep of pedal steel and mandolin bolstering “Who’s Left to Keep the World Turning.”   Barrett garners any number of indelible influences — the latter day Byrds, the Burrito Brothers, Doug Sahm, and Poco among them — but it’s his reassuring embrace that binds it all so emphatically. He comes across like a companion and confidant who makes you feel instantly at ease, without the need to put up any artificial posture or pretense. Even when he expresses a sense of yearning and desperation on a song such as “Longing For Sun,” he never abandons that sincere sense of dreamy desire. The down home designs of “I’m Pretending,” a tune credited to Buddy and Julie Miller and featuring harmonies from Buddy Miller as well, attest to his sweeter sentiments     Lee Zimmerman To Read All of Lee's Reviews, Click Here     2024-01-26T18:11:07+00:00 2024-01-26T18:11:07+00:00 https://thedailyripple.org/index.php/art-music/cat-blog-reviews-lee-zimmerman/123-music-review-sparrow-by-jeff-talmadge Terry Ryan

January 26 2024   A seasoned singer/songwriter with seven previous albums to his credit, Jeff Talmadge has more or less remained below the radar as far as a reaching that wider audience he so decidedly deserves. That status is certainly undeserved, especially given the fact that his songs express a poignancy and passion that only the most skilled artists are ever capable of conveying. That ability is especially evident on Talmadge’s highly anticipated new album, Sparrow, his first offering in more than a decade. Being a multi-talented artist and individual —  he also had a career as a civil trial attorney and was honored with the Academy of American Poets Award from Duke University — he creates a series of vivid soundscapes that are as affecting as they are evocative. There are any number of examples, from the ominous overtones of the opening track, “Hurricane” and the dark, dramatic and haunting narrative illuminating “Night Train From Milan,” to the touching and tender tones of “If I Was a Sparrow,” the emotive and evocative “Maybe Next Year” and the sweetly sentimental “Katie’s Got a Locket.” Talmadge has a way of taking any number of simple scenarios and turning each into cause for reminiscing and reflection. He’s even able to do so as a kind of wordless wonder, as with the closing track, “Top of the Hour,” an instrumental cowritten with Austin singer/songwriter Bradley Kopp.  Nevertheless, it’s the scenes and scenarios interspersed throughout that testify to Talmadge’s skill and savvy. The jaunty “Little Speck of Dust” becomes a philosophical treatise that elevates life itself into a higher perspective. In a similar sense, “The Sound of Falling Snow” uses idyllic imagery and a pastoral impression as metaphors for embracing a comfort and caress.  “Remember everything you saw, the things you heard that you recall, like the little towns and the sound of falling snow.” It takes a poet to truly capture the assurance and serenity embossed within each of these effortlessly engaging melodies. It’s hardly surprising then that this particular Sparrow literally seems to soar.  (jefftalmadge.com)   Lee Zimmerman- is a freelance music writer whose articles have appeared in several leading music industry publications. A former promotions representative for ABC and Capitol Records and director of communications for various CBS-affiliated television stations, he lives in Maryville, Tennessee. To Read All of Lee's Reviews, Click Here    

January 26 2024   A seasoned singer/songwriter with seven previous albums to his credit, Jeff Talmadge has more or less remained below the radar as far as a reaching that wider audience he so decidedly deserves. That status is certainly undeserved, especially given the fact that his songs express a poignancy and passion that only the most skilled artists are ever capable of conveying. That ability is especially evident on Talmadge’s highly anticipated new album, Sparrow, his first offering in more than a decade. Being a multi-talented artist and individual —  he also had a career as a civil trial attorney and was honored with the Academy of American Poets Award from Duke University — he creates a series of vivid soundscapes that are as affecting as they are evocative. There are any number of examples, from the ominous overtones of the opening track, “Hurricane” and the dark, dramatic and haunting narrative illuminating “Night Train From Milan,” to the touching and tender tones of “If I Was a Sparrow,” the emotive and evocative “Maybe Next Year” and the sweetly sentimental “Katie’s Got a Locket.” Talmadge has a way of taking any number of simple scenarios and turning each into cause for reminiscing and reflection. He’s even able to do so as a kind of wordless wonder, as with the closing track, “Top of the Hour,” an instrumental cowritten with Austin singer/songwriter Bradley Kopp.  Nevertheless, it’s the scenes and scenarios interspersed throughout that testify to Talmadge’s skill and savvy. The jaunty “Little Speck of Dust” becomes a philosophical treatise that elevates life itself into a higher perspective. In a similar sense, “The Sound of Falling Snow” uses idyllic imagery and a pastoral impression as metaphors for embracing a comfort and caress.  “Remember everything you saw, the things you heard that you recall, like the little towns and the sound of falling snow.” It takes a poet to truly capture the assurance and serenity embossed within each of these effortlessly engaging melodies. It’s hardly surprising then that this particular Sparrow literally seems to soar.  (jefftalmadge.com)   Lee Zimmerman- is a freelance music writer whose articles have appeared in several leading music industry publications. A former promotions representative for ABC and Capitol Records and director of communications for various CBS-affiliated television stations, he lives in Maryville, Tennessee. To Read All of Lee's Reviews, Click Here     2024-03-05T01:11:07+00:00 2024-03-05T01:11:07+00:00 https://thedailyripple.org/index.php/art-music/cat-blog-reviews-lee-zimmerman/131-music-review-swim-a-while-by-thornton-creek-lz Terry Ryan

March 5 2024   ThorNton Creek is the nom de plume of Thornton Bowman, an unassuming singer/songwriter who hails from Abingdon Virginia but currently resides in Seattle. That said, he still retains a distinct southern sensibility spawned from his original rural environs. His new album, Swim a While, reflects that easy-going attitude, doing so with an affable and engaging sound that ensures instant appeal. Certain songs — the hum-worthy “Most Days,” the bluesy and seemingly carefree “Cold Train,” the casual and contented “Baby in the House,” a would-be singalong “Rain Rain,” and the jaunty “Self Storage Locker” in particular — are obvious candidates for future crowd favorites courtesy of their decidedly upbeat attitude. So too, the tongue-in-cheek repartee of the instrumental with the otherwise unlikely title, “List Of Infectious Sheep and Goat Diseases” finds its strength courtesy of a steady beat and a compelling sound.  Bowman is at his best when he opts for a mellower motif, given the fact he possesses an absolute ability to wring emotion from every one of the album’s beautiful ballads. The opening offering, “Thin Moments,” provides a calming caress, and two tracks later, “Starlight” conveys a pretty, pastoral lilt.  “I've Got a Dream for You” is a decidedly endearing entreaty with a message that’s easily understood and certainly says it all in terms of courting and a come-on. Likewise, “Seasons” is similarly spirited, courtesy of a sound that comes across as both effortless and unaffected.  Bowman himself is an assured singer and front man who sometimes sounds like Stephen Stills in his mellower moments. He’s joined by Don Miller on electric guitar, mandolin and vocals, Steve Miller on bass, Randy Rush, who plays keyboards, banjo and accordion, and Mark Drake on drums and vocals. Their breezy, finely burnished arrangements are an obvious sign they work well in tandem while serving these songs well. In the end, ThorNton Creek creates the kind of serendipitous sound that can easily encourage listeners to simply go with the flow.     Lee Zimmerman- is a freelance music writer whose articles have appeared in several leading music industry publications. A former promotions representative for ABC and Capitol Records and director of communications for various CBS-affiliated television stations, he lives in Maryville, Tennessee. To Read All of Lee's Reviews, Click Here    

March 5 2024   ThorNton Creek is the nom de plume of Thornton Bowman, an unassuming singer/songwriter who hails from Abingdon Virginia but currently resides in Seattle. That said, he still retains a distinct southern sensibility spawned from his original rural environs. His new album, Swim a While, reflects that easy-going attitude, doing so with an affable and engaging sound that ensures instant appeal. Certain songs — the hum-worthy “Most Days,” the bluesy and seemingly carefree “Cold Train,” the casual and contented “Baby in the House,” a would-be singalong “Rain Rain,” and the jaunty “Self Storage Locker” in particular — are obvious candidates for future crowd favorites courtesy of their decidedly upbeat attitude. So too, the tongue-in-cheek repartee of the instrumental with the otherwise unlikely title, “List Of Infectious Sheep and Goat Diseases” finds its strength courtesy of a steady beat and a compelling sound.  Bowman is at his best when he opts for a mellower motif, given the fact he possesses an absolute ability to wring emotion from every one of the album’s beautiful ballads. The opening offering, “Thin Moments,” provides a calming caress, and two tracks later, “Starlight” conveys a pretty, pastoral lilt.  “I've Got a Dream for You” is a decidedly endearing entreaty with a message that’s easily understood and certainly says it all in terms of courting and a come-on. Likewise, “Seasons” is similarly spirited, courtesy of a sound that comes across as both effortless and unaffected.  Bowman himself is an assured singer and front man who sometimes sounds like Stephen Stills in his mellower moments. He’s joined by Don Miller on electric guitar, mandolin and vocals, Steve Miller on bass, Randy Rush, who plays keyboards, banjo and accordion, and Mark Drake on drums and vocals. Their breezy, finely burnished arrangements are an obvious sign they work well in tandem while serving these songs well. In the end, ThorNton Creek creates the kind of serendipitous sound that can easily encourage listeners to simply go with the flow.     Lee Zimmerman- is a freelance music writer whose articles have appeared in several leading music industry publications. A former promotions representative for ABC and Capitol Records and director of communications for various CBS-affiliated television stations, he lives in Maryville, Tennessee. To Read All of Lee's Reviews, Click Here     2024-08-26T18:11:07+00:00 2024-08-26T18:11:07+00:00 https://thedailyripple.org/index.php/art-music/cat-blog-reviews-lee-zimmerman/136-music-review-marfa-lights-marfa-lights Terry Ryan

August 26 2024   Marfa Light, an Americana band that hails from Fort Worth, Texas, takes a fanciful approach to their eponymous debut album. It unfolds as a soundtrack of sorts, one that imagines a Gen X’er on a journey from Colorado to Mexico City by way of Texas in an old Ford Ranchero and a stack of eight track tapes and the inspiration of Jack Kerouac to accompany him. Once he reaches his destination, he’s inspired to pursue the possibilities for his life’s second act and to find a partner with whom he can share the experience. Not surprisingly then, the music is as expressive as the plot implies. The excitement and exuberance are evident at the outset courtesy of such songs as “Ranchero Squire,” “The Wolf (Bossa Nova)” and “Mexico City” in particular (the latter accented by its Mexicali horns). Certain songs are more considered — the rumination given “Nobody Reads the Paper,” the subtle yet seductive “Tulum,” the haunting ballad “Dreams Are Dreams,” and the shimmering “One More Time” — but each stays true to the essence of the experience while ensuring the narrative remains just as demonstrative. So too, all the songs set a scene, expressing both hope and happenstance in equal measure and making the journey at the essence of the album all the more memorable and enticing. In that regard, Marfa Lights shapes up as a decidedly significant initial offering, one that promises plenty, and yet still manages to deliver intently and emphatically. Consider it a tuneful travelogue of sorts, one that sweeps its listener up and considers them companions. In that regard, Marfa Lights shines brightly.     Lee Zimmerman- is a freelance music writer whose articles have appeared in several leading music industry publications. A former promotions representative for ABC and Capitol Records and director of communications for various CBS-affiliated television stations, he lives in Maryville, Tennessee. To Read All of Lee's Reviews, Click Here    

August 26 2024   Marfa Light, an Americana band that hails from Fort Worth, Texas, takes a fanciful approach to their eponymous debut album. It unfolds as a soundtrack of sorts, one that imagines a Gen X’er on a journey from Colorado to Mexico City by way of Texas in an old Ford Ranchero and a stack of eight track tapes and the inspiration of Jack Kerouac to accompany him. Once he reaches his destination, he’s inspired to pursue the possibilities for his life’s second act and to find a partner with whom he can share the experience. Not surprisingly then, the music is as expressive as the plot implies. The excitement and exuberance are evident at the outset courtesy of such songs as “Ranchero Squire,” “The Wolf (Bossa Nova)” and “Mexico City” in particular (the latter accented by its Mexicali horns). Certain songs are more considered — the rumination given “Nobody Reads the Paper,” the subtle yet seductive “Tulum,” the haunting ballad “Dreams Are Dreams,” and the shimmering “One More Time” — but each stays true to the essence of the experience while ensuring the narrative remains just as demonstrative. So too, all the songs set a scene, expressing both hope and happenstance in equal measure and making the journey at the essence of the album all the more memorable and enticing. In that regard, Marfa Lights shapes up as a decidedly significant initial offering, one that promises plenty, and yet still manages to deliver intently and emphatically. Consider it a tuneful travelogue of sorts, one that sweeps its listener up and considers them companions. In that regard, Marfa Lights shines brightly.     Lee Zimmerman- is a freelance music writer whose articles have appeared in several leading music industry publications. A former promotions representative for ABC and Capitol Records and director of communications for various CBS-affiliated television stations, he lives in Maryville, Tennessee. To Read All of Lee's Reviews, Click Here     2024-09-09T18:11:07+00:00 2024-09-09T18:11:07+00:00 https://thedailyripple.org/index.php/art-music/cat-blog-reviews-lee-zimmerman/140-music-review-the-rough-and-the-wild-tornado-sky-lz Terry Ryan

October 9 2024 Granted, when it comes to truth in advertising, an album title often sets the standard. Yet while the handle of the band itself and, for that matter, the name of their current release, may suggestTornado Sky have some turbulent tendencies. In truth they’re more inclined to reflect on thesweet serenity realized by their real life relationship. If judged by these meticulous melodies,anything rough and wild is only the reflection glanced at in the couple’s combined rearviewmirror. The duo — Stephanie Gladhart and Jerry Careaga — met by chance at a gig featuring Careaga’sformer band after Gladhart was encouraged to attend in the company of her roommate. As isoften the case, one thing led to another, and before long the pair bonded and began a relationshipthat was both personal and professional. Moving to Nashville at the suggestion of famedproducer Jim Ed Norman after a series of record labels deals that fell flat, they eventually founda glimmer of success after Careaga’s composition “Don’t Count The Rainy Days” beganclimbing the charts after being recorded by Michael Martin Murphy. After five years in Music City, the couple returned to their original environs in Southern California and, at Carrara’s urging, began writing songs together. The latest result of that collaboration, the aforementioned The Rough and the Wild, is a bountiful collection of graceful melodies, all of which exude the joy and satisfaction of a love affair that’s blossomed beyond measure. The sublime sentiments expressed in songs such as “Beautiful Now,” “Take Off Your Boots,” “So High,” “Drown In Your Love,” “Heartbroken,” and “Unconditionally” are unabashedly euphoric in tone and temperament. With the pair sharing leadvocals and their effervescent harmonies, and given the support of an illustrious line-up of veteranplayers — keyboardist Matt Rollings, drummer Aaron Sterling, guitarists Dave Levita and DaveCleveland, pedal steel player Rusty Danmyer, and Careaga himself multi-tasking on guitars,bass, drums, keyboards, and overall production — the songs, cowritten by the duo themselves,offer a wistful indication of the possibilities that can occur when love and longing ultimatelycoalesce into a rich reality.The songs reflect that sense of satisfaction throughout, as evidenced by the upbeat sentimentsshared in the title track, “Riding the Wave” and “Strong and Wild,” Happily then, The Roughand the Wild emerges as an album flush with both hope and happenstance, a beacon of light foranyone hoping to find some light on the horizon. The results make for a most soothing sojournafter all.   Lee Zimmerman- is a freelance music writer whose articles have appeared in several leading music industry publications. A former promotions representative for ABC and Capitol Records and director of communications for various CBS-affiliated television stations, he lives in Maryville, Tennessee. To Read All of Lee's Reviews, Click Here    

October 9 2024 Granted, when it comes to truth in advertising, an album title often sets the standard. Yet while the handle of the band itself and, for that matter, the name of their current release, may suggestTornado Sky have some turbulent tendencies. In truth they’re more inclined to reflect on thesweet serenity realized by their real life relationship. If judged by these meticulous melodies,anything rough and wild is only the reflection glanced at in the couple’s combined rearviewmirror. The duo — Stephanie Gladhart and Jerry Careaga — met by chance at a gig featuring Careaga’sformer band after Gladhart was encouraged to attend in the company of her roommate. As isoften the case, one thing led to another, and before long the pair bonded and began a relationshipthat was both personal and professional. Moving to Nashville at the suggestion of famedproducer Jim Ed Norman after a series of record labels deals that fell flat, they eventually founda glimmer of success after Careaga’s composition “Don’t Count The Rainy Days” beganclimbing the charts after being recorded by Michael Martin Murphy. After five years in Music City, the couple returned to their original environs in Southern California and, at Carrara’s urging, began writing songs together. The latest result of that collaboration, the aforementioned The Rough and the Wild, is a bountiful collection of graceful melodies, all of which exude the joy and satisfaction of a love affair that’s blossomed beyond measure. The sublime sentiments expressed in songs such as “Beautiful Now,” “Take Off Your Boots,” “So High,” “Drown In Your Love,” “Heartbroken,” and “Unconditionally” are unabashedly euphoric in tone and temperament. With the pair sharing leadvocals and their effervescent harmonies, and given the support of an illustrious line-up of veteranplayers — keyboardist Matt Rollings, drummer Aaron Sterling, guitarists Dave Levita and DaveCleveland, pedal steel player Rusty Danmyer, and Careaga himself multi-tasking on guitars,bass, drums, keyboards, and overall production — the songs, cowritten by the duo themselves,offer a wistful indication of the possibilities that can occur when love and longing ultimatelycoalesce into a rich reality.The songs reflect that sense of satisfaction throughout, as evidenced by the upbeat sentimentsshared in the title track, “Riding the Wave” and “Strong and Wild,” Happily then, The Roughand the Wild emerges as an album flush with both hope and happenstance, a beacon of light foranyone hoping to find some light on the horizon. The results make for a most soothing sojournafter all.   Lee Zimmerman- is a freelance music writer whose articles have appeared in several leading music industry publications. A former promotions representative for ABC and Capitol Records and director of communications for various CBS-affiliated television stations, he lives in Maryville, Tennessee. To Read All of Lee's Reviews, Click Here