From richmond-news.com on Wilderness Road:

Looking for a jazzy follow-up to George Michael’s “Kissing a Fool”? Try Gino Vannelli’s “Gimme Back My Life.”

It’s one of the standout tracks on “Wilderness Road,” the 20th album of the Canadian crooner transplanted to Oregon and his first of all original tunes in over a decade.

“Gimme Back My Life” hits plenty of regretful, yearning notes, as a lover laments the eviction and departure, and asks for another chance — “I packed my bags in such a rush/I forgot to pack my happiness.” Given an opportunity, it could be a smash.

Since his 1970s hits like “I Just Wanna Stop,” Vannelli has played with a full house of styles, using his magnificent vocal chops mostly on combinations of pop and jazz, even going through a successful if sometimes unjustly maligned mid-’80s phase of synth-heavy tracks like “Black Cars” and “Wild Horses.”

“Wilderness Road” is on the jazz/adult contemporary end of the spectrum, songs written on acoustic guitar though the arrangements lean more on piano and Vannelli’s effective drumming. Vannelli plays nearly all of the instruments on the album, with contributions mostly on backing vocals.

“Wayward Lover” gets a new reading — having appeared already on “Canto,” Vannelli’s 2003 multi-language album of classical pop. This time, Vannelli’s performance has more intimacy, but without losing its vocal power.

“The Woman Upstairs” is a neighbour’s tragic story of domestic abuse, based on Vannelli’s childhood memories, while “A Long Dry Season” has a bit of the style of “Summertime,” though the dangers are present and accounted for, if not named.

There have been long pauses in Vannelli’s career, both from the recording studio and the stage, but his many talents are intact on “Wilderness Road.”

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From americansongwriter.com on The Medicine Show:

There has never been any doubt where Melissa Etheridge stood on political, social or, for that matter, socio-political matters. She’s a well-respected proponent of many, including, but not limited to: breast cancer awareness (she’s a survivor), LGBTQ issues and human rights in general. For three decades the veteran singer-songwriter has been a relatively high-profile, outspoken and fearless performer rallying for progressive causes with seemingly no concern about how it may hamper her commercially. That tradition continues on Medicine Show, her 15th studio release.

Etheridge took a well-deserved break from her typically serious approach on 2016’s frisky covers album MEmphis Rock And Soul.  But she’s back in full throttle on her first set of originals since 2014 — not coincidently the first she has written with the current administration in office — and she has plenty on her mind.

Etheridge has reconnected with producer John Shanks (Bon Jovi, Chris Isaak) who helmed her 2010 release Fearless Love. He buffs her sound to a tough, radio ready sheen never more blunt than on the opening title track, where she immediately draws her line in the sand with “But we can change this or we can blame this/We are the people and our thoughts can rearrange this,” over thumping rock drums, a wall of guitars, a hooky, fist-raising chorus and enough reverb to swim in. It’s a raw, tough, commercial, often sonically pounding attack that runs through other songs such as the defiant “Love Will Live” (“There’s a lie in these years I’ve wasted on this pain/Things are gonna change/Right now”) and the near heavy metal riffing of “Shaking,” where concern over current events is the cause of her anxiety.

But it’s not all roof-rattling rockers. On the riveting ballad “Here Comes The Pain” Etheridge takes on the opioid crisis without mentioning it by name (“It feels like kissing Jesus/As it melts into your veins”) starting with acoustic strumming and ramping up into a U2-styled anthem with eerie backing singers. The strings that open “I Know You” lead into a moving tune about an argument forcing the singer to reexamine a long term relationship (“I know the heat when our thoughts and our fears collide”). And the closing “The Last Hello” might be the most heartbreaking tune about the Parkland School survivors ever written, especially since she never mentions the location by name (“No child should see what I have seen”).

As you can tell, this is not light listening, nor is it meant to be. Etheridge sings every lyric like it’s her last and you feel that she’s emoting from her heart. But that can get wearing over the album’s 45 minutes. Some of the melodies and production tend to be a bit overwrought and there isn’t much in the way of a lighter touch. But it’s the Melissa Etheridge her fans have come to know and respect. Love her or not, she’s never been less than forthright and honest, and in this politically charged atmosphere that’s something to be proud of.

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From crypticrock.com on Out Of The Blue:

The internet that bridged much of the world with one another has also connected artists and their corresponding enthusiasts in a more direct manner. This has reinvigorated the careers of so many artists and bands, rekindling their passion for performing and songwriting. In the recent years, the music industry has seen a surge of new albums of new materials by not only contemporary artists but also from veterans. One of these is Mike + the Mechanics – the successful post-Genesis musical vehicle of Mike Rutherford (bass, guitar, backing vocals), the 1985-forming English band’s co-founder.

Popular for the chart-topping radio staples “All I Need Is a Miracle,” “Taken In,” and “Over My Shoulder,” Mike + the Mechanics have nine studio albums under the name—from 1985’s self-titled debut to the newly released Out of the Blue.

Scheduled to be released on April 5, 2019, on BMG Records, Mike + the Mechanics’ ninth offering consists of new compositions and re-arranged versions of some of their familiar songs. This effort is Rutherford’s third with the ensemble that he formed in 2010, after a long hiatus: Anthony Drennan (guitars, bass), Tim Howar (vocals), Luke Juby (keyboards, backing vocals, bass, saxophone, whistler), Andrew Roachford (vocals, keyboards), and Gary Wallis (drums).

Out of the Blue opens with the slowly and smoothly inundating, Sophistipop buildup of the mid-tempo “One Way.” The calming and familiar mood flows flawlessly into the ensuing title track, albeit the slight shift in the tempo is noticeable.

The rhythm changes a bit further with the Dance Pop–styled “What Would You Do?,” whose jazzy and loungy melody prepares the listener to the following string of new versions of select songs from the band’s discography, starting with the Gospel-tinged “The Living Years.” After this classic from their second album, Mike + the Mechanics launch into a refreshing take of the title hit off album number-four, “A Beggar on a Beach of Gold.”

In the upbeat “Get Up,” Rutherford’s Progressive Rock lineage is really shining through, as the piano, guitar, and horn parts comprising the instrumental interlude make the song soar on its soulful wings; it will make the initiated think of Bruce Hornsby & the Range’s “The Way It Is.” The soothing mood continues with another goldmine, “Another Cup of Coffee.”

Now, the perfect mid-album stomper needs no further introduction—the iconic “All I Need Is a Miracle”—enough to send nostalgic shivers down the spine of any self-proclaimed ’80s kid. This is then followed by the night-driving charisma of “Silent Running,” taking the listener back to the somber soundtrack of the memory lane.

Nearing the end of their latest offering, Rutherford and his current mechanics tackle “Over My Shoulders”—yet another song from the band’s fourth oeuvre. Finally, they wrap up Out of the Blue aptly with the celebratory beat and rousing, stadium-worthy groove of the proto–Pastoral Pop of “Word of Mouth.”

Despite Rutherford’s having become the only remaining original member of the group, with his comrades he proves that he is more than able not only to preserve and still perform the past catalog of Mike + the Mechanics, but also to concoct new songs to add to the discography. Out of the Blue is an effective epitome of that—a mélange of the old and the new Mike + the Mechanics music.

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From rockandbluesmuse.com on American Rock ‘n’ Roll:

Former Eagles guitarist, singer-songwriter, multi-Grammy winner, Don Felder is a bona fide rock legend who has worked at the highest levels of the music business his entire career. Fans of his brand of straight-up lyrical songwriting and melodic guitar work will be happy to know that Felder is back in the spotlight with a new solo album, American Rock ‘N’ Roll, that comes out April 5th, 2019 on the BMG imprint. It features Sammy Hagar, Slash, Richie Sambora, Orianthi, Peter Frampton, Joe Satriani, Mick Fleetwood, and many more.

What’ll make fans even happier is learning that American Rock ‘N’ Roll is as good or better than any music Don Felder has ever made. He seems to be that rare artist who’s getting better with the passage of time. He logged in 27 years with the Eagles, co-wrote “Hotel California,” “Victim of Love” and “Those Shoes” and worked with other important artists including The Bee Gees, Bob Seger, Michael Jackson, Alice Cooper, Kenny Loggins, David Crosby, Graham Nash, Boz Scaggs, Warren Zevon, Joni Mitchell, Stevie Nicks, Stevie Wonder, Elton John, and more.

American Rock ‘N’ Roll is Don Felder’s third solo effort and arguably the strongest of the three. The record was mixed by Bob Clearmountain and mastered by Bernie Grundman. Felder produced the album himself and, at this stage, is more than able to articulate his own vision. Felder’s deep songwriting and guitar skills maintain center stage and the set listens like a real album, not just a batch of singles.

The record opens with the lead single and title track “American Rock ‘N’ Roll,” which features stellar performances from Slash, Mick Fleetwood, and Chad Smith. The song is a tribute to the icons of the classic rock era, artists who helped to define the sound of American music in the late 20th Century. “Hearts On Fire” is a gleefully funky rock song with a huge hook that’ll instantly become stuck in your ear. “Limelight” is a great mid-tempo shuffle that features intertwined guitar solos from Richie Sambora and Orianthi, two players who can heat up any house in the world.

“Rock You” is a powerful, stadium-shaking kind of song that shows Felder still has plenty of gas in the tank. Joe Satriani rocks some solos on it as only he can and we are also treated to some lead vocals by Sammy Hagar and backups by Bob Weir. Felder can still write ballads like nobody’s business and does exactly that on “The Way Things Have To Be.” Peter Frampton contributes guitar and backup vocals and Leah Felder sings on the track, as well. Alex Lifeson drops guitar licks on “Charmed” to add some Canadian content to the proceedings and does his usual amazing job.

It’s impressive to hear how great this old-school crew sounds. Felder and every musician on this record can deliver the goods live and on two-inch tape, which isn’t something to take for granted in our computer age. Felder is one of the great guitarist/singer/songwriters of our age and the combination of his skills and the strength of the other players make American Rock ‘N’ Roll a perfect thing, an experience that anyone who cares about the core of rock music needs to have.

Put it on, turn it up, and enjoy one of the best albums of 2019. Don’t let this one slip by you.

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From loudersound.com on Talk Is Cheap (Deluxe Edition):

Like Paul Hogan goading wannabe muggers in Crocodile Dundee as he unsheathed a whopping blade (“That’s a knife? This is a knife”), there were no half-measures when Keith Richards retaliated to Jagger derailing the Rolling Stones in favour of his ill-advised solo career 30 years ago. Reluctantly at first, Richards formed a band that rocked and made what was hailed as the best Stones album in years.

The civil war between the two Stones flared in 1983 after Jagger sneaked solo opportunities into the band’s new CBS mega-deal and released MTV-geared She’s The Boss. This soured recording of Dirty Work, but touring behind his album with another band (playing Stones classics) ignited Keith’s own offensive.

He had always resisted solo albums, but, not for the first time, Chuck Berry(unwittingly) came to the rescue when Richards was commissioned to form a band for the film Hail! Hail! Rock And Roll. Confidence boosted, he got a deal with Virgin, called top session drummer comrade Steve Jordan and formed the Xpensive Winos.

Like a polar opposite to Jagger’s synthesised clatter, Talk Is Cheap brimmed with humble soul and rolled like a train, with Keith in fine voice. Studded with loose, joyous rockers (Take It So Hard, How I Wish, the Jagger-directed You Don’t Move Me) and gorgeous ballads (Make No Mistake, Locked Away burnished in authentic Memphis soul), it sold a million and ignited Keith’s solo career, while precipitating the Stones’ return.

The reissue gets the works. Seven hundred bucks snarfs the signed incarnation in a box crafted by Fender from the same wood as Keith’s trusty Telecaster (unsigned is less). The deluxe presents the album on vinyl and CD, same formats as previously unreleased extras, two 45s, 80-page hardback book, posters, laminate, lyric sheets and guitar pick.

The bonus tracks make a worthy addendum to a scorching set: sprightly covers of Jimmy Reed’s My Babe and Eddie Taylor’s Big Town Playboy, a skeletal demo of Mark On Me and three instrumentals; Brute Force’s pressure-cooker hoodoo is joined by two scintillating blues jams with the late Johnnie Johnston, Chuck Berry’s pianist and previously uncredited collaborator who became Keith’s late-life rediscovery mission.

Like the best Stones songs, there’s never any dating Keith’s immortal spirit, and Talk Is Cheap holds its head high as it relentlessly reaffirms that that was indeed some knife.

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From rockandbluesmuse.com on Coming Closer To The Day:

Robin Trower is a well-known name to anyone who has followed the evolution of rock guitar playing since he first came to prominence in the 1970s. He’s always drawn comparisons to Jimi Hendrix and is seen by many as one of the keepers of Jimi’s flame. He’s his own man, however, and his individuality has never been more evident than on his new release Coming Closer To The Day which came out March 22nd, 2019 on the Mascot/Provogue label. It’s a brave record that pays little heed to the modern musical market and instead shows Trower diving deeply into his own art, process, and songwriting to give his fans old and new something genuine to help keep the plastic, modern world at bay.

Coming Closer To The Day has a soulful, contemplative quality to it that sets Trower apart from most of the blues-influenced rock guitarists we normally hear. Trower is secure enough in his own work to eschew the guns-blazing approach most players use as their default setting and focus on his songwriting and phrasing. From the opening moments of the first track “Diving Bell,” Trower builds with time, space, and meaning, delivering a sound equally packed with high-level playing and open air. He never goes full-throttle, merely spraying notes out of the speakers, but employs an exquisite sense of phrasing and tone that holds listeners spellbound. It’s the kind of sensibility that fits an artist in the later part of his career and teaches a lesson many up-and-comers could stand to learn.

The title song, “Coming Closer To The Day,” is cryptic and existential and could be interpreted as musings on mortality and the passage of time. His lyrical aside telling listeners to “stop counting every step and be free” carries considerable weight and feels like advice from someone looking back at the lion’s share of his own life. The whole record has that sort of vibe. The songs are all slow to mid-tempo environments that draw attention to Trower’s lyrics and gorgeous Strat/Marshall/Univibe guitar tones. It’s like he’s trying to lay himself emotionally bare to give us the essence of who he is, leaving the show-biz window dressing to lesser musicians.

Trower played everything except the drums on Coming Closer To The Day and that gives these songs a larger portion of his vision. His bass playing is especially impressive for the way it supports everything else on top of it with a strong, supple energy. His vocals alternate between gruff and smooth and Trower sounds more comfortable at the mic than ever. All vibes aside, Trower doesn’t at all sound like an artist nearing the end of his run but like someone who still loves making this music and will continue to do so indefinitely.

The album finishes with “Take Me With You,” a track that deals with all that Trower has yet to see and do and exhorts those listening to take him along on their journeys to those places. The lyrics show us the side of Trower that is still looking to the future, still charting new courses to follow, and isn’t going gently into any sort of final bow. It maintains the meditative feel of the previous cuts but shows fans that care enough to listen to the end that Robin’s gig is far from over.

Coming Closer To The Day is a fine and engaging new work from an artist who’s been showing us his soul for decades and still isn’t finished. Trower’s tone, attitude, and intention are as strong as ever and he comes off like a player who has much yet to say. He never sounds worn out or half-hearted and this set gives us all hope that Trower just might have a few more albums in him yet to make.

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From devilsgatemedia.com on Love Remains:

Bass Guitar magazine cover star Tal Wilkenfeld has played with some of the higher echelon of music royalty. From Prince and Herbie Hancock to The Allman Brothers, Mick Jagger and the role that she is best known for, bassist in Jeff Beck’s jaw-dropping band. Youtube her performance with Beck during Eric Clapton’s Crossroads Festival in 2007, and watch as Beck bows to her after her bass solo. That’s Jeff Beck, arguably the most respected guitarist in the world today, marvelling at the prowess of the young Australian. While you are it, search for her scatting with Steven Tyler during a jam on the intro to ‘Sweet Emotion’. After some acclaimed instrumental solo material, Wilkenfeld has now released her vocal debut album, ‘Love Remains’.

The meandering free playing on ‘Love Remains’, coupled with so many different styles and tones, means that it’s an album to get lost in. You simply don’t know what to expect next. Opening track ‘Corner Painter’ has a grunge vibe in places, the swirling, fuzzy guitar tones excel, and Wilkenfeld sings in a wonderful lower register. Hugely atmospheric, air-raid sirens in the background mixed with some fantastic lead breaks. ‘Counterfeit’ mixes it up with its lush, laid back grooves (as does ‘One Thing After Another’), Carly Simon and Joni Mitchell meets Kurt Cobain, 2019 style. Then the tortured lead guitar comes in on ‘Hard To Be Alone’, and this amazing album takes yet another twist.

Wilkenfeld’s songcraft is dazzling, the contrast in musical styles between ‘Counterfeit’ and ‘Hard To Be Alone’ is staggering. The flow from the quiet, reflective nature of the former, to the anger on the latter, comes as quite a surprise. Another example would be the coupling of the hypnotic title track, with ‘Fistful Of Glass’. The latter features melodies and harmonies tailor made for radio, the shortest of the ten tracks, it’s light and airy, and hangs around for some time afterwards. ‘Killing Me’ is much darker. A fantastic drum sound from Jeremy Stacey, beginning with what sounds like him rat-tat-tatting around the rims of his drums, quality playing.

The standard of playing is incredible, as you would expect, but it’s the vocals from Wilkenfeld that really stand out. A great range in style, and something for everyone really.

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From liverpoolsoundandvision.co.uk on Shine A Light:

Looking forward it always seems perfectly sensible to Shine A Light into the darkness, into the unexpected and day to day unknown, the challenging, often energy draining, action comes with taking that light and looking at where you have been, behind you, into the past where such regrets and missed opportunities come back to not only haunt you but to make you feel conspicuous as to your mind set in the present day.

Shine a light into the past and you also find solace, it is not all gloom, there is reflection, there is hopefully love and honour, and time, time in which the past heals, is made absolute and in which the act of shining a light upon it exposes all, the fear and the hope to resolution.

It is an act of love into which Bryan Adams returns with his latest album, Shine A Light, more than a one-night love affair, it is the culmination of a journey in which we all must endure but how we look back at the life we once had, the support, or lack of it, is how we approach the future.

There is always something of the gentleman about Mr. Adams, a mirror held up to a society that has changed dramatically since he first burst onto the scene, since that heady time in which he duetted and rocked out with Tina Turner, since the chart-topping record of Everything I Do (I Do It For You), that mirror perhaps has had to be strong, resolute, in the fashion of ever-changing opinions and social expectations, to be honest to your own ideal is honourable.

It is therefore understandable that the album should lead in with a love song, but one also that honours a memory, that remembers parents with grace, Shine A Light does that beautifully and with a slight change on the timbre of the voice which is endearing. Across other songs such as Part Friday Night, Part Sunday Morning, All Or Nothing, Nobody’s Girl and the surprising reading of the traditional Whiskey In The Jar, Bryan Adams returns to the album arena with joy, with a sense of beginning again attached firmly to his rock arrow.

To Shine A Light out into the open and hope that it seen as a guide and a call to the faithful to resume their own journey alongside the artist is to be part of something special, a tough time overcome, and one that always seems to be creatively poised when Bryan Adams is in town.

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