When passion, discipline, and talent collide, the effect is combustible. Few releases in recent memory demonstrate that better than Rob Alexander’s mammoth 2023 pop masterpiece Young Man’s Eyes.

Anyone who has followed Alexander’s journey up to this point knows that he’s been building to this moment. His preceding releases are noteworthy efforts in their own right and each new collection has engineered a near quantum leap from its predecessor. However, the baker’s dozen worth of tracks on Young Man’s Eyes is a watershed deserving of the Album of the Year award for multiple reasons.

He manages to convincingly be all things to all listeners. Young Man’s Eyes doesn’t depend on the heartfelt balladry that Alexander has produced with such singular skill but instead serves up such moments alongside biting rock, kaleidoscopic pop, challenging arrangements, and an elastic sense of the possible.

Another reason is that Alexander is truly his own artist, at last. Young Man’s Eyes successfully assimilate his influences in a way its predecessors don’t always manage, filters them through his consciousness and personal experiences, resulting in songwriting and performances with no clear-cut antecedent. He owns the moment, and it is his alone.

(2023) ALBUM OF THE YEAR – Rob Alexander “Young Man’s Eyes” (LP)

His taste in collaborators pays off handsomely. His duet with longtime respected vocalist Gigi Worth on the album’s first single “Get Over Yourself” served immediate notice that something special was in the offing. Alexander, transformed, made it clear that playtime was over and he stood ready to confront listeners in ways previous material never broached.

Accomplishing this while maintaining a thriving medical practice is another feather in his cap. Despite laboring under extraordinary demands on his time, Rob Alexander’s Young Man’s Eyes never feels or sounds rushed. He sounds like he began the recording process hearing a specific sound in his head for each of the thirteen songs and attacked nailing each performance with a sense of purpose bordering on fanatical. There are no missed opportunities.

It is extraordinarily rare to hear an album, especially in the pop realm, where you perceive no identifiable holes. Recruiting top-notch musicians to help him realize his musical ambitions serves Alexander well, but the alumni from Elton John’s touring band and other guest stars aren’t present because the check cleared. They’re here because they believe. They hear the glorious sound that escapes Alexander when he opens his mouth to sing and they want to be a part of his journey.

It is a journey that is far from over. Young Man’s Eyes, however, is far from just another mile marker on that voyage. It’s a seminal moment when a splendid butterfly emerges from its cocoon and takes flight through the air. It’s that spectacular moment that music devotees are familiar with when it all comes together for a band or solo artist.

It’s a no-brainer to bestow Rob Alexander’s Young Man’s Eyes with IndieShark’s 2023 Album of the Year award. It has been a long time coming, but the best part is that he isn’t done. We may do this many more times before the book closes on this career. We say, bring it on.

Read my original review posted back in July 2023: https://indieshark.com/awards/pick-of-the-week/rob-alexander-young-mans-eyes-lp/

Once again congratulations to Rob Alexander for his amazing Album “Young Man’s Eye’s”#robalexanderalbumoftheyear

Vincent Covello’s new album, Torchlights, dropped on Friday, August 2. Unapologetically independent in terms of its understated campaign, and widespread, digital release, Covello’s album is an alternative to the mainstream music releases. Increasingly, established mediums in various fields of entertainment – particularly film, television, and music – are facing something of a reckoning, and a consequential, unstoppable game change. If the strikes in film world are any indicator, or campaigns by artists like Taylor Swift to benefit from streaming versions of their work, the web has essentially crushed the exclusive vice entertainment behemoths and juggernauts have had on commercial monopolization.

WEBSITE: https://vincentcovellomusic.com/

Platforms like Spotify, Apple Music, YouTube, and personalized website builders have changed the game – Covello navigating this gulf with considerable skill. This is because he is both of the establishment, and a prime utilizer of what’s unfurling on the ground. With ties to Warner Bros. Records, and a key instigator of BT’s hit single Loving You More, he’s been in the music industry for more than nineteen years. Yet in realizing his own with Torchlights, it feels as if Covello is sort of going back to basics, freeing himself from the shackles of any corporate titan or mid-level manager and working with people who genuinely appreciate creative expression.

“Currently, Vincent has returned to his artistic singer-songwriter roots with an adult contemporary, light jazz album titled Torchlights. After losing his parents and brother in 2020, he created this album in their honor. With Universal Music Group producer/artist Don Miggs, the Jim Riley band, orchestrator Andrew Joslyn, saxophonist Michael Lington, and writer Victor Migenes, an epic force was created with Vincent’s original standards, taking you on a journey of life, love, and loss in an emotional triumph of music through his voice and songs,” he proclaims via his personal website, Vincent Covello Music.

Torchlights truly reflects these sentiments, and lives up to the clear intentions Mr. Covello, Mr. Miggs, and their creative collaborators decided upon. As its euphemistic title would suggest, Torchlights explores some of the darker and more rich aspects of the adult versions of love, heartbreak, and relationships. Covello’s voice isn’t perfect, it isn’t entirely refined, but it’s completely evocative and immersive – coupled with dynamite, fire lyrics to boot. Unlike a lot of singers today, stuck on catchy hooks and the peripherals of ideas, Covello tells a story in each of his tracks. Cry’n Eyes, Time Plays Us All, Blow Your Mind, and The Next Life are examples of real writing, episodic in nature, and displaying a surprising versatility in expression while still being thematically linked under the overall focus of the album.

It really does feel like a coming home, in a sense, even though I don’t know Mr. Covello as a creative collaborator personally. You get the sense Mr. Covello genuinely feels free with the people he’s working with. He’s been in a position to understand what it is to work under the albatross of corporate oversight, and perhaps that contributes to the passion project earnestness with which Torchlights is imbued.

All I can say to that is, well played sir. Your efforts have paid off.

Mark Druery

Louis, thank you for agreeing to speak with us. Can you share with our readers what this project is about?

Louis Siciliano (LS): Thank you for having me here! I am excited to share this moment with all of you. I am currently in the studio working on a very ambitious album that will keep me busy for the next two years. It is a work that will allow me to explore new musical territories and create something truly great. I have the privilege and honor of working in a trio with the fantastic percussionist Giovanni Imparato and the  great master of the tenor saxophone, Umberto Muselli. Two wonderful Artists!

That sounds very interesting! Can you give us a sneak peek of what we can expect from this project?

LS: Certainly! I can tell you that I am pushing the limits of my creativity and experimenting with new sounds and musical languages inspired by MUMEX (Music Multiverse Exploration), the meta-language that I have invented. I want to create an engaging experience that conveys authentic emotions. It is an instrumental album that is dear to my heart, and I hope that my fans can feel all the love and passion that I am putting into it.

Fantastic! We know that there are artists you would like to collaborate with. Is there anyone in particular that you would like to involve in this project?

LS: One of the artists I have always wanted to collaborate with is Roger Waters. I admire his talent and his commitment to conveying powerful messages through music. It would be a dream come true to work with him one day and combine our artistic visions to create something truly unique. As for the new album, which will contain 20 instrumental tracks and is a sort of summary of my artistic journey, I am very focused on the trio and do not foresee any guest appearances, at least for now.

Speaking of your creative process, Louis, what inspires you when you create your music?

LS: My inspiration comes from many different sources. I can be inspired by a personal experience, a book I have read, my studies in cosmology and cognitive theories, or even a simple walk in nature. I always try to capture sincere emotions and convey them through my music. It is a very personal process, and I strive to make each of my instrumental compositions authentic and meaningful.

You mentioned that you are exploring new musical genres in this project. Can you tell us more about this exploration?

LS: Certainly! I have always loved experimenting with different musical styles, and in this project, I am pushing the boundaries even further. I am blending elements of jazz, afro, contemporary music, electronic music, and world music influences into a new captivating Cosmic Sound that someone has described as Quantum Music.

We know that the creative process can be both rewarding and challenging. What are the main challenges you are facing in the studio?

LS: One of the main challenges is finding the balance between experimentation and artistic coherence. I want to explore new musical territories, but at the same time, I like to maintain my identity as a Synthesizer Artist. I work a lot on trance states to bring forth strong intuition during performances, even in the studio. I believe that exploring the right hemisphere of the brain through sound is the most exciting journey of my research.

Let’s talk about the messages and themes you intend to address in this project. What would you like to communicate through your music?

Louis: One of the main messages I want to convey is the importance of staying authentic and true to oneself. Not to be fooled by the marketing of the ephemeral! I want to encourage people to follow their passions and not be afraid to express their individuality. I think it is essential to embrace one’s uniqueness and find the courage to be oneself in a world that often tries to homogenize and financially enslave people. Furthermore, I want to address social and environmental issues. I am very sensitive to issues related to social justice, equality, racism, world peace (a crucial issue for all of us that I feel strongly about), and environmental sustainability. I hope that my music can inspire people to reflect on these themes and take action to create a better world.

It’s fantastic to know that your music also has a social impact. Do you plan to actively engage in causes or organizations that support these themes?

LS: I would like to use my artistic activity to raise awareness and support the causes that are close to my heart, but also to heal people because Music is the most powerful medicine for the Soul, a great therapy that makes the bright side of each of us shine. I firmly believe that music can be a powerful tool to spread peace, respect, compassion, and encourage positive change on our wonderful planet that we are recklessly devastating. I want to actively contribute to making a difference by using my music to inspire and uplift others. I am considering collaborating with organizations that align with my values and support social and environmental causes. Together, we can create a collective impact and work towards a better future.

I:  What will you do after recording this album?

LS: Looking ahead, after completing the recording sessions with this fabulous trio, which will take at least two more years of work, I plan to go on tour with Giovanni Imparato and Umberto Muselli to share our music with audiences around the world. I would like to create an engaging and memorable live show that allows people to have a profound experience during our concerts.

Thank you so much dearest Louis for everything.

LS.: Thank you for the opportunity to talk about this important Album for me. I deeply appreciate the support from Indieshark and its readers. I hope that my music can touch people’s hearts and bring some peace and light into their lives. Thank you again, and see you soon! I would like to thank all my loved ones and the people who support me every day, especially the renowned writer June Di Schino for strongly supporting the creation of this album.

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

End of Interview

Luke Harrison has just released his new holiday single “Last Christmas” made famous by the British Pop Duo Wham.

“Last Christmas” is the follow up single to Luke Harrison’s Billboard Charting single “Make Me Better,” which also reached No. 5 on the UK, USA & Canada iTunes Pop Charts.

Luke Harrison is currently working on three new singles showcasing his vocal prowess and versatility. With his skills as a multi-instrumentalist, playing piano and drums and percussion Luke brings a unique, experienced, and well-rounded approach to his music.

In March, Luke showcased his talent performing at Unity Day LA in Los Angeles, and from 2020 to 2022 Luke was the lead vocalist in Creative Generation Spectacular at The Brisbane Entertainment Centre which was broadcast throughout Australia on Network Ten.

Luke has starred as the lead role in various professional musical theatre productions including The Sound of Music, Mary Poppins, Oliver, Strictly Ballroom and We Will Rock You.

Luke has performed The Australian National Anthem at many significant events and stadiums. In 2021 at the Queensland Governor’s Swearing In Ceremony at Parliament House, in 2019 and 2022 opening The Royal Brisbane Show and in 2019 opening The World Swimming Trials. These events were televised on Channel 7 allowing Luke to reach global audiences with his remarkable voice and talent.

Luke performed at the Closing Ceremony of the 2018 Gold Coast Commonwealth Games, an event that was televised worldwide. He was also chosen to record The Queen’s Baton Relay Song for the Opening Ceremony and served as a judge on the Junior Eurovision Song Contest, providing guidance to young aspiring artists.

In 2023 Luke was accepted into the University of Southern California, Berklee School of Music, and New York University. However, he has decided to continue pursuing his professional music and acting career.

Luke’s ultimate goal is to unite people worldwide with the gift of his music, acting and performing. His talent, passion and drive make him an artist to watch as he continues to make an impact in the industry.

Follow Luke Harrison on Instagram – @lukeharrisonofficial to stay up to date.

Stream “Last Christmas” by Luke Harrison on Spotify here:

The official website for Luke Harrison may be found at https://lukeharrisonperformer.com

When you get the energy flowing with as much panache and efficiency as indie syndicate Cedars does in their new single “Empire,” it’s a decent likelihood you play alternative rock the right way. The frills, the fluff, and the ridiculously fat tones that we used to get away with some ten years ago have no place in the genre now; instead, the tightness and efficiency of first-gen punk rock are here to stay, and this band has no problem living up to that standard. “Empire” plays and sounds like something out of the late rock n’ roll handbook in the sense that it’s comprised of as little as possible, and yet packing so much intensity it could put the competition out of business.

INSTAGRAM: https://www.instagram.com/cedarstheband/?hl=en

This chorus is arguably too heavy on the beat to sound light and poppy to audiences, but its structure is absolutely something ripped from the classic American songbook. Again, efficiency is the name of the game in “Empire,” and I don’t think that Cedars would have been able to make this song happen without rejecting the conventionality of indulgence so common among their peers. The guitar parts get a little excessive towards the climax of the song, but all in all the instrumental framing is almost as straightforward and unremarkable as the lyrics and vocal delivery are, which is far more a compliment than anything else. This band makes recording look like a real passion project instead of something all of the well-to-do are engaging with these days.

Production quality can’t save a bad song from itself, but it can certainly bolster the details of a good one in the best-case scenario, and the latter is true of “Empire.” Though polished like a pop single, this is a song that doesn’t have the natural shine a lot of mainstream content does, thus making its dirtier elements some of the most well-spotlighted of any in this mix. There’s no denying that Cedars take every step of the recording process seriously, and if they didn’t, they wouldn’t have put the work into this single that they did, especially given the way the market has been treating most of the puritan rock music to have emerged from the underground in recent times.

You don’t have to be a rocker to appreciate “Empire” and the heavy musicality it’s offering anyone who gives it a spin this summer, but those of us who have been listening to punk and alternative music for ages can enjoy a real gem in this single for sure. Cedars are playing a style that has become the epitome of its title once more, and while indie rock is never going to fade from public interest completely, this is a band living on the outside of the mainstream bubble and killing it every step of the way. Rock needs this fringe element to stay dangerous, and without the likes of Cedars keeping the torch lit, I can’t say the future of this genre would look as bright as it does right now.

Mark Druery

It starts with more cadence than I’m used to in a rock single, but before long, the track starts to rumble like nobody’s business. This song is lean and mean and yet it feels like it’s got the size to smash anything that gets in its path. Under the command of King Falcon, it’s too controlled to do any damage that the band doesn’t intend to inflict themselves. This single is “Ready Set Go,” and through the dynamic play that we’re presented with here, it has the potential to leave you more than a little curious about the band that has been called one of the more intriguing to come out of their scene this summer.

The guitar in “Ready Set Go,” much like its counterpart in the bass, is as organic as it gets, and adheres to the tuneful warmth that one would expect to find in the live performance shown to us in the video for the track. I was reviewing a handful of punky rock songs this past spring, but there’s something wholly different about the decadent discord that exists in the harmonies of this single. There’s no other band that I can compare this group to right now, and it’s mostly because of the way that they make distortion sound so unbelievably crisp and clear.

This master mix is beefy and superphysical, but it isn’t even close to being overproduced in the slightest. I get the sense that King Falcon wanted to go out of their way to keep this as authentic and non-augmented as possible, and in both the video and the single itself, they manage to do exactly that without being too self-righteous about it. The only fat listeners can expect to find in this song is within the bass and guitar wallop, not in the construction of the hook, nor the visuals in the video.

As far as the music video is concerned, it’s efficient, startlingly emotional in a couple of the fever pitch moments in the song, and very surreal – particularly in its first minute. It’s as if everything slows down to half-speed before we reach the climactic juncture of the track, and we swing between the players, witnessing their passion in no short order. Some viewers might find it to be a bit poppier than its source material is, but for what I look for in a rock video, it’s everything absent from corporate-led alternative music for a long time now.

King Falcon is getting a lot of hype at the moment, and if you’re curious what all of the fuss has been about, you need to see the video for “Ready Set Go.” The band pulls no punches and leaves nothing to be desired in this release, and even if this is your first rodeo with their monstrous rhythm, you’ll probably enjoy the carnage as much as a longtime supporter would. This is rock n’ roll the way that it was always meant to be heard, and no one should be surprised that it’s being delivered by a true group of indie stalwarts.

Mark Druery

Alexis Marrero is a singer, songwriter, and self-taught musician from Cleveland, Ohio. She began her career at the age of 16 and has gone on to release fan favorite singles including “Something That I Missed” and “Rich AF.” Constantly moving, has taken over Sweety High’s Instagram story, modeled for Charlotte’s Closet’s Virtual Fashion Show, began her very own “Quarantine Concert Fridays” in which she performed free concerts for her fans on Instagram live, and started a charity event, “Saving Our Holidays Extravaganza,” in which influencers, singers, and dancers partnered up to raise money for the Salvation Army’s Rescuing Christmas.

She has been interviewed by iHeart: Radio’s “The Outlaws Radio Show,” KTLA’s “Wish USA,” KMET’s “Entertainment Zone,” and has been featured in numerous magazines and newspapers. At the age of 20, she has worked with big names in the industry such as Stefan Litrownik, Stevie Mackey, and Shannon McArthur. She is an advocate for positivity and a role model for people all over the world. With her storytelling, unique vocals, and versatile music, she has something for almost everybody to enjoy and be inspired by. She has many more songs in the works and cannot wait to release them to the world.

“Wake Me Up” is a dark anthem-style cut, where Alexis’ powerful and haunting voice perfectly conveys her strife and anguish throughout the song. A song built on fusing Pop, R&B with a Rock edge, “Wake Me Up” will sound familiar yet refreshing to the listener, while providing insight into her life and experience going through a relationship gone bad. Known for her previous hits that promote positivity, Alexis’ vulnerability is displayed as she relives all she went through until she was able to Wake Up!

Download your copy of “Wake Me Up” by Alexis Marrero on iTunes here: https://music.apple.com/us/album/wake-me-up-single/1673647142

Follow Alexis Marrero on the web:

Instagram : https://instagram.com/officialalexismarrero?igshid=1jotehhe2ypnv

TikTok: https://www.tiktok.com/@officialalexismarrero?_t=8aSVXEb2owN&_r=1

YouTube: https://www.youtube.com/channel/UCxsQgC140–kQucSXxCVv4g?view_as=subscriber

Facebook Page: https://www.facebook.com/officialalexismarrero

Spotify: https://open.spotify.com/artist/0mUJHSgFsZZf1zRUH4X3Ez?si=2rJd_L5VSy6zEIejQW46MA

Website: https://www.alexis-marrero.com/

Twitter :https://twitter.com/alexismarrero05

Produced by respected composer Alex Newport, known for similar work with acts as diverse as Death Cab for Cutie and At the Drive In, among others, Paul Jacks’ new collection Amphibious moves on from the past without foregoing what brought Jacks to the dance. The personal touch distinguishing prior albums such as Black Jackal and In Other Words remains intact. Jacks, however, shifts his lyrical focus to hone in on themes of survival, self-awareness, and growth for this nine song effort.

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

It doesn’t mean, however, that we’re treated to a cuddly slate of tunes. Melody forms the foundation of these songs, as always, and the vocal arrangements bear inspired hallmarks. It isn’t difficult to hear tried and true reference points popping up throughout the opener “If I Were a Better Man”, the album opener, and his penchant for gripping lines remains as sharp as ever. He embraces a thoughtful pop oriented sound during the track, as he does throughout others, and it provides a sharp contrast with the quasi-confessional lyrics. The song title hints at a smattering of self-pity, but Jacks’ words dig deeper than superficial navel-gazing.

The steady backbeat underpinning “Brand New Shame” anchors the hazed over vocals and dreamlike orchestration. It offers necessary ballast preventing the tune from slipping off into the ether and provides our first, but far from only, example of the overall balance defining Amphibious. The breezy pace fueling “Left in a Haste” supplies a furious backbeat for the album’s third song and augmenting it with keyboards gives it an unexpected 80’s aura. Jacks is mining recognizable territory, however, without ever lapsing into imitation. He surrounds the vocals with light post-production that sustains the airy melodic mood.

“Die for Your Love” sweeps listeners into the album’s darkest number. Piano and acoustic guitar highlight the song while light orchestration reinforces the song’s underlying melodic strengths. The song has surprising wounded appeal without dragging listeners into outright despair. The Beatle-esque bounce of the album’s title track doesn’t succumb to craven imitation, thankfully, and piano once again brings an added dimension to the song’s arrangement. The vocals are hazier than ever and emphasize the introspective and internalized nature of his writing.

“Walk on Five” has sweeping enthusiasm without ever overwhelming listeners. The stylistic consistency of Amphibious continues with this energetic later track, but has a distinct flavor different from the earlier “Left in a Haste”. Some listeners may continue hearing a clear 80’s influence in Jacks’ music, but he’s transmuted any echoes through an unique consciousness. The lyrics continue bearing the stamp of the album’s aforementioned themes.

The psychedelicized romp “My Love Has to Ask” closes Amphibious with great flair. It doesn’t go in for gaudy flourishes, however, and its substance makes the track an emphatic final statement. The final is the album’s last marriage of the incongruous with a jaunty arrangement and rates high among Amphibious’ finest moments. Paul Jacks is far from a novice. He’s polished his skills to fine shine without sacrificing any musical credibility and Amphibious stands as his greatest achievement yet.   

Mark Druery

Let Mr. Fitzgerald tool with the past all he wants. Let’s focus on today. Nearly half a century after Mo Slotin, writing for Atlanta’s underground paper The Great Speckled Bird, coined the phrase in a review of an Allman Brothers Band concert, Daytona Beach’s indie powerhouse Greye is kicking ass, stirring up the hard driving dust these past years (via hundreds of local and regional shows, only briefly interrupted by the pandemic) on a fiery, no holds barred, in your face vibe that’s unleashing Southern Rock 2.0 on the world!

Since the term “Southern Rock” traces its origins to the clever phrasing of a single astute reviewer, it makes perfect sense to leave it to the music journalist tastemakers to let you know what you’ve been missing if you haven’t yet been blown away live by this multi-generational band featuring 20-something Hannah Summer (lead vocals/lyrics), guitarist Jett Wolfe, bassist Lorenzo Rizzardi and the “older guys” who grew up during a time when SR 1.0 reigned on the pop charts, drummer Ray Grimard and keyboardist Ken-e Williams.

Even if you’re new to the raw, raucous and authentically rockin’ Greye aesthetic, you should know that they’re a helluva lot more than a regional phenomenon. As they dropped their most recent single, the fiery, unstoppable “Over My Head,” they were riding high overseas, with three consecutive #1s (“So Far So Good,” “Growing Pains,” “I Don’t Mind” on the Euro Indie Music Chart and World Indie Music Chart. Previously, their first 2020 track “Lucky” hit #1 on the World Indie chart and #2 on the Euro chart while racking up over 1.2 million views for its video. “I Don’t Mind” also landed quickly at #2 on Spotify’s Global Radio Chart Toppers playlist.

Maybe it’s because they’re located along the Central Florida Atlantic Coast. Or maybe, for those writers who know their Greye history, it’s the fact that the band formed back in 2013 at Seabreeze High (alma mater of Duane and Gregg Allman, Class of ’65) when Hannah and Jett were students and Ray was on the faculty. But a lot of writers checking out the band’s sixth and latest album So Far So Good are labeling what they hear, among other things, Southern Rock – and drawing appropriately impactful parallels to the classic sound.

Claire Uebelacker of Ballyhoo Magazine writes, “Thunderously groove-laden in one track and carefully layered as to channel the heavy metal gods in another, it’s obvious when listening to the new album So Far So Good from Greye that the noted Daytona Beach rock outfit has a lot of energy they’re looking to burn off this summer. . .“Shoulda Coulda Woulda” delivers crunchy southern rock riffing where “Over My Head” takes a punky beat and ties it up with a blues-inspired harmony. . .

Samuel Pratt of Entertainment Eyes raves: “There’s no need to question whether you’re hearing a strong southern rock element in tracks like “Shoulda Coulda Woulda,” the blues-powered “Burn” or “Lucky,” as this group of Floridian musicians are undisputedly putting a lot of Skynyrd into their artistic structure here – and unashamedly, I might add. There’s a lot more of a countrified aesthetic influencing the relentless kick of the instrumentation of all ten songs on the album, but it’s never presented in such a fashion as to alienate the rock n’ roll puritans who have become the biggest source of support for this band – and many of their Daytona Beach rivals.”

In an earlier review of their single “Lucky” (which appears on the new album), Nicole Killian of Mob York City made some pretty telling references: “The violent exchange between the different players is held together beautifully by Summer, whose voice acts as a sonic linchpin for every rough edged facet we encounter here, and even when the band is roaring like a southern garage rock unit ready to blow down the walls of an SEC stadium, the musicality they dispense is hardly overwhelming to the audience.”

One more ought to convince you that whether they intended to or not, Greye is at the forefront of a major movement. Clay Burton of Independent Music and Arts, Inc. (IMAAI) wrote, “Fiery guitars and southern-style beats are something of a commodity to the mainstream pop consumer these days, but for those of us who live on the left side of the dial, they’re hard to ignore when they’re being played by a band as talented as Greye are. . .(They) have been making rock their business for years now, lighting up an otherwise dismal Florida scene that hasn’t done much for anyone outside of the insular hip-hop underground in recent memory, and their latest album So Far So Good picks up right where their lauded 2019 effort Under the Weather left off.”

Grimard, who owns the local recording studio where Greye initially joined forces, is grateful that the critics are helping define the sound of the band in ways he and his cohorts always had some challenges with. There’s been a lot of organic growth from their early days when “progressive Americana Rock” seemed to be the best description, but not until recently did the drummer realize the value of being considered bona fide Southern rockers.

Another proverbial feather in Greye’s Southern Rock cap is the fact that they recorded their fifth album Under The Weather at the legendary FAME Studios in Muscle Shoals, Alabama and had it mixed by multi-platinum engineer Brian Reeves, who has worked similar magic for everyone from Billy Idol and U2 to Elton John and Miley Cyrus. In Grimard’s estimation, Reeves is the one that helped catapult Greye from the status of “emerging regional band” to “rock powerhouse.”

As strong as her voice was, for Greye’s early years, Hannah took a polite, reserved approach to her lead vocals and stage presence. When the drummer sent a demo one of their songs to Reeves, the engineer replied, “Ray, I like the song, but your singer is not delivering everything that’s inside of her. She might really have it, but I can’t feel it yet.”  Ray then delivered Brian’s reaction to the demo to Hannah. Ultimately, she got the message. Suddenly, it was like she took off every protective device on her and went out there and started blowing people away. She owns that stage, and she owns that mic in the studio. This prompted me and Jett to start writing heavier grooves and riffs for her to put lyrics to – because we knew she could deliver.”

“For years, people would come up to us and ask what kind of music we played,” Grimard says. “I would laugh and say it’s either s***y music or good music. But when I think about it, groups like the Allman Brothers and Lynyrd Skynyrd built their legend by doing exactly what Greye is doing, making music that’s authentic to who they are. For them, that meant a rock, blues and jazz hybrid, and for us because of our intergenerational, biracial makeup, it’s a fusion of R&B and heavy rock. Most of what is considered classic Southern rock came out of three counties in Florida, and we’re proud to be considered a modern manifestation of that incredible tradition.

Now that the band itself has caught on to what the musical tastemakers are hearing in them, Grimard add that he’s excited by the opportunity to present Greye to promoters as the new phase of Southern Rock rather than try to fit into the country-oriented lineups at some popular regional festivals. “We’re glad we went the balls to the wall rock route rather than morph our Americana leanings into what passes for country music today,” he says. “If Nashville had gotten a hold of us, they would have watered us down and emasculated us into a safe country/pop sound that has replaced what was once ass kicking, rock edged music that was born in the Southern U.S.”

As one of the older guys in the band, whose involvement with Greye led to the restoration of a long set aside dream to play music, Grimard comes from a rock and roll generation that didn’t mince words for fear of offending people. So, forgive his French when the drummer sums up Greye’s being a driving force in Southern Rock 2.0 this way: “Say goodbye to homogenized p***y rock. You’ve got to hear what’s coming out of the South these days. So, get ready. Our audience is there. The band sees it every week when we do the originals from the new album. They love them and don’t even know why.

RECENT REVIEWS:

BALLYHOO: https://ballyhoomagazine.com/2021/06/11/rock-band-greye-releases-new-music/

ENTERTAINMENT EYES: https://entertainmenteyes.com/2021/06/11/so-far-so-good-by-suring-rock-band-greye/

MOB NEW YORK: “Lucky” by Greye – Mob York City

IMAAI: https://www.imaai.org/greye-so-far-so-good/

“Now we can tell them, because maybe they’re too young to realize it – it’s a simple return to good old hard driving Southern Rock without the redneck label,” he adds. “Okay, maybe not in the old school Skynyrd or Molly Hatchett sense with any type of hooky twang but in the real sense – with a soulful, intense and burning rock/blues power sound that breaks ground on and defines the new sense of the term. We’re continually grateful for all the fans, local and worldwide, who have allowed us to keep bringing that fresh air to what’s been a stale rock scene for way too long!”

Jonathan Widran

Veteran rock photographer Lisa Johnson’s new book is simply titled Immortal Axes: Guitars That Rock. If the semi-esoteric first part of the title is any indication, the book isn’t just about the literality of the various iterations of electric and acoustic guitars it showcases. It’s about what they represent, as much as it is about the process they played a critical role in. In an exclusive foreword written by featured musician Peter Frampton, he states: “It’s interesting. I can still remember (my) first three guitars like it was yesterday.

FACEBOOK: https://www.facebook.com/108RockStarGuitars

And the truth is, every guitar I’ve ever owned comes with its own unique story and set of memories. Each one has been notable in its own way, whether it was an inexpensive guitar I bought when I was a youngster, or the more famous instruments featured in this book…Every picture in (Immortal Axes) captures the unique character and personality of these iconic instruments. You might not know every story behind these guitars, but you get a sense of their adventures and what makes them special through (Lisa S. Johnson’s) brilliant lens. She captures their essence, which only an artist can do.” This is reflected through Johnson providing blurbs and sometimes full-on short stories for each of the pieces she showcases throughout the various pages of Immortal Axes.

One of the most impactful is her featuring of Peter Frampton’s 1964 Epiphone FT-79 Texan Acoustic-Electric guitar, a bright black with a slightly faded silver bridge and set of strings. She writes, “Although you wouldn’t be able to tell, this acoustic guitar survived the 2010 floods in Nashville, where it was underwater for three days. The guitar was dried out for several years, during which time it was tuned down four and a half steps to prevent the bridge from pulling loose.” The flip-side today? “In 2018,” Johnson writes, “it was tuned up and still sounded fantastic…(when) it was restored, (Peter) decided to keep it, along with the remnants of his signature. He wrote two of his biggest hits in one day on the Texan: ‘Do You Feel Like We Do’ in the morning and ‘Baby, I Love Your Way’ in the afternoon.”

It’s through the personalization effect(s) of aforementioned passages like Peter Frampton’s Texan Acoustic-Electric guitar that Johnson reaches past the echo chamber of the music fan. She connects the dots between the book’s select topicalities, and the wider world that is touched by such topicalities’ most rewarding quality. Music, she effectively states, goes past being just a form of auditory entertainment. It has an almost sacred value, the guitars featured in the book taking on almost totem-like statuses.

AMAZON: https://www.amazon.com/Immortal-Axes-Guitars-That-Rock/dp/1648960235

You can’t help but find the whole thing genuinely emotional and touching, sometimes – if you’re like me – even a little bit overwhelming! The love Johnson has for each and every instrument, along with the love featured in all of the book’s musician profiles, is infectious. Even for the most jaded or hardened cynic, it would be difficult not to be moved by the stories, dreams, and passions birthed from the ingenious simplicity of the six-stringed, quintessentially American invention called the rock guitar…

Mark Druery