Mark Meisel

 

Mark Meisel 

URL: http://markmeisel.com/ 

Mark Meisel is a veteran musician and producer. He has toured with numerous national acts, and was a founding member and front man for Detroit's, Opie's Dream, throughout the 1990s. These days Mark has turned his attention to creating music for children that is also suitable for their parents and grand-parents. His latest CD Pick Up Your Toys - is a collection of songs that will both entertain and challenge children. Parents will be entertained too, and the tongue in cheek lyrical style will induce lots of laughs as children and their parents relate to the stories. Using the nom de plume "Zehti," Mark and his latest album will be embraced by the entire family.

Pick Up Your Toys - picks up where comedian and spoken word artists of the 70s left off. It should be evaluated with more than a keen ear to appreciate it. When you hear songs sung like this you should listen to the music too. Once you do that with this album you’re good to go. “Clap Clap Clap” starts and you don’t know what to think. But you have-to keep an open ear because the music demands it. This is fantastic in its own way and you can’t turn it off, you’ll want to hear what else is going on. It’s not that it’s even the best track, it’s just good enough to make it impossible not to be on board.

“Chew It Up” isn’t as good but if you like great guitar playing you still get something the young ones at the table might not even pick up on yet. It’s for the babies of the bunch, let’s put it that way. It would be perfect for playing to the toddlers. And since I mentioned that, it’s appropriate to follow with “The Walk Around” and it’s like part two, so it finishes what is really-just an okay experience in the former song. The guitar wins the prize on this for its smooth bluesy mood change that actually-manages to make the whole song. It’s one of the better moments to be assured.

“Dreams” is a little less inspiring, but it’s not the worst effort on the album. It’s a nice lullaby with some precision acoustic guitar playing but the story is more-or less forgettable. But it all depends on your cup of tea or coffee, glass of juice or milk, so to speak. It gets back on track for me with “At The Zoo” which lifts the spirits back up and makes you want to play it for everyone. I can also see why anyone would see these last two the other way around, but I already explained why. I’m with the bright side of things on this album, so I’ll stick with the latter, instead of the former.

“If You Hurry You Can Make It” is on the energetic side, and more fun for the family, but there’s a cool pop song under there too. Mark Meisel is good enough to balance all this and come out clean. “Pick Up Your Toys” being the title track probably lives up to its name as the best track on the album. But here’s also “Charlie Mae’s First Halloween” which is an indication by now that Charlie must be a family member or something. This is continued on “Charlie’s Driving The Car” before ending on a high note with “Hangin’ Out With Paw.” An overall good and well-produced album for the entire family.  

I-TUNES: https://itunes.apple.com/us/artist/mark-meisel/id4106209

Mike Tabor

Al Gromer Khan

Al Gromer Khan 

 

BANDCAMP: https://algromerkhan.bandcamp.com/ 

Munich, Germany – August 30, 2017 – German-born but with a universal sound, Al Gromer Khan started his career as a sitar player and composer over four decades ago. Today he sits proudly on over 50 recordings, a handful of books, and his latest best-selling album release 2016’s Chakra Noir and the 2017 single release “After the Crash.” Chakra Noir is the latest representative work in his ambient meets new age repertoire. It joins a myriad of sound that Al Gromer Khan has created over the years from 1974’s Hesse Between Music to last year’s Chakra Noir. It is safe to say he has achieved all of that and then some.  
 

The hypnic sounds od Al Gromer Khan are not new to the new age community around the world, but new age isn’t a household genre either, so, it’s important to read up on it if you want to know where it’s been coming from all these years. If you meditate or do Yoga and these things, then this album is for you. It’s also for sitar lovers and anyone looking to delve into an existing world of music outside their usual box. I can recommend this as an introduction as well as to the new age fans. It had that impact on me and that is how I know it has crossover appeal for anyone open to extraordinarily used textures.

The disc begins with “A Simple World With Flowers” and the vocal whispers instantly take effect on the senses. He lets off a few sitar licks throughout this to make its presence known, but nothing too dazzling, just a few spots taken where it’s necessary. You get the point and feel that it will come to life elsewhere but you’re still left with the other effects the opening track has-to offer. It’s like a trip to the medicine man. And that sitar doesn’t take long to come to life, because the whole next number “Degrees Of Tenderness” is based around some very fine playing by this veteran of the instrument. After what is by far the most musically satisfying experience in the set, the rest comes fairly-easy to digest, without taking you through a sitar clinic or something. Instead it’s balanced out with the usual new age bells and whistles, keeping inflections of sitar by not smothering the tracks with it. “Chakra Noir” itself is another story altogether, with a serious approach to the medicinal aspects as the title suggests. It also suggests a nostalgic and stylish flair be added to the subject. It’s hard to describe from an outside perspective, but it’s no less interesting to experience. You just get the feeling it’s real. There’s twelve songs to soak up with a lot of substance between them, so take your pick from the awesome sitar of “A Summer Tale” to the frosty feel of “IM NU” with its delicate powers that almost put you in a trance. These are well-produced time pieces that hold up separately on their own or play together with the same impact on the mind, body, heart and soul. “The Train And The Crow” get you through another fine journey with plenty of great sitar featured before “Rose Of All My Days’ suits the picture with more flowers that lead to “The King’s Companion” and you’re left with all that “Into The Blue” does to you, like it or not.

ALLMUSIC: http://www.allmusic.com/artist/al-gromer-khan-mn0000607811

Mike Tabor

Hence The Noise

 

Hence The Noise 

URL: https://www.hencethenoise.com/ 

Hence The Noise is a NY based modern metal band which consists of Chandler Mogel on vocals, Rob Russo & Eddie Vandenko on guitars, and featuring Robbie Russo, who is a 13 yr old inspirational prodigy on drums. Rob Russo & Eddie Vandenko have a long history together. They have been collaborating in various bands in the NY club scene ever since they met at a mutual friend’s garage in Brooklyn NY in 1989. After a long hiatus from the music scene, they started writing music again and decided to put a band together. Minute With Me - is based around their support for our veterans.

If this release is about a minute, then it’s one long and very good minute. They waste no time getting started by getting the title track out of the way. The subject of war is always on the table and these times are no exception to that rule. Some belong making efforts to say something about it in music, and others don’t. It takes a true understanding for our vets and these guys don’t disgrace the topic. “Minute With Me” addresses it from the start and it’s almost somber but it makes the point loud and clear enough. Don’t get me wrong, it’s just not the most musically enticing opener.

“The Enemy” is much tougher, as is most of the rest of the disc. But is this about war or just battle of the sexes and socio-political matters? They actually-tackle both as if to land wherever you want in the meaning of a song. It’s a dual analogy but primarily about the obvious, it just has a tongue and cheek twist. It’s a fantastic song at the end of the day, and it gets the whole ball up and running. “Scars” is probably one of the highlights but ask me later, because a few of these tracks really have a growing appeal. But if I were to pick the sleeper it would be this track which changes in mood structure enough to stick.  
 

By now it’s clear that a great band is developing here, and the songs prove it with every note, even with the exception-of the opening track lacking a few bars of enjoyment. “Number In Line” shows off some fabulous guitar skills and it gets pretty in some parts. There’s a delicate texture to it that comes along with great timing, and it makes you want to continue listening to their style of metal songwriting. They even do a cover of “War” originally by Edwin Starr. And that is about as far from heavy metal as it gets, but they rock it with flying colors by adding some of their own attitude to it. They handle their R&B well on this.

My choice for favorites are “You And I” with its amazing lyrics that mention John Lennon and center around peace, not war. This song is brilliant and likely another sleeper, but to me it takes the proverbial cake with a softer side to the band. It’s an acoustic track with some string backing that rings of tracks like “Imagine” and “We Are The World” etc. A truly excellent anthem, if a quiet one. And the closing track “One Of Us” for it’s clear nod to Iron Maiden and others. It takes things out on a very high note. An honorable mention goes to the track “Hence The Noise” as well. Highly recommended, search it up.  

FACEBOOK: https://www.facebook.com/HenceTheNoise/

Mike Tabor

Tamara’s Class Of Soul

 

Tamara’s Class Of Soul 

I-TUNES: https://itunes.apple.com/us/artist/tamars-class-of-soul/id549993894 

In 2016 there were a lot of great releases, and Textures Of Emotions by Tamara’s Class Of Soul is one that is worth seeking for its amazing collection of soulful pop tunes that go everywhere from there to pop, jazz and adult contemporary. She comes from up north, where it stays wet but creative and a lot of music thrives beneath the radar of the rest of the nation. But it’s only her first record so she has a long road ahead of her, no matter where she’s been thus far. Make no mistake about it though, she’s got something to say and makes tremendous strides to get that across on her first release.

“This Is My Heart” is worth the price of admission alone. It’s that good and should be a lead-off single but it’s not. She’s a bit of a spoken word expert but it doesn’t come on at its strongest point here, you just get the idea it’s going to featured elsewhere on the album. This is probably the most uniquely structured song, but also somehow the most accessible. It reaches the top shelf by not relying on the clichés and bringing something more to the table. It’s a must hear if anything on this album is, and that’s most likely why it comes first. It’s a choice I would make if I were her, so it wins on every level with me. Not every track earns that amount of praise, but the rest all provide a lot of healing and very powerful advice. The music takes a back seat on most of it, but provides spot on duties when called for. It’s her voice that does the business, with some high-standard backing. “Do You Remember The Time” is a bluesy, groovy number with a lot of slow-dance quality. But once again it’s her voice that shines, with more spoken word to make this what it is. It reminds me of singers like Valarie Simpson and Sade, which is a testament to her vocal inspiration combinations and how she uses them.

I also compare the sound of her voice to the likes of Anita Baker at times, with that low register turning out big efforts. “Cried My Last Tear” is a chance to show that side of her, with more of a jazz style to prove it. And it goes a long way on the professional side of things, but it’s not all serious, there are many playful moments too. “Party Time” is an example of one of them. So is “Just Get Funky With It (Intro to Band)” even more so. It’s where the album really starts jumping and she takes a break and lets the band kick back and play. And while not extensive, the jamming is immensely tight. When skipping around a little, “You Never Really Wanted Me” gets two placements with itself and a remix, for those with ears for that sort of thing. It’s important to some and not to others to hear more than one version of something on a studio album, but the difference is loud and clear, so it gets a pass. “Touch So Gentle” can be seen on YouTube to get a short glimpse into Tamara herself with an accompanies acoustic guitar player. It’s worth searching for to see what you’re hearing, and recommended for this track as well. The rest is all good to go, and some of it even radio-ready.  

CD BABY: https://store.cdbaby.com/cd/tammieingram

Mike Tabor

Manjia Luo

 

Manjia Luo 

URL: http://www.manjiamusic.com.au/index.html 

Sydney, Australia – September 8, 2017 – With over two dozen albums to her name, Manjia Luo has continued to prove why she is a force within the New Age community with her latest, Wish Pond featuring her lead single “Joy Fluctuation of Wave.” Eight tracks deep, Wish Pond plays along with her previous releases nicely. Fitting into the consistency of what has made Luo a prominent mainstay in Australia over the years. New Age with hints of jazz, Asian melody, and an instrumental flare is what Luo is best at and known for. Her compositions are overflowing with passion, played on piano and violin.

New Age and New Age textures go hand in hand to earn the genre tag, but sometimes they can lean heavier one way or the other and still get filed under it. This is an artist who’s carved out a career for herself by blending many of the elements that can make up New Age music. Whatever it is that earns it is laced throughout the Wish Pond album like a pond filled with fairytales. With titles like the opener “Autumn Spectacle” to start with, it’s purely hypnotic from there out. Music for any casual or formal environment, as long-as it’s quiet and peaceful, because that is the best way to describe Manjia Luo’s music.

She plays a very mean violin with a passion like no other, and it’s fragile yet commanding. “Water & Life, No. 2 (Violin)” displays a healthy dose of how she blends jazz with Asian melody to come out with her own brand of New Age. It sounds like a symphony once it builds up into the cadenza at the end before lightly fading away. This is almost too much for pop and other style of music lovers, but a vital source of inspiration for the more serious musician. It also doesn’t mean you have-to be that serious to like it. Anyone can be captivated by such remarkable works. Listen with a sense of urgency and see.

“Joy Fluctuation of Wave” being the lead-off single, it comes as no surprise this does in-fact make New Age sense. If it opened the album it would make even more sense, but if you already know her music you’re leading and I’m following. I just like the sound of it all. This is some of the best mood music that has run across me in a long time. You only get to appreciate these things if you’re exposed to them. “Angeni's Love” is one of the most moving piano pieces to hear on record. It’s worth keeping on repeat for hours. Keep it on loop and don’t let the fingers stop sweeping across the keys like a modern jazz dancer on the floor.

From where the title “Tom & Jerry Rocked The 13^th Floor” comes I do not know, but the song is another epic piano escapade where she just kills it once again. It’s like a rollercoaster of pianos riding through the clouds, it’s that mystical. And speaking of mystical, the title song ‘Wish Pond” is like listening to Twinkle Twinkle Little Star on the music box or something. It’s so melancholy it’s almost childlike. Her piano work "Love Particles" won the 1st Prize Instrumental at ASA Awards 2014 (The 34th National Songwriting Awards, Australia). She performed it at the ceremony. Manjia also the winner of MusicOz Awards 2013 in Jazz/Classical. Her advice to “Travel With Light” closes the set.  

CD BABY: https://store.cdbaby.com/Artist/MANJIALUOMANJIAMUSIC

Mike Tabor

John Elderkin and ¡Moonbeams No Mas!

 

John Elderkin and ¡Moonbeams No Mas! - The Fall and Rise of John Elderkin and ¡Moonbeams No Mas! 

SPOTIFY: https://play.spotify.com/album/5PX9TN4cjQBJj8HDCNJ3BH?play=true&utm_source=open.spotify.com&utm_medium=open 

Featuring the talents of modern artists the caliber of vocalist Danielle Howie, The Fall and Rise of John Elderkin and ¡Moonbeams No Mas! is a mammoth seventeen song effort succeeding on the basis of its contributions from the likes of Howie and some of the most accomplished musical talents working today in the American South. This album contains multitudes and culls its sound and approach from a variety of popular genres and styles dotting the history of 20^th and 21^st century American music. Despite being inspired to a degree by David Bowie’s The Rise and Fall of Ziggy Stardust and the Spiders from Mars, Elderkin’s opus is more redemptive tale with some dark and intense turns around the way. Some of those turns are surprising; others are well in keeping with listener’s expectations when they begin listening to this album. It’s one of the most far reaching releases in recent years and it’s thrilling to hear someone aiming so high but, moreover, finding their mark.  

 

“We Waited Five Years” is the first song of many that adopt redemption as one of their themes. In the case of the opener, it’s redemption so far deferred. Elderkin’s voice is improbably bright when you listen closely to the lyrics and the obviously intentional mismatch is meant to produce its own memorable effects. There are naturally other themes introduced along the way, but there’s an abiding theme about journeying and longing running through the song cycle and it finds one of its finest expressions with this song. “Song for David Bowie” is an intensely personal and colorfully composed lyric Elderkin’s voice brings to the full bloom of its potential. “Gather Your Strength” is a lean and sinewy guitar controlled track with a straight-ahead backbeat, but the guitar’s influence on this song pales in comparison to the mark it leaves on the following number “Don’t Look Right at the Sun”. Elderkin and his band milk this song for everything its dramatically worth and transform it into multi-movement six string combat. There’s a real grit, gravitas, and musical command powering performances like this and he sounds no less comfortable as an all out rocker than he does as a melodic acoustic-based writer.  

 

“Keep It Down” has a smattering of post production effects ornamenting the performance, but it succeeds primarily due to the unsettling jangle of the song’s acoustic guitar, some unexpected instrumentation, and exotic keyboard colors further skewing the melody. “Danielle, Long Gone” gives Elderkin’s lauded guest star, Danielle Howie, a chance to grab the spotlight and the result is one of the album’s most beautiful tunes. She gives listeners a particularly thoughtful vocal likewise capable of invoking plenty of its own musical attitude, “Give Me Your Hands” has some hazy, purposefully indistinct qualities and might seem like an unlikely closer, but John Elderkin’s songwriting on this release is obvious primed to keep us on our toes and does a spectacular job doing so.  

CD BABY: https://store.cdbaby.com/cd/johnelderkinandmoonbeams 

Alonzo Evans

Elle Casazza

Elle Casazza

 

URL: http://www.ellecasazza.com/

 

Where do I start with Elle Casazza, I can’t help but say that the music on her latest album, ‘Proof’ is evidence of a great release. These are all up-scale cuts with a lot of fantastic musicianship behind them. It should not go faceless in a world missing this quality of pop singing/songwriting, combined with traditional jazz singing, doo-wop and Motown influences. A vocalist with an ensemble of killer musicians to bring out the best in her vocal chops. ‘Proof’ has enough variety and musical components in each song to keep you entertained throughout the entire album.

“Hey” revs the party up with Casazza’s power-packed voice, being the first thing to note. She seems to contain the vernacular between the high and low registry, and it doesn’t hurt with the spot-on backing vocals. But if you listen closely you can hear a hint of Madonna on this great opener. It even has the pop sensibilities of the 80’s in general, perhaps updated with a magnified swing. You can dance to this kind of pop, that’s for sure but it’s a lot more mature than the likes of Madonna when she initially came onto the scene. And that’s not to compare her to anyone, but some of her influences can be spotted nonetheless. It has a chic-music sense to it, but it’s more serious altogether, even if “Save Me” can deceive a little in that area. It either wins or loses with the rest, depending on your style of music. But within its pop structure it offers much more than the average pop star. It almost ears a rock tag more than pop, but even that seems a take way to describe it. There is also no doubt that this is funk in every way. It keeps an edge that pop has a hard time getting away with. This isn’t the best track on ‘Proof,’ but it’s a good follow-up to an opener that definitely doesn’t let you down.

“Too bad” is a fine track as well, but where the album merits the least. This could be saved by some groovy keyboards. The subject matter is at its darkest here concerning the socio-political content yet, it is still playful. The production level and sonic delivery are still second to none, letting it belong with the rest. This is rectified on “Cooking” with its more sultry-jazz vocal which builds up to bursts in all the right places. I’ll take it over the former, by a margin anyway. It’s about giving things time to cool, and that fits the bill with perfection. It’s hot, let it burn, as it sizzles your ears with a soul-filling sensation.

This smoky effect stays the course with “The Body Knows” taking the mesmerizing approach of singers like Toni Braxton. If this isn’t slinky, nothing is. Like a soulful blast from the past, this slices through the speakers with a nice piano solo and some of the most amazing vocal work on the album. And if you boil it all down, the track “You” is surrounded by everything it takes to showcase it as the hot song it should be. Falling for these songs is an easy feat, so don’t fail to reach for them. She’s a fine singer with amazing chops. You’ll be hard pressed not to be impressed by it all, including the mix/production values.

SOUNDCLOUD: https://soundcloud.com/ellecasazza

Larry Toering 

Nick Black - Deep Blue

Nick Black - Deep Blue 

URL: http://nickblackmusic.com/ 

Deep Blue is the second album from young vocalist/songwriter/guitarist Nick Black. Pure talent propels Black’s quick ascension into the top rank of modern soul and R&B musicians. The songwriting certainly recalls classic material, but Black and his collaborators never sound outright imitative. Some might find the songs a little too clever by a half, but most will hear this collection for what it apparently purports to be. Nick Black’s ten tracks on Deep Blue insist on staking out their own territory. These are songs that rarely, if ever, risk any self indulgence or affectation. Instead, Black confidently steers them through cuts often cresting on a wave of vivid changes, fiery lead guitar, and an irrepressibly clear sense of melody underpinning much of the playing. The production qualities are exceptionally clear and render Black’s vision for each of the songs with warmth and a across the board balance. 

He doesn’t completely turn listener’s expectations on their heads, but he’s happy to put them on their side. Songs like the opener “Ocean” are plentiful on Deep Blue trod familiar musical and lyrical themes, but there’s an unusual spin given to these elements thanks to the ability of Black and his musical collaborators thanks to their talents for turning the R&B form’s customary textures towards different ends. The brass contributions are a little muted on the album’s second song “Grownups”, but there’s a rambunctious sense of playfulness to this style of R&B lacking on the first song. Whatever genre credentials it may or may not have, “Grownups” is a fantastic pop song as well that writes about a ageless topic in a slightly new, inventive way. “Falling in Life” has a sharper attitude than the aforementioned songs and kicks off with a super slinky groove with Black delivering an evocative vocal over the top. There’s a lot of variations and changes in direction during this song and it isn’t hard to wish Black would settle for one direction on songs like this but, to his credit, his basketful of directions are never boring or predictable, even if their sheer variety is a little dizzying. “D.I.Y.” is quite a contrast. This is an elegantly turned and minimalist composition utilizing just enough of the right elements to paint a picture for its audience. The highlight of the piece is twofold – the expert touch that the drumming and piano work demonstrate guiding the way musical is superb and Nick Black’s vocal ranks among his best performances on the album.  

Many will flock to the song “Let’s Be Glad”, but some will be put off by how much it strains for its musical effects. The wisdom of so deliberately plotting out a pastiche to particular styles is that you risk sounding too premeditated and “Let’s Be Glad” certainly checks off all the boxes for southern gospel influences. Others, however, will hear an artist and accompanying musicians building their own splendid variation on the form without it ever sounding like pandering. The lyrics in the song’s second half are particularly strong. “The Worst You Can Do” has a great build as well from its beginnings as an acoustic guitar and singer alone into a full-stop theatrical stunner with Black confidently in front and riding out a variety of crescendos with the band on point behind him at every step. Deep Blue ends with the rhythmic showcase “All Over Again” and it’s a good, muscular familiar for the recording. Nick Black wants to exit on a high note musical and this song does so without ever over-exerting himself. It’s a microcosm of the album as a whole – there’s just the right amount of artistry, just the right amount of force, just the right amount of fun.  

8 out of 10 stars. 

SPOTIFY: https://play.spotify.com/album/0IQwPXubDEhZ4t97AScbZy?play=true&utm_source=open.spotify.com&utm_medium=open 

William Elgin 

Dave Vargo - Burning Through

 

Dave Vargo - Burning Through 

Primary URL: http://davevargomusic.com/ 
 

A New Jersey native who has played with and alongside some of the pre-eminent musical talents of our time, Dave Vargo’s full length album debut Burning Through is truly a personal effort. His skills as a guitarist helped make him one of the most in-demand live and studio musicians around, but the eleven songs on Burning Through offer vivid evidence of Vargo’s songwriting talents. He also shares production duties on the album with drummer and percussionist Tim Pannella and surrounds himself with steady cadre of talented musicians who help him bring these songs to life. The songs are often atmospheric, but never garishly, and well balanced between electric and acoustic textures. Vargo’s first solo album is obviously the product of years playing with some of the best musicians in the world, but nothing here feels too studied or lacks the sort of verve one might expect from someone’s debut.  
 

Burning Through opens with “Come Take Me Home”. The song is built around acoustic guitar ornamented with tasteful electric guitar touches and builds incrementally. Everything here is nicely balanced and the disparate sonic elements flawlessly dovetail into one another. Vargo’s voice is warm and patience, emotive without ever lapsing into histrionics and it enlivens the obvious sincerity of the sometimes painfully earnest lyrical content. “Good Enough” amps up the rock and roll side of Vargo’s musical character without venturing too far afield of the template laid down on the opener. His voice isn’t classically beautiful by any measure, but it has enormous appeal and listeners will trust it immediately. The smoky, weathered quality of his tone helps put over these lyrics about hard-won wisdom without any theatricality – it’s just unvarnished honesty coming through and his band members ably conspire to turn this into one of Burning Through’s most propulsive tracks.  
 

Outside of some ghostly electric guitar fills swelling from the mix, “Wishing on a Star” is a beautifully lyrical acoustic guitar piece about an individual’s dreams. Vargo and backing vocalist Kim Boyko bring their voices together in a very entertaining fashion on the song “Finding My Way To You” and, despite the primarily acoustic nature of this performance, it has some of the same propulsive energy we heard in the earlier “Good Enough” and perfectly measured organ fills from bassist and keyboardist Erik Romero. Vargo’s songwriting frequently tackles weighty themes, but “Too Young To Be Broken” is one of the most heartbreaking moments on the album and the amount of sheer empathy pouring out of Vargo’s performance will undoubtedly affect many listeners. It is, once again, a primarily acoustic outing that Vargo adorns with some understated percussion and occasional haunting electric guitar fills. Tim Pannella’s drumming sets an interesting quasi-march tempo for “Waiting” that complements the vocal melody and the acoustic guitar work, as always on this release, shimmers with tremendous evocative quality. 
 

Burning Through concludes with “Pieces of My Heart”, another illustration of the value Pannella’s drumming brings to the material on this debut. His rolling tempo is a perfect fit for Vargo’s guitar work and Vargo brings equal parts assertiveness and sensitivity to the vocal. There’s a lot of clearly singer/songwriter oriented material on this album, but there’s an irrepressible rock and roll spirit peeking out from many of the arrangements that gives it a welcome added bite. Dave Vargo’s turn in the spotlight is a rewarding listen for any serious music fan.  
 

9 out of 10 stars 
 

AMAZON: https://www.amazon.com/Burning-Through-Dave-Vargo/dp/B01MEH5WUW
 

Jason Hillenburg