From the start, the song pulses with powerful, driving drums, setting a relentless pace that pulls you in. The instrumentation feels weightier, with deeper tones and a subtle edge that sets it apart from their past records. And while the overall mood leans heavier, Jackie Miclau’s delicate moments on the keys shine through like brief flickers of light, one of my favorite elements in any Mt. Joy song. Her touches add an almost ghostly beauty to the track, softening the intensity just enough to keep you hooked.

Lyrically, “Coyote” feels introspective, carrying a sense of isolation and longing that fits perfectly with its namesake. Matt Quinn’s vocals hold a certain urgency and grit, delivering the lines with a quiet intensity that builds as the song progresses. It’s less carefree than some of their past hits, but that shift makes it all the more compelling.

I wasn’t expecting this direction from Mt. Joy, but the more I listen to “Coyote,” the more it pulls me in. It’s moodier and more intense than their usual sound, but that shift feels natural rather than forced. The pounding drums and raw energy make it stand out, yet there are still glimpses of what I love about their music.

It’s a bold move, and I must say I do prefer their lighter, feel-good songs, but I’m excited to see them explore something different. I have a deep connection with Mt. Joy, with them being one of the first bands that I saw live and loved. I went to multiple of their last UK tour shows and am eagerly waiting for them to come back. If this track is any indication, the new album could take us on an unexpected ride.

With the album dropping in May, “Coyote” leaves us wondering what musical path Mt. Joy will take us down next. Will they continue this darker, more atmospheric direction, or is this just a glimpse of a broader sonic journey? Either way, this track proves they’re not afraid to evolve, and that’s something to be excited about.

SCORE/Good: If you enjoy moodier folk music, then this song is for you! Or if you are a lifelong fan and just like to be there for the new Mt. Joy song drops, then you will be interested in this new sonic voice they’ve created.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

The post Mt. Joy – Coyote (Single Review) appeared first on Music Review World.

The artist who will give us an opener into this specific world is Matheesan Thanabalsingham, popularly known as Pooval Matheesan. He is an independent musician credited with practicing and promoting traditions within the Sri Lankan Tamil music industry. He has a history with music, having written lyrics and composing tunes since he was a young boy. That also helped him transition into the limelight, where these skills are what he’s known for best. Music seems to run in the family, as he hails from a lineage linked to participation in musical bands. His own father was a drummer associated with the act ‘Kannan Koshti‘, a popular band from the early 80s.

Another interesting fact about Pooval Matheesan is the fact that he’s composed allegedly up to 150 songs- correlating with his exponential rise to fame. He has also been featured in more than 20 short films as well as documentaries, most of them being critically acclaimed and reognised. His last release ‘KOTTAVAI’ was met with great reception amongst the Sri Lankan music industry, and in this release titled ‘Kumari Kanda Kumaran’, we shall find out if it lives up to his reputation.

Upon first listen, I am not quite impressed with how predictable the first track, Kadale, seems. I know this is specifically Eelam Tamil music, with regards to the thematic nature of the land of Kumari Kanda and the strife of Tamils in this lost land, as well as their relation to the God of War Murugan, but I myself am familiar with Tamil music and I found the compositional structure of the song to be on the generic end- yes, it represents a sort of melancholy and strife mixed into one, but I’ve heard this structure in too many Tamil compositions. I must admit, I have been spoiled with the variety and typical experimentation of Tamil musicians (think Harris Jayaraj or A.R. Rahman), or even the typical Eelam devotional that goes through many different melas (scales) in one song. The production value is passable, as the mastering is okay, but this song did not necessarily stick out to me.

The second track, Thalaimakane, caught my attention a little more with the way it robustly started, as well as the addition of staccato strings as well as staccato-esque choral vocals in the background to serve as an echo to the initial track. This song has more depth and compositional quirks, especially the melodic solo in the midst of the song. Finally, Poovan plays with more scales and musical intent. I really appreciate the percussion towards the mark at 1:15, with the main male vocalist almost reminding me of S. P. Balasubrahmanyam’s vocals, with a robustness and masculine direction in his song. The slight pause within the notes of the percussion actually give the song more character, and the various modes of vocals in the background (male, and female) give the song a refreshing touch. A wonderful song.

The third track, Illai Ini Inge Vidivu appeals to my ears the most, because of the unique scale the woman is singing in. Even though this track is just an except, being 48 seconds long, the time signature and the scale definitely makes this excerpt stand out. The multi-layered vocals mixed with the tender piano definitely aids in accentuating the ‘curviness’ of the scale, as it glides through the notes. Honestly, I think the best part of the track is the time signature. It reminds me of the time signature in Naane Varugiren by A.R. Rahman.

The fourth track, Vel Vel Vettrivel glides through various modes of Asiatic scales- some almost sounding pseudo-Arabic, as if they lent influence from hijaz to form this mela itself. Did you know that there’s so many melas to the point where if you were to think of a scale from another tradition, there probably is an equivalent to it in the system of melas? The main vocal in this track is definitely rough and fits the gruff nature of the track, providing it with a sense of excitement. The album definitely gets a bit more experimental, as this track also bears an interesting time signature. All of the instruments are mastered quite nicely with this particular track, especially that low horn sound that I do hear. I’ve heard it in multiple Indian songs, as well as this album, but I am not quite sure of the name of the instrument. The slight ad-libs with the vocals also help the song obtain a bit of musical complexity.

The fifth track, Kuraivaikkooththu, starts off pretty amazing. It starts off pretty dramatic with a horn, as well as anticipatory percussion as well as the low-deep instrument. This song to me, mimics traditional Tamil devotional songs the most. The unique time signature as well as the cadence of the multi-layered and multitoned vocals help to drive the intent of the song. It is almost circular as the notes constantly ascend and descend. The strings in the background accentuate the cadence of the lyrical mantra, while the strings give it a touch of urgency and class. Excellent.

The sixth track, Velum Mayilum, starts off with a very typical upbeat South Indian drum pattern as well as chords with a warm and resolute tone. This track really reminds me of celebratory scenes from Tamil movies, as well as the cadence of the main vocalist’s voice- it is warm, endearing, but also playful at the same time. The call-and-response between the female backing voices and the male vocalist help to give the song an extra dimension. The second female vocalist’s voice is kind of melancholic but also adorable. This song is definitely a dance number, I can almost imagine the scenes associated with this song- lots of colour, happiness as well as elevation.

All in all, this album was pretty interesting. It is very well-mastered. The use of odd time meters and time signatures helped to elevate the otherwise seemingly predictable nature of this album. If you’re not used to Tamil music, this album might be completely new to you and you will definitely not feel as if the compositional qualities of this album are predictable, but to me and a lot of others who are aware of it, it does lack a slight form of experimentation that leading Tamil composers do try to infuse with their music. You can either go two routes- a totally experimental route, or a route that deals with going deeper into Tamil devotional music traditionalisms to help make the music more exciting, such as the use of scales or whatnot. Some people may deem the sound of the latter too traditional, but I think that’s completely needed to give general Tamil music a breath of fresh air- the predictability throws me off sometimes. These tracks could easily work in a Tamil film from 2005, but it’s 2024.

Otherwise, the musicians and the vocalists are pretty competent in each track. Every instrument is mastered quite well. The flow of the songs are extremely cohesive, as it tells you a story as the album goes on. That, in of itself, will keep you hooked.

Rating/Good – Kumari Kanda Kumaran is an album that explores the sensibilities of Eelam Tamil tradition in music form. If you’re new to the genre, this album will definitely serve as a good introductory tool to the world of Tamil music. It is well mastered, and reflects well on the ethos of its own people- but definitely needs a touch of experimentation or depth to spice things up.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

Follow Poovan Matheesan on:

Facebook

Twitter

Instagram

The post Poovan Matheesan – Kumari Kanda Kumaran (EP Review) appeared first on Music Review World.

In today’s review, we have an extremely prolific and competent artist who in my opinion, fits the category of trying to revive Folk and Americana with such an honest twist to it that it is commendable. This release is titled ‘Simple’ by no other than Jess Corbin. Jess Corbin is an active singer, pianist, songwriter, conductor, vocal coach, and music director who does her work within the sphere of Philadelphia and New York. To add to that, she was also a member of many choral and compositional collectives and was also the chair of musical theatre at the Kennedy Center American College Theatre Festival. If that wasn’t already extremely impressive, she is also a lecturer at the City University of New York Kingsborough Community College in Music and Theatre. She is definitely an individual who spreads herself and doesn’t limit herself in the pursuit of music and continuous learning, which is very commendable. Individuals like these tend to produce exemplary music, and it shows in her debut release.

The album starts off with the first track, titled ‘I Don’t Know’. It has an extremely upbeat and quirky feel to it, with the cadence of the drum reminiscent of 60s pop music. The piano follows the syncopation of the drum initially, before going into a very quirky sequence. Jess’ vocals enter the track quite seamlessly, and I can definitely hear the influence of Joni Mitchell in her vocal mannerisms as well as delivery. Her voice has absolutely zero roughness to it, which fits how quirky the track is. The background vocals provide the song a determined edge compared to the vocalisation of the verses, helping to give the singer’s smooth voice a bit of a necessary contrast. Throughout the song, the bass also wraps the song up by giving it character and a little bit of mystery to it. This song is definitely very safe, with no elements feeling out-of-place and it is also mastered really well. It is very listenable, and I don’t think this song can divide people when it comes to preference.

The second track, ‘Thanks for Askin’‘ starts off with a very earnest delivery from the piano and the vocals. It reminds me of a mixture between a coming of age song, mixed with Christina Perri and Joni Mitchell. Also, for some reason, the composition of the song and the mixture of the main vocals with the background vocals really remind me of the song ‘Holiday’ by the Bee Gees. There is a definite character in the composition of the instrumental, with the guitar and the bass posing almost a ‘strike’ metaphorically, giving the song pauses. There is also what I assume to be a banjo solo in the middle of the song, giving the song a golden quality- and the piano playing simply carries the song. The chord structure of the song is predictable, but the quality of each element in the song makes it more than merely a ‘predictable’ song. I assume the lyrics could also be relatable to many people, given that they pay homage to the mood and circumstances of everyday life.

‘Clark & Clementine’ comes afterward with definitely a deeper soundscape due to the bass guitar and minor tone of the introductory chords. It also has tinges of blues to it, which I absolutely adore. I like how mysterious and dark the song starts off. It is full of character and subtle sass. As the song evolves, the tender piano softens the initial ‘putting-off’ feel the song starts with, but the blues and country-style string playing gives the song almost a seductive trance to it. It reminds me of songs from Siouxsie Sioux, in a way. I also adore how steadfast the drummer is in this track, as it gives the song a ‘heartbeat’ and a metric for the song to navigate through. Towards the middle of the song, harmonies please your ears as they form the background instrumentation and the jazz guitar shines in its subversive playing. I find this song to be one of my personal favourites from the album.

‘Stfu’ then begins with a cyclic form in terms of the piano, developing variation as the notes go on. The solo piano gets transformed into a number through idents of suspense (the cymbals of the drum, the disjointed manner of the guitar) and then, the song erupts into a rapid-fire sequence. The sudden tempo change, as well as delivery, really reminds me of some of Kate Bush’s earliest works in ‘The Kick Inside’. I find this song to sound like one of a ‘fun anthem’, but with an edge as well due to the modes of musical variability throughout the song- interesting notes are chosen for the vocals at the most unexpected times, and the groove, although seemingly predictable, seem to draw you in further through musical breaks. I’m not a personal fan of this song, but it is definitely competent and well-mastered. I don’t think this song is easy to ‘not like’, as it does put you in a good mood.

The song afterwards, ‘2chris’, comes in a solo piano ballad style. It is stripped down, with merely the piano and the singer’s vocals. The piano playing is quite robust, even though it is simple. It is effective as a complement to Jess’ earnest and versatile voice. I love the addition of the flute in the middle, as it helps to give the song more of a personal feel and deepens the emotional tone of the song as well. The ‘breathiness’ of the flute also gives the song more of a quirk, as some people would love to opt for a ‘noiseless’ recording of the flute. It gives it more of a folksy and authentic feel. I personally feel like it is impossible to overlook this song, it is quite straightforward and ‘simple’, yet deep in its emotional tone.

‘No More Time’ starts strong, as opposed to the previous song. It definitely has a sassier and slightly rock feel to it, supported by the slight tinge of electric guitar in this song. The rhythmic component of the song as well as the cadence of the vocals somehow reminds me of ‘Come Together’ by the Beatles. It does combine elements of swamp rock, blues rock, as well as folk. It definitely is a very singable song that most people can come together (pun surely intended) and groove to. The solo in the middle of the song is definitely the cherry-on-top. It is soulful, it is melodic, and the tone of the instrument used is very funky and psychedelic-esque. Another one of my personal favourites from this album. I like how many genres this song seems to straddle between while still holding down a steady groove, and Jess’ vocals truly shine in this one.

‘Winnebago‘ starts off extremely inviting, also giving a very different thematic contrast from the previous song. The chord structure of the initial melodic acoustic guitar gives off the feel of earnestness and comfort, but in an isolated yet understandable sense. I love the addition of what I think is guitar-based pizzicatos in the instrumentation of the song. Strangely, the piano carries the main rhythm of the song. In another crazy way, I find the tone of the song very similar to Hans Zimmer’s productions- just executed with the elements of other genres like folk. This song is truly inviting and heartwarming, with enough musical variability to excite you in the midst of the emotions of the song. I can definitely see this song being used as the backing track for a movie, or a scene in a film, where two people are having a heart to heart discussion in the midst of isolation. Another song in this album that I think is quite hard to truly ignore.

‘Let it Burn‘ begins with an emotionally jarring piano sequence, supported by the bass guitar and the anticipation of the cymbals. Jess’ vocals oscillate between her typical delivery of smooth gliding mixed with determination. The cadence of the song and the percussion puts me more in the mind of ‘The Kick Inside’ by Kate Bush, more so than the previous track which bore similarities to the album too. The relationship between the drums and the bass definitely carries most of the song, with the vocals layered and going in-and-out presumably to create the effect of an echo. The solo in the middle of the song with the jazz guitar is also quite heartfelt in its delivery, before returning back to the wonderful soundscape of Jess’ harmonic vocals. I highly recommend this song. It definitely has a neo-70s feel to it as well.

‘Simple’, the title track of the album, starts off with a contemplative piano sequence. Like most of the songs on the album, the bass comes in and the rest of the acoustic guitars slowly creep in, wrapping the song up and making it sound whole. The tinge of that stringed instrument also gives the song a metaphorically ‘shiny’ quality, which helps the otherwise pleasantly gloomy tone of most of the aspects of the song. I find those two elements together very wholesome from a songwriting perspective. Another thing I have to praise about this song is how well it is mastered, every aspect of the instrumentation has time to shine without conflicting with each other. In terms of vocal prowess, this track is THE track that display Jess’ ability, with a sustained note. It gives the song more power and determination in its message and delivery. It definitely packs a punch. The choice of vocal techniques in the end of the song also give the song so, so, so much character. I’m not saying it just because it is the title track, but this track is unskippable.

Finally, the album closes off with a track titled ‘Some Assembly Required‘. It starts out very minimal yet maintains a tone of profoundly deep emotion with the piano playing in the background. The star of the song is truly the interaction between the singer’s vocals as well as the piano. It may be minimalistic, but it is quite melancholic and worthy of a listen. It sounds as if an earnest story was unfolding in front of you, as if a Broadway character broke out in song during a time of emotional distress. Quite a nice song.

All in all, even though this album is not one I would usually gravitate to, I am extremely glad to have been given the opportunity to listen to such a sublime piece of art. The album definitely sticks true to its influences and the experiences of the artist, Jess Corbin, but it has enough musical variability to excite you and enough prowess to draw you in further. It is an album that plays and bounces between vulnerability and thematic anthems, which gives it a definite edge in this day and age. It is almost ‘revivalist’ without being corny, or bad in its execution. This album truly feels like what it would be if a proficient folk album from the 60s to the 70s was recorded today, without losing and sacrificing any aspects of the original genre. It feels like a warm hug. I would love for the artist to continue making albums and releases, showing different aspects of the various fields of music they work in intersected with this type of music, it sounds like the vessel for many possibilities to come.

Rating/Excellent – “Simple” is an album that blew me away with how great it actually is in execution. It is a great album that pays homage to the folk sound of the 60s and 70s, but with a such unique character and oomph that it does not even sound dated. The artist is extremely talented from a compositional and vocal perspective. Highly recommended!

[We rank albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

Follow Jess Corbin on

Instagram

Facebook

Official Website

The post Jess Corbin – Simple (Album Review) appeared first on Music Review World.

A notable highlight of the EP is Foster’s rendition of “Chim Chim Cher-ee,” a song made famous by Mary Poppins. However, in his hands, the track takes on a new life, seamlessly adapting to his distinctive style.

The arrangement is a mesmerizing blend of guitar, glockenspiel, and piano, forming an almost eerie musical landscape that evolves as the song progresses. This reinterpretation showcases Foster’s creativity and willingness to push the boundaries of conventional sound.

What sets Foster apart is his knack for infusing each track with a palpable emotional depth. The EP as a whole feels like a contemplative journey, inviting listeners to delve into the intricacies of the human experience.

The interplay between his vocals and the instrumentation creates an immersive sonic experience, allowing the audience to connect with the music on a profound level.

“Sun To Rise” not only cements Foster’s place as a skilled songwriter and performer but also showcases his growth and willingness to experiment with different musical elements. The EP is a testament to his evolving artistry, maintaining a delicate balance between pop accessibility and folk introspection.

Here’s my rating for each song on a scale of (1-10):

Sun To Rise – 5

In Our Moments – 5

Chim Chim Cher-ee – 6

Untitled – 5

Rating/Good – Stephen Foster’s “Sun To Rise EP” is a captivating musical endeavor that expands on the artist’s established style. With a hauntingly beautiful rendition of “Chim Chim Cher-ee” and a collection of thoughtfully crafted original tracks, Foster proves once again that he is a force to be reckoned with in the realm of indie folk-pop.

Follow Stephen Foster On: Instagram

(We rank albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding)

The post Stephen Foster – Sun to Rise [EP Review] appeared first on Music Review World.

The song starts off pretty strong, and packed with a punch. It doesn’t have any room for anticipation, which is an interesting change. Instrumentation-wise, I think this is one of Pandy’s best works- the infusion of what I assume to be a marimba, together with the fiddle and the Spanish-esque acoustic guitar gives it an exciting and complex soundscape. And might I add, the addition of an accordion as well! All these instruments are quite befitting of the theme of the song itself. It combines the songwriting aspect and the genre-based aspects of the song so beautifully. The fiddle: a mainstay of the American folk genre, the accordion and Spanish guitar: a mainstay of regional Mexican music, and the marimba: a mainstay of both Mexican and African traditional genres. I find the use of the marimba in this song insanely apt as it is an instrument with roots in West African instrumentation that was brought over to Latin America and then accepted into their own musical traditions.

Similarly, the theme of the song deals with the Mexican League and its role extending into the American baseball landscape. The main protagonist in this expansion revolves around a man named Jorge Pasquel. Jorge Pasquel was a Mexican businessman who had a familial stake in crucial teams of the Mexican Baseball League and went on to become president of the entire Mexican Baseball League (Mexican League). His strategy was to recruit players from Negro League baseball to play in the Mexican league itself since they were barred from entering Major League Baseball at that time due to a form of racial segregation called the ‘Baseball color line’. Players of black African descent were not allowed to compete in the majority European-descent Major League Baseball at that time. Hence, Pasquel took on the opportunity to vouch for racial equality and opportunity as well as capitalise on their talent by inviting them to play for the Mexican league.

He offered them higher salaries, unique gifts as well as better incentives for transferring to the Mexican league. The reception to this was fairly welcomed, as the players could have an opportunity to display their talent in a proper baseball league, and Jorge could get quality players to fuel his team.

Similarly, I find this historical nugget ingeniously expressed through the instrumentation of the track itself. An aspect of African heritage being accepted and weaved into the fabric of Mexican culture itself. It was done through baseball, and now it is being done through the aspects of musical storytelling. The marimba combined with the Spanish guitar and the accordion truly reflects that.

I also find the fiddle playing quite a dominant role in this song. Ron’s vocal delivery in this song oscillates between his typical storytelling style with that of a cool-cat crooner, which reminds me of Jorge’s bombastic personality. It sounds almost as if Jorge is telling the reality of what came of his actions, in an ‘I-told-you-so’ manner. From a vocalist’s perspective, this is pretty fascinating as it brings the story to life. Once again, I think all of his songs should be put into animated-style stories. His music just gives off that feel for me.

The instrumentation and musical variability in this track is quite beautiful. Each instrument has its time to shine in various solos throughout the song. It has a very strong, regional Mexican flair with the addition of shakers as well. If I had one word to describe the instrumentation, it would remind me of the concept of ‘pride’. Not in a bad way, not in a bombastic way, but in a musical manner. Each instrument is strong, influential, and melodic. The choice of background vocalist in this song is also excellent, with her accent and sharp delivery sharpening out Pandy’s calmer delivery. Cutely enough, the song ends in a ‘cha, cha, cha’ syncopation- true to its Mexican tale.

Here are the lyrics to the song:

Back when baseball was in its heyday

The Mexican League had style

All the great Negro League stars

Went South to play for awhile

They were paid twice as much

Could come and go as they please

There’s freedom South of the border

Down in the Mexican League

‌

Like hot tortillas from Rosa’s Cafe

They were welcome everywhere

People wave and cheer Ole!

When they pass by the village square

They say here in Mexico I am a man

I can be who I want to be

There’s freedom South of the border

Down in the Mexican League

‌

There was mighty Josh Gibson behind the plate

Satchel Paige on the mound

Wild Bill Wright was running wild

Cool Papa Bell won the triple crown!

‌

They ran like the wind with grace and style

Real baseball to the core

All the fans cheered and stomped their feet

Like they never had before

They were celebrities from a foreign land

And treated like royalty

There’s freedom South of the border

Down in the Mexican League

I Libertad all sur de la frontera

Ah bah ho en la ligia Mexicana

Down in the Mexican League

Down in the Mexican League

All in all, this song was a pleasure to interpret. It is smart, clever, and ingenious in its songwriting and production quality while also being direct in portraying the message and historical storytelling it intended to deliver. The aspects of instrumentation coyly matches up with the theme of the lyrics. The solos in each instrument add a melodic quirk to each measure of call-and-response, also making it a dynamic track. Highly recommended.

Rating/Excellent – Once again, Ron Pandy hits the spot with his niche in the music world. A combination of storytelling and interesting instrumentation, with nuggets of historical advancements interweaved into the music. This track is no exception to his body of work, upholding the standard that he keeps and attains steadily with each release.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

Follow Ron Pandy on Facebook

Visit the page on Reverbnation

The post Ron Pandy – Mexican League (Single Review) appeared first on Music Review World.

Oh, Ron Pandy. Every new single from him is like a new chapter in a history book- the bible of American baseball intersecting with quaint, and interesting social commentary as well as moral quips and lessons to take away from. I have written extensively on my evolution in perceiving his genre, as shown in this article and this article. His ingenuity and skill in writing folk songs have totally turned me, a typical Gen Z listener with a certain cultural slant towards not even gravitating towards folk music, into a huge fan of his. His music reminds me to slow down, and appreciate the past. In an ever-changing and constant world, information is constantly bombarded towards you. Not only that, even if information is bombarded towards you, the seemingly endless flow of information could still be contained in a bubble prone to biases. His music transcends any kind of musical preference or bias, to me. It truly is that universal.

In today’s review, I will be analysing his single, ‘The Legend of Charles Victor Faust’. Click here to listen to it.

The single centres around a man named Charles Victor Faust, and the zeitgeist of his prime- the year 1911, to be exact. The year 1911 marked an exhilarating time in the American ethos, as it encouraged zany and risk-taking individuals and gave them a platform in each of their respective fields. In this context, Charles Faust was an American Major League Baseball (MLB) player. However, what makes his story distinct, was that he was not bred or initially started off as someone who had a stake in baseball- in fact, he approached the manager of a baseball team himself. When he approached the manager, he then made the bold claim that he would be able to help the New York Giants earn the championship title. The manager gave him a chance, due to his own superstition, and low and behold- he did it.

In fact, he’d earn the title of a ‘lucky charm’. The team had a winning streak due to his presence, and the streak would be broken every single time he wasn’t there. Even though his novelty soon wore off, this was never seen before in baseball history. Ron Pandy, in his distinct creativity of merging baseball history with musicality, took on this story and decided to let it unfold in this single.

From a music perspective, this song has much more unique instrumentation compared to the rest of his songs. It starts off quite upbeat for a folk song, and has multi-instrumental properties: various types of guitars playing at the same time, as well as bass instrumentation. The choice of notes initially has a ‘sassy’ twang to it. It almost puts you on an ‘up and down’ journey as well, similar to the peaks and lows of Charles’ life.

Ron’s voice is definitely more animated in this particular song, with his vocals graduating from the initial grandfather croon he typically has to that of a quirky storyteller. He almost reminds me of an animator of a period animation film. In this particular song, it helps to elevate the storytelling feel. There also are multiple notes of saloon-esque pianos playing in the background, adding to the novelty of the song and also helping build an early 20th century feel to the song. It really fits the theme well, as it appears occasionally, almost stylistically. In some instances of the song, there is a ragtime and soul tinge to the piano.

There are interesting sound effects in the middle of the song, as well as a feel of playful tragicomedic doom. I like how the tempo of the song stays pretty consistent throughout the storytelling, as it also musically leads to a groove. This song truly is unexpectedly groovy. The guitar also adds a semi-Spanish flair throughout the song, even though its intent is possibly to sound more homely.

Musically, this song is pretty quirky, innovative as well as interesting. It is a very classic ‘Ron Pandy’ soundscape.

Here are the lyrics to the song:

Baseball players are superstitious there’s voodoo in the air
Couple of hits in the ball game they won’t change their underwear
They’ll trust their fate to good fortune no matter the cost
And the greatest good luck jinx of all was Charles Victor Faust

It was the summer of 1911 when a lanky lad off a Kansas farm
Offered Giants manager John McGraw the service of his right arm
A fortune teller told Charlie if he pitched for the Giants they’d win the pennant
So McGraw gave the kid a tryout and his abilities soon became apparent

He had a triple windmill windup something you only see rarely
And his fast ball could break a pane of glass ……… but only just barely

McGraw had him run the bases in his Sunday suit coat and tie
Flopping on one ear or the other each time that he would slide
Like an ice truck with the doors wide open he slid into third
With all the grace of falling off a trolley car backward

McGraw had him sit on the bench that day sure enough the Giants won
Just like that they offered Charlie a uniform to try on
The Giants went on a hot streak winning 8 games out of 10
With Charlie behind the right field fence warming up in the bullpen

Now back then fans came out early chug a few beers have a few laughs
Watch the players warming up maybe get a few autographs
And the star of the show was Charlie with all his pregame antics
He even had his own cheering section the Kansas Zephyr fanatics

The other teams joined in the fun they had him run the bases
They let him pitch some batting practice Charlie always came up aces
Even the legendary Honus Wagner couldn’t buy a hit off the kid
No one in the park believed it was real but Charlie did!

So they told him he could pitch the ninth inning
If the Giants led by a 20 to nothing tally

2 outs on the scoreboard

The bases are empty

The pitcher’s coming up to bat

They’d bring Charlie in to stop the rally!

The sportswriters all loved Charlie they’d chronicle his daily escapades
Wasn’t long before Broadway called Charlie to the vaudeville stage
For a 25 cent ticket 6 shows a day
Theatregoers heard McGraw’s Dark Horse explain the intricacies of the game
He’d pantomime Christy and the Big Train and all his fellow baseball stars
Show ‘em that old triple windmill windup spin a few baseball yarns
But the Giants were losing on the road so when they got back to New York
Charlie knew the team needed him he cut his vaudeville career short

Well the Giants went on to win the pennant Charlie was the reason why
Then he disappeared from the limelight like a shooting star across the sky
He went out west to find Lulu the fortune teller he adored
But his wedding plans went astray and he wound up in psychiatric ward

Now the moral of this story a lesson we all should learn
Live life to the fullest you never know when it’s your turn

If you listen to the song, you’d realise that this song very cleverly condenses the trials and tribulations of Charles Faust’s life and the message he wished to convey from it. I find this immensely innovative as I think as a songwriter myself, it is rare for a song to be factually biographical but also capture the attention of the listener and the reader. Pandy has a way with biographies and connecting it with his soundscape without it necessarily sounding cheesy.

At the end of the day, the last lines of his songs always end with a subconscious message to take away from it

Now the moral of this story a lesson we all should learn
Live life to the fullest you never know when it’s your turn

Had Faust not taken the chance of pitching himself, (pun intended), even if his life led to the ultimate low in the end, he still made his impact- being remembered by sound, today, and for generations to come.

Rating/Excellent– ‘The Legend of Charles Victor Faust’ is an interesting song that conveys the life of someone whose stars literally aligned because they took the chance to do so. In Ron Pandy’s signature manner, it fulfills the task of relating a story with a folk soundscape that is competent and creative.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

Follow Ron Pandy on Facebook

Visit the page on Reverbnation

The post Ron Pandy – The Legend of Charles Victor Faust (Single Review) appeared first on Music Review World.

In today’s forage into the Pandy-verse, we will be analysing the his latest release, ‘Wild Pitch’. In his signature style, he manages to capture you with a captivating tale of American history mixed with social commentary. His songs make me look beyond my personal scope of favouring instrumentation and production over lyricism and the meaning of lyrics, as I find that analysing music purely linguistically eviscerates the rest of the components available that can give light to a song. However, with his historical and ingenious slant, as with the writing traditions of folk music typically focusing on lyrics itself, this review makes me rethink the utility of lyrics as well. It simply isn’t enough to start and stop at analysing the instrumentation.

The instrumentation for this song starts off in a signature, warm folksy tone, but with an added quirky-ness to this. I find that the added quirky feeling to the instrumentation helps to accentuate the main character of the song, none other than William Ellsworth “Dummy” Hoy. Colloquially referred to as simply ‘Dummy’, Dummy Hoy was an established and stellar American center fielder in Major League Baseball (MLB) in the late 1890s to early 1990s. However, he was no ordinary baseball player- he accomplished all of that while being deaf and mute, leading to his nickname, ‘Dummy’.

Similarly, the quirkiness of the song pays homage to the juxtaposition of his nickname in a very subconscious, aural fashion. Be it intentional or not, I find it genius. Moreover, Dummy intended to own his nickname. He’d often reject anyone attempting to refer to him by his actual name, embracing his nickname.

I like the accent of the initial violin when the track starts. It gives a homely flair to the song, while the bass accompaniment oscillates in a virtual up-and-down syncopation. I’d like to think the bass was a stylistic way of also paying homage to Dummy Hoy’s tribes and tribulations, and ups and downs to get to where he was. Overcoming his struggles but also, accepting his struggles to overcome them in the first place.

Oddly enough, I find the acoustic guitar licks of this song very familiar to me. One may not bear the comparison quickly, but it does resemble some Melanesian and West African guitar licks too. Just thought that the comparison was quite cute, that it could work in a folk song but also a Wizkid song.

The call and response between the violin and the guitar shines in the bridge of the song, displaying the players’ agility. It also serves as a metaphorical crux to Dummy Hoy’s career, and a homage to glory in of itself. It reminds me of a musical version of an ice skater gliding through the hard exterior of ice. Quite beautiful, if you ask me.

Pandy’s voice’s wraps the song in his distinctive style, in a grandfatherly-like croon. His voice gives a whimsical yet intent feel in portraying Dummy’s story to the listener. The lyrics of the song go as such:

William Ellsworth Hoy was born in 1862
He went to school for the deaf and blind
Made a living repairing shoes
But his true love was baseball
Although he could not hear or speak
Against all odds that Ohio farm boy
Made it to the major leagues

Dummy Hoy stood only 5 feet 4
But he was fast as the wind
He was lightning in the outfield
Catch that ball twirl and spin
He was every pitcher’s nightmare
He’d steal second he’d steal third
And he played that way for 15 years
All alone in his own world

Now Dummy could not hear the umpire
Was he safe or was he out
So they started using hand signals
To tell him of the count
So the next time you see an umpire
Wave foul ball! Or that’s a hit!
You can thank William Ellsworth Hoy
That was all for his benefit

Now when Dummy made a great play
The crowd would stand in awe
They’d wildly wave their arms around
That was Dummy’s special applause
He threw out 3 runners at home plate
And that was all in the same game
Why that’s a major league record that stands today
He oughta be in the Hall of Fame

We all have a special gift
It’s there in us all
Dummy found his running all around
Chasing down a little white ball
Between the lines of sound and time
Foul ball or fair
When Dummy Hoy played baseball
There was magic in the air

Now some folks get down on life
Everyday it rains
They use excuses as reasons
That reason cannot explain
So whatever’s your particular ailment
Whatever’s going on in your head
Turn a deaf ear like Dummy Hoy
And never listen to what is said!

The lyrics of the song really put into perspective Dummy Hoy’s stories, achievements, tenacity as well as draw you in and compel you to find out more about who he was himself. I found myself reading more about Dummy Hoy himself after listening to this song, and I hadn’t the slightest clue on who he was before listening to this song.

Even besides the biographical and storytelling aspect of this song, it portrays sheer writing ingenuity with the way it rhymes and the message of the song itself displayed in the last few lines:

So whatever’s your particular ailment
Whatever’s going on in your head
Turn a deaf ear like Dummy Hoy
And never listen to what is said!

Tenacity overrides all.

Rating/Excellent  – ‘William Ellsworth “Dummy” Hoy‘ is a song with much more instrumentational variation and complexity than his previous releases, while also delivering the signature Ron Pandy charm in informing you of exceptional people, as well as mixing that with the lexicon of baseball as well as growing the charm of folk music in this day and age. I am glad to hear any of his releases at this point. I highly recommend this artist to broaden your horizons and knowledge.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

Follow Ron Pandy on Facebook

Visit the page on Reverbnation

The post Ron Pandy – William Ellsworth “Dummy” Hoy (Single Review) appeared first on Music Review World.

Simply, because of how it seems to tell a story frozen in time. Almost as if it were an old pantomime, retold for generations to come. Songs in this particular genre have a way of being a time capsule! It may not match the hyper-futurism or production of songs I’m generally used to, but I think the best way to truly evolve is to expose yourself to forms of art, or even genres of music, that you’re not typically used to. It is an art form in the rushed medium of time, as we grasp ourselves while taking note of how much quicker the second row of the clock runs.

In today’s article, we will be reviewing ‘Bloomer Girls’ by Ron Pandy. As a person who never usually analyses lyrics in conjunction with instrumentation, this song challenges the boundaries of my limits. To be fair, I don’t deem most lyrics very educational or informative, however, this song paints a story that is quite interesting and historically factual.

However, Ron Pandy is extremely unique as he interweaves the terminology as well as the phenomenon of baseball as a lens to America’s evolving moral and social climate. Interestingly, he mixes particular social ills such as racism, misogyny, and mental illness, and addiction- known human vices- with the latter. This leads to something that I’ve truthfully never seen before in terms of songwriting and gives him an edge. As someone who isn’t necessarily part of the social consciousness of this aspect of Americanism, it makes me feel as if I can understand the history and evolution of it- through Pandy’s sheer ingenuity.

As for the instrumentation, it starts with very warm and inviting folksy/country chords and riffs. It paints the picture of quaint, essential ‘America’, where people come together and there is no divide. The bass and the melodic guitar give the song the accent it needs, with character as well as slight melodic variation. I must admit, though, there isn’t too much going on in terms of music production.

The real star of the song is the singer, Ron Pandy, coming in with a twang to his voice, as well as that of a ‘grandfatherly’ wisdom. He then sings the lyrics, transcribed below:

Roll out the red carpet
Strike up the band
The Bloomer Girls are coming to town
They’ll outplay any man

It was the early 1900s Baseball’s at a fever pitch
The Bloomer Girls train rolled out they were out to make it rich
From the eastern seaboard to the prairie towns of Kansas
They carried their own ballpark fence and a grandstand made of canvas
And they’d challenge all the men’s teams to a game win or lose
In their Turkish style harem trousers and high button shoes

People came in from the city they came down from the farms
Women dressed their Sunday best their menfolk on their arms
And in a game of skill and guile the men often took the loss
Their wives cheering for the Bloomers to show the men who’s boss
For women could not vote could not own land in their own name
The Bloomer Girls are here to say those laws will have to change

This song contextualizes the ‘Bloomer Girls’, an All-Star women’s baseball team from the early 1900s. They paid homage in name to a particular woman named Amelia Bloomer, who was a newspaper editor as well as a women’s rights advocate in the late 1800s. Her newspaper was somewhat of a vessel for the Women’s Suffrage movement- a movement meant for women to achieve their right to vote. She also normalized pants in terms of women’s fashion, as a pioneer of the ‘skirt-pants’ combo that bore similarity to certain Turkish and Western/Central/South Asian pants, known today as bloomers.

As the song implies, they would travel across the country by train, carrying a ballpark fence and a canvas grandstand, challenging the men’s teams. They ingeniously did this, tying their whole brand and motive to the women’s rights movement in context, as well as changing the direction of American sociocultural politics.

All in all, I appreciate this song’s existence. As someone from Gen Z, living and breathing influences that may not have been possible even 10 years ago, this song’s style as well as its lyrics puts me in a trance in imagining the past. We forget music styles as well as events in history that lay as the precedent to the wealth of information as well as possibilities that we get to navigate through these days. The more I listened to this song, the more I liked it, even if it was the complete opposite of my typical repertoire of music.

Rating/Good  – ‘Bloomer Girls’ is an intriguing song, that will give awareness to genres of music and social events that younger listeners may not even be aware of. It is warm, innovative, and pays homage. True to the genre of folk, and the spirit of folk, as is.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

Follow Ron Pandy on Facebook

Visit the page on Reverbnation

The post Ron Pandy – Bloomer Girls (Single Review) appeared first on Music Review World.

Trouble For Another Day is billed as a “home demo”. It’s a collection of leftovers from Jeremy Hilliard’s main project PEAK, his 8th to be precise, and yet it sounds anything but throwaway. Immediately, the tightness, confidence, and slick production are evident on the opening track ‘And We Said Goodbye to Ourselves’. Despite being entirely recorded, mixed, and mastered by the artist on a laptop, the album is highly polished; avoiding lo-fi as both a stylistic choice and as an excuse. The instruments sound very close and panned in a way that you feel you’re in the room with the musicians.

Jeremy’s vocals are weary and knowing, meandering through the instrumentation while being coddled in soft harmonies. Stylistically, songs such as the opener and ‘Body of a Man’ fall into the realm of The Band and late-period Beatles with a layer of Wurlitzer and bluesy guitar lead firmly planting it into a time and period of yesteryear, albeit with pristine, modern production.

However, Jeremy is not afraid to forgo this in songs like ‘Ghost of Greyling Street’ where the band ventures into atmospheric, high-tempo numbers with dancing drums and blossoming, washed-out guitar work. Compelling lyrics add to the mystery, singing from the perspective of a ghost inhabiting a house that was close to a drunk driving incident. He sings

“I’ve been the sole occupant since ‘06

But they marked it abandoned because I don’t exist”

It’s a welcome change from the other brand of lyrics that Jeremy primarily pens on this album, which tap into the typical folky cornerstones of alcoholism and domestic issues. Songs like ‘Mr. Wish-I-Could-Do-It-All-over-Again’ walks a line between parody and sincerity that is hard to take seriously or enjoy in jest with lines like

“I lost my ex to a sergeant in the U.S Marine Corps

And my business and house to tequila and divorce”

I was left with a desire for more personality in these kinds of songs. With such a strong voice and backing band Jeremy could elevate the songs with less clichés.

And yet, he surprises the listener again as ‘Lay Down Like Lovers’ brings a smooth, cool funk verging on the fringes of jazz harmony ever so slightly with an evident Steely Dan influence. It’s a sublime composition and easily a standout in the album. Perhaps that’s the crutch of such eclecticism; for every high point of energy and great songwriting, there is an equally mundane aspect that could be more with less commitment to genre expectations. Take the world within the ‘Ghost of Greyling Street’ for example. The compelling and unusual lyrics paired with an accompaniment of the great musicianship on show create a solid song. If only others like ‘Too Much of Everything’, could use a creative and quirky premise rather than a tired cautionary tale of taking too many drugs that stands incongruous with the tone of the album’s music.

By Jeremy’s admission, it is a compilation of home demos. While there is nothing inconsistent about the quality of music, it would benefit giving the lyrics just as much care.

Below is a rating for each song on a scale of 1-10:

And We Said Goodbye to Ourselves– 6

Body of A Man – 4

American Blue – 5

Ghost of Greyling Street – 8

Swallowed by the Jungle – 3

Mr. Wish-I-Could-Do-It-All-over-Again – 2

Beautiful Reason – 6

What Kind of Person Are You Anyway– 4

Doin’ the Heavy Liftin’ – 2

Lay Down Like Lovers – 9

Too Much of Everything – 4

I Don’t Mind the Rain – 7

Arc of Night – 7

Rating/Good – Trouble for Another Day is a strong set of songs that aren’t afraid to swerve in unexpected sonic directions. However, the themes and lyrical content are less willing to stray out with expectations. That being said, Jeremy and the backing band provide excellent tight performances of well-crafted, if predictable, folk-rock tunes.

Follow Jeremy Hilliard:
Instagram
Twitter (X)
Facebook

[We rank albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

The post Jeremy Hilliard – Trouble for Another Day (Album Review) appeared first on Music Review World.