To a non-American, Papa Satch’s music is like the taste of a world that I am aware of through the music of Bruce Springsteen and Tom Petty, among others. A world home to a warm energy that makes you want to get up and do. It’s a feel-good, blue collar spirit that is already running through your pulmonary system by the 2-minute mark of opener ‘I’ll Be There (Remix)’. The song gives way to a tom-heavy pre-chorus perfect for the crowd to clap along to. Bob’s voice carries the aforementioned sentiment well too; it’s infectious and you can almost hear the grin in his delivery.

The third track ‘Train (Want to Say)’ pulls off a deft combination of elements, with the observational commentary of Simon & Garfunkel and epic instrumental phrases wrapped around an emotional core. As Bob sings of the ironic social isolation of public transport, the guitar and synth retort in unison with massive arpeggios of grandiosity. It’s the band’s sonic equivalent of an ancient Greek temple façade with columns rising high, dwarfing the neighbouring songs. It’s a standout moment in the record, emotionally and musically.

‘Where I’m Going’ brings in stronger 80s influences with Brian Adams and Don Henley-esque guitar phrases complimenting the panned vocal refrains that phase in on the chorus. You won’t forget the name of the song anytime soon as you sing along. Then, the band continue in this mode on ‘There You Go (Remix)’ as Bob’s voice and Steve’s guitar compete for dominance; the latter slathered with a helping of that 80s chorus effect you know and love from so many songs of the era. The subtle keyboard work by John is especially on-point with organ, piano, and bell sounds elevating the track to a meaty, epic number.

In a different 80s direction, ‘Already Know (Remix)’ dials up the joyous pop of Katrina & The Waves. The snare is so nicely washed in reverb, that you’d be forgiven for thinking the track is from the decade it so nicely recreates. Playful, synthetic marimba and horn tones and a pop-tastic tambourine only make the song even more enjoyable. You can hear the band having fun on this one.

READ : Papa Satch: Tell Me in a Whisper (Album Review)

The pace slows down as the album progresses, the band introducing a ballad in ‘Walk Alone’ midway through. The instrumentation is less effective here as they emulate an emotive, Aerosmith break-up piece. Tonally, this song feels isolated on the album with its minor key, lethargic speed, and long run-time at 5:31. While it is produced and performed well, it feels like it’s on the wrong album.

Papa Satch’s forte is in that feel-good, uptempo country-rock that they started the album with. And happily, they return to it in ‘Dreams’. It’s a comfortable jaunt into familiar territory as the crunchy but loose guitar, Bob’s echoing croon and tight harmonies remind you of the charm of earlier songs on the album.

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

I’ll Be There (Remix) – 8

Waiting on a Sunny Day (Remix) – 7

Train (Want to Say) – 9

Where I’m Going – 8

Already Know (Remix) – 8

There You Go (Remix) – 6

Walk Alone – 3

This Land – 6

Dreams – 7

Sent Me Reeling – 7

Rating/Excellent – As the band rounds off the album with ‘Sent Me Reeling’, I recall my initial thoughts of the first track; the feeling of warm energy running through my chest willing me to get up and do something. I am not American, but I can happily buy into Papa Satch’s world of star-spangled sonic touchstones when they are going full-force in broad stroke chords and bluesy pentatonic riffs. It’s feel-good music that hits the spot.

Follow Papa Satch:

Instagram

Twitter (X)

Facebook

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

The post Papa Satch – Waiting on a Sunny Day (Album 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.