She Is We On Unknown Sundays 12-2016


Fight For Me” I’m worth it. This must have been some of the mantra for Rachel Taylor over the last four to five years. I don’t get wrapped up in the usual music industry cliche drama of band formations, disintegration and rock-n-roll life.  I’m sure we can all “lose” ourselves in any profession, if the work load and demands are time sensitive, critical and personal.  However, I’m drawn to the recordings of She Is We because I do love people finding how strong they can be–and the honesty of realizing you can be what you want to be–it may just be “on the side,” if you will.  If this gets personal, it’s because it has a hint of that for me.


She Is We, started as He Is We.  Both demonstratively poor names for a band or solo career, but it certainly deepens the personal nature of the projects, depending on how you read the histories. I want to believe that it was personal for Rachel Taylor, while it was a marketing and career thing for the “other” members and management of the previous name.  How do I come to that conclusion? It might not have been that obvious, considering the MySpace and Facebook-ing generation that went on that got He Is We the prestigious title among some publications as one of the number one unsigned bands in the United States. So, there’s that marketing push; that desperate, tireless pursuit of making your love, your passion, into your eventual career.  And for, her (or them), it started to seem attainable.  You’ve got thousands of fans, followers, and now the attention of someone in the music industry club that could be “paying” a greater attention to you.  And so, it unfolds.  For some, nothing happens.  For He Is We it does to some degree.  And now, it’s no longer a passion and a timely craft–it is now a locomotive that has a certain speed and destinations it must attain.
Enter the cliches, the distractions, the lies of lies, and of how it’s not work, how it’s not grueling and insensitive. Sure there’s passionate people, but they do it for different reasons and under different pressures and influences. Consider the HBO show Vinyl to understand the 70(s), but take that to a different level in these times, considering the money is made for the band on the tour–not in the record making or the contract (usually).  There’s probably less love between band and manager(s) now then ever.  I’m sure that’s not completely true–there’s probably real great music loving managers and companies out there (apologies to those that it’s never been about the money).

Enter the truth, and that’s where She Is We delivers the album War (this week). That’s what it is, but we’re talking about life, not making a record deal, not forming a band, not writing music or touring. Your person, your being! Rachel Taylor has come to this place (apparently a few weeks away before going into law enforcement) from the “war” of life, and it was worth the fight, at least that’s what I can tell from the music and lyrics (doesn’t hurt that Chris Lord-Alge is on the board). The “war” is far from over, which is true for all of us.  She will balance that passion, but now she’ll nurture herself and support her band mates, the crowds, and realize that even if this isn’t a knock-out success, that she will always be passionate about being a singer-songwriter.  Know that it doesn’t have to be the cliche acts.  You don’t have to have that career as a singer-songwriter to actually be a singer-songwriter. If you’re writing songs, singing and enjoying it…well, you are!  Talent should be good enough for a life time, and share it as best you can. Someday it will help someone else fight their own “War.”



She Is We or He Is We Albums in my collection:   War (2015)

This “Unknown Sundays” was done back on March 20th of 2016.  The road for Ms. Taylor is long winding one with trials and turmoil, and she’s come out of it.  At the time of this article being posted in our Archive Series, it appears that they are back to the He Is We band.  But, that did not come without separation and incarnations.  That being said, and taking a look at the album history, it appears they went back to He Is We right after the War release, starting with Fall Out of Line (2017) and as recent an album as last year, Treehouse.  Rachel Taylor still has that microphone loving voice and delivery that is easily absorbed, especially in the indie accompaniment and subtle production modifications on this more pop-style recording, increasing the vocal attachment and emotion within each track rather than letting the mixing punch it home.  Treehouse has some EDM, but it has much more intimate instrument arrangements and seems to fall away from the darkness of the material that was swirling around at the time of She Is We.  Treehouse really feels like the full package!  Genuine, comfortable, and much deeper.  Whether it becomes Them Is Us, or stays as He Is We, or maybe even The Rachel Taylor, there is a spot in the music multiverse for her — “we” believe.  – Mark Kuligowski  [May 28th 2023]

Album Review Saturdays 2023 Episode 10

So on this week’s Album Review Saturdays, which we are also doing a video version of which will share more insight and review because it includes panelist, Chef Jeff, we’re moving in an old school direction but for new releases. One is a veteran, legendary harmonizer and song-writer that has been doing genre bending in folk, country-rock and alt-country before it was even classified as such. A jazz legend on the saxophone takes us on another grateful experience through his musical palate. And last, but certainly not least, we hitch up some hard-happy rockabilly with a super-group of sorts that goes a stompin’ because they just can! Legendary musicians on this Album Review Saturdays give us their latest!  The Beyond Your Radio Video will give you the perspective of Chef Jeff and myself talking a bit more about this Album Review Saturdays choices, but I do encourage you to read on, maybe before you click directly to the video.  Please?!

Graham Nash – Now

Graham Nash is a legendary song-writer and harmonizer, most known for being a member of the Hollies, but as well – a huge part of Crosby, Stills, Nash & Young [CSNY] (with our without Neil Young). Mr. Nash has always had a unique voice and tone that allows for some of the greatest harmonies in the country-rock or folk-rock genre. When he’s politically charged, he might be considered to be at his best, but on , “Now,” Nash chooses the harmony of life more often, leaving only a few instances of tit-for-tat discussions. His song-writing comfort remains, allowing his voice to edge out the lyrical perspective in more of an adult easy-listening pace. Don’t fret, there’s a couple of songs with some pace to them, but evidently, this record is more of a love-felt recording with subtle toned social statements. The orchestration, when it’s involved on a few tracks, are exceptionally well done and laid into the foundation of those songs, giving the music a slight change of pace and emotional lift in musicianship, which for most of the record is complacent. Graham Nash, for sure, is a master craftsman — still (no pun intended) it might have been a good idea to have production gather around that “harmony” and expand on it rather than letting it take up most of the space on the record.

The band:
  • Graham Nash
  • Brett Bass – Upright Bass
  • Alon Bisk – Cello
  • Todd Caldwell – Arranger, Celeste, Composer, Hammond B3, Handclapping, Organ, Organ (Hammond), Piano, Piano (Electric), String Arrangements, Wurlitzer, Wurlitzer Piano
  • Beth Callen – Handclapping
  • Allan Clarke – Cello, Vocals
  • Thad DeBrock – Bass, Electric Mandola, Guitar (Acoustic), Guitar (Baritone), Guitar (Electric), Guitar (Nylon String), Harmonium, Mandolin, Pedal Steel, Pedal Steel Guitar
  • Shane Fontayne – Guitar (Electric), Lap Steel Guitar, Mandolin, Slide Guitar
  • Whitney La Grange – Violin

Now  Track Listing:
1 Right Now
2 A Better Life
3 Golden Idols
4 Stars & Stripes
5 Love of Mine
6 Theme From Pastoral
7 In A Dream
8 Stand Up
9 It Feels Like Home
10 Buddy’s Back
11 Follow Your Heart
12 I Watched It All Come Down
13 When It Comes To You


Dave McMurray – Grateful Deadication 2

The legendary jazz tenor saxophonist, Dave McMurray has decided that one “deadication” is simply not enough, so he enlists his usual Detroit suspects to take another round of jazzy jabs at the crowned almighty jam bands of all time, The Grateful Dead. There’s no question that the production and musicianship is astoundingly amazing, tight and very respectfully in love with the works. Knowing the improvisations that infinitely carried the Grateful Dead’s touring showmanship, McMurray and his studs do much the same to the chosen set of covers. Some expected, some a little deeper, but all-in-all the festivities are truly given a boost with the guest appearances lead to unique instances of interpretation. Overall, I found the tempo and greatness of the project to get more on keel when the keyboard/organ comes in. It seems more fitting and allows the saxophone to take a sort of “back seat” in the hippie, traveling van. Me, I’m not a dead-fully direct purist, so this second half of the recording was really fun for me! While Grateful Dead enthusiasts might have some issues, considering the jazz rendering content (probably since the wind instruments were never a go to backbone), they would have to realize how the writing, conceptual musicianship from their long-loved band has even influenced a world completely consumed in improvisation and the feel and mood of a certain live experience — even if it is — in a studio.


The band:
  • Dave McMurray – Saxophone, FluteIbrahim Jones – Bassist
  • Wayne Gerard – Guitarist
  • Maurice O’Neal – Keyboardist
  • Jeff Canady – Drummer
  • Larry Fratangelo – Percussionist
  • Luis Resto – Keyboardist
  • Guest appearances:  Jamey Johnson, Don Was, Bob James and Larry Campbell.

Grateful Deadication 2 Track Listing:
1. Playing in the Band
2. China Cat Sunflower
3. Bird Song
4. To Lay Me Down (Feat. Jamey Johnson)
5. Truckin’
6. The Other One (Feat. Bob James)
7. If I Had the World to Give (Feat. Bob James)
8. Scarlet Begonias (Feat. Oteil Burbridge)
9. Crazy Fingers

The Barnestormers – The Barnestormers

It’s freakin’ Jimmy Barnes! Who? Cold Chisel? Oh, yeah, that was the character Tom Cruise played in…. No! That’s Cole Trickle.  Really!!?  How about freakin’ Jools Holland! Who?   Oh come on — Squeeze!? I’m not touching anything.   This is going nowhere!  I don’t even want to try to go on with the rest of this super-group! (I pause, reconsider) We’re going to anyway! Otherwise you’re going to miss out on this boogie woogie, rockabilly stompin’ record, which would be as criminal as mistaking them for a band called “The Barnstormers.”

Jimmy Barnes is a singer and song-writer best known, in our opinion, for his work on the soundtrack to The Lost Boys, which includes a duet with Michael Hutchins of INXS. He’s a rocker, soul singer with all kinds of range and rock-n-roll howl especially where it started with the band, Cold Chisel (check out self-titled 1978 release).  Jools Holland is a pianist who is one of the original members of Squeeze, and he’s had the pleasure of playing with greats like Paul McCartney, Dire Straits, Bono, David Gilmore, Sting, Eric Clapton, Ringo Starr, and George Harrison to name a few. He’s also been part of, what might be the best music show ever on television, Later… with Jools Holland which has been running since 1992 (check out the link to see how cool this show is).  The rest of the band is listed below with equally cool credentials.

You have the fever to boogie, strut, and woogie (whatever that might be) this will do it! Hot guarantee! This is not going to win any awards. This is not your Travelling Wilbury’s, although considering the massive talent, the collaboration is just as well done. This is meant to be fun. This is mean to open you up, and get you groovin’, which is one of the most fun records so far this year.  You’ve got some Elvis, some Jerry Lee Lewis (thanks to the piano tappin of Mr. Holland), and some great blues guitar solos to boot!  Enjoy, but we will understand those that this might be passing this one up. However – please do click on the television spot, and if you’ve never heard The Lost Boys soundtrack, that’s a must, if you’re a music multiverse traveler. You can go down the Jimmy Barnes and Jools Holland rabbit hole real easy from these places!

The band:
  • Jimmy Barnes – Vocals
  • Jools Holland – Piano
  • Chris Cheney – Guitarist (Frontman Australian punk-rock outfit The Living End)
  • Slim Jim Phantom – Drums, Percussion (Founding member of Stray Cat
  • Kevin Shirley – Bass, Producer, Audio Mixer (Worked with Silverchair, Aerosmith, Iron Maiden, The Black Crowes, Joe Bonamassa, Beth Hart, Led Zeppelin, Slayer, Metallica)

The Barnestormers Track Listing:
1. Sweet Love On My Mind
2. Working for the Man
3. Johnny’s Gone
4. Lonesome Train
5. Thirteen Women (And Only One Man)
6. Dear Dad
7. Crazy Crazy Lovin’
8. Sweet Nothin’s
9. Land of Hope and Glory
10. Real Wild Child
11. 25 to Life

Chris Velan On Unknown Sundays 11-2016

Let’s get right to it. For those of you that know me, follow me, I’m not Canadian. I just appreciate the long standing commitment to music that is CANADA. They have this unbelievable ability to harvest, develop and grow passionate, talented musicians from most genres (I’m still not sold on their Hip Hop/Rap abilities, sorry) like they’re fine grapes. Oh, yeah, you hear me Niagara Escarpment! Oh, back to appreciating Canadian music. So, needless-to-say, you know that I go out of my way to listen up when it comes to red maple leaf records against a white background.
So, how did I miss, Mr. Chris Velan? Damn good question.
With the influences of Neil Young, Cat Stevens, Robbie Robertson, and Bob Dylan, I should have been in line at the first release. Not the case. Glow, is the first album I’ve ever heard from the talented Mr. Velan, and there’s not doubt that his diverse musical talents sway and groove and move with a perfection of scholar of sorts. I’m in love with Glow from start to finish–especially the finish. The title track is saved for the end–and with very good reason, as it is an explanation point to it all. This is a fresh ear in the singer-songwriter list that continues to grow like those very grapes I was talking about.
Whether it’s that deep folk delivery, that jazz riff, or the tight and thought-provoking lyrics, you’re going to be locked into this Montreal music man. There’s plenty of music to catch up on, but I would start at Glow. You get an understanding for where his art is today (and this does represent a brilliant mix of those influences of his). Then go back to see the development. You’ll feel the styles of Jason Mraz in the earlier material like in “There You Are.” There’s songs “Batmobile” and “Bodycount” that are so carefully crafted in lyrics and tempo–that you can’t help but be sucked in. I’m still going through some of the back catalog, and I’m anxious to see if he gets picked up for the Rochester Jazz Festival (the closest local to Beyond Your Radio), but I’m sure you’re going to be seeing this traveling troubadour at festivals and opening acts around the globe.
As Chris Velan stated in his 2003 album, “It’s Not What You Think,” and he’s exactly that. So, that’s probably why I put his“Billie Jean” cover in this article…enjoy!

Chris Velan Albums in my collection:   Glow (2016)

This “Unknown Sundays” was done back on March 13th of 2016, and I had not come across Chris Velan albums in my seven year record store browsing, which is very unfortunate.  However, since this was on my radar because of this archive posting, I took a different approach and checked online sources, which ultimately led me to suddenly realize there’s a new record this year!  Coincidence — I’d like to think for the time I spend + money that the music multiverse will pay me back (right)?  “Songs About Songs” was released this weekend — I’m not kidding!  So naturally — I gave it a listen.  The songwriter is still writing great lyrics and melodies.  While this album seems to be in a more confident upbeat arena, it’s still in the belly of the working man’s life.  He still working the catchy and release from melody to lyrics like the pros I spoke about in the above article.  The production is simple and well done.  It seems like he’s probably a one man show in his pursuits, which fits the music, tone and flow very well.  While I probably realize at the conclusion of latest album, which comes again on the title track’s first listen (which is truly a song about songs — song writers lament) that he seems to be in a comfortable spot — I’m curious what would have happened if the Glow I remember met with a producer like, let’s say, Daniel Lanois?  While Chris is not in the mainstream for most, this music has a beautiful folked-up place in positive musicianship, whether it’s a big stage-sound, or being appreciated by a solitary unknown music nut like me in my basement.  – Mark Kuligowski  [May 21st 2023]

Album Review Saturdays 2023 Episode 9

Hold on to your ears closely on this Album Review Saturdays episode.  We’re going to explore two records that are basically remixing, rewiring, and/or retelling existing music catalog.  While the third album in this review does not comply with the concept, the reality is, that it is doing it, but in an opposite way, but in a completely enrapturing way.  What?!  Stick with me, here, and I will explain, why I added the third album to this Album Review Saturdays music multiverse moment.


Puscifer – Existential Reckoning: Rewired

When a band “remixes,” bringing in outside artists to re-imagine their recording(s) you immediately look to the names to the right of the track listing, right?  I know I do, but in the case of anything that Puscifer (the musical subconscious creative brainchild of Maynard James Keenan) puts out, I will say that I really don’t do it until after I’ve heard the mixes.  This late 2022 re-imagination of their latest record was no different.  Just put it on and get sucked into it!  They’re no strangers to doing this with their art, and each one has a vivid musical pallet that goes far beyond remix.  The scale of the projects sound massive, and no doubt — were not done in a few minutes of re-arranging and piecing together like a lot of junk out there trying to capitalize off post catalog output.  While the range tends to be of an industrial nature, they always incorporate areas of technical producers and mixers (Michael Patterson who has worked with Beck, Notorious BIG, and others) electronica (Joshua Leeds Eustis of Telefon Tel Aviv), to even rock and metal skilled musicians (ie:  Murderdolls, Ministry) .  The cast of rich characters that have arisen out of Puscifer’s past (there’s a cool title) remain unharmed, enriched, and battle tested against a variety of skillful re-imagined soundscapes some dense — some not.  “Existential Reckoning: Rewired,” as with other remixes of the catalog, is a genuine process that comes off extremely cool, and fits into the trippy, evolving, audio and visual comic book fashion-ed within (see what we did there with fashion – nevermind – Mr. Keenan might get it, if he reads this).  Go, get the clothing line, the CD(s), Vinyl, DVD(s) and join the Pusci-fiction audio experience!

The band (see track listing for re-imagined by):
Existential Reckoning: Rewired Track Listing:
1. Bread And Circus – Re-Imagined by Mat Mitchell
2. Apocalyptical – Re-Imagined by Trent Reznor & Atticus Ross
3. The Underwhelming – Re-Imagined by Juliette Commagere
4. Grey Area Re-Imagined by Troy Van Leeuwen & Tony Hajjar
5. Theorem – Re-Imagined by Sarah Jones & Jordan Fish
6. UPGrade – Re-Imagined by Justin Chancellor & Scott Kirkland
7. Bullet Train To Iowa – Re-Imagined by Alessandro Cortini
8. Personal Prometheus – Re-Imagined by Greg Edwards
9. A Singularity – Re-Imagined by Carina Round
10. Postulous – Re-Imagined by Phantogram
11. Fake Affront – Re-Imagined by Gunnar Olsen
12. Bedlamite Re-Imagined by Daniel P. Carter



Moby – Resound NYC

Enter the latest release from Moby, “Resound NYC,” where intimate, classical and stripped back leads the way through resounding collaborations of Moby’s most defining musical moments of his catalog.  Except one.  Neil Young’s Helpless with Margo Timmins of Cowboy Junkies and Damien Juardo that take’s things to a haunting platform worthy of being included in this resounding, one hour eighteen minutes of orchestral, intimately arranged re-tellings.  There are so many worthy performances that shatter the expectations of each song (Gregory Porter, Lady Blackbird, and Ricky Wilson just to mention some of the many highlight performances).  How do you line up for that audition with Moby?  Come on, you have to be wondering, too, right?  Obviously, I have no answer for that, but thoroughly love the cast.  This is by far the best arrangement of Moby’s tracks as an entire album.  The flow is tremendous!  The depth of the recording is orchestrated so well, and yet totally equal in it’s pertinence to the original.  When it was over, I suddenly realized that Natural Blues wasn’t one of the songs.  Perhaps not everything fits under a category of remix, re-imagined, or retreated., or the right resounding hasn’t come yet.

Moby, for those that might not have realized his contribution to the music multiverse, this might be a wonderful experience, as well as a jumping off point to undertake the originals in a reverse splendor.  On a final note, I would assume the NYC part is just a place, home — but then again, that sound has escaped across an audio plane that inhabits a border-less genre of musical influences across time since 1994, and bringing them back to this form is probably the comfortable place to start from …again.

Moby [See track listing for the artists contributing]:


Resound NYC Track Listing:
1. In My Heart (Resound NYC Version) feat. Gregory Porter
2. Extreme Ways (Resound NYC Version) feat. The Temper Trap
3. South Side (Resound NYC Version) feat. Ricky Wilson
4. Flower (Find My Baby) (Resound YNC Version) feat. Amythyst Kiah
5. In This World (Resound NYC Version) feat. Nicole Scherzinger, Marisha Wallace
6. Helpless (Resound NYC Version) feat. Margo Timmins, Damien Jurado
7. Signs Of Love (Resound NYC Version)
8. The Perfect Life (Resound NYC Version) feat. Ricky Wilson
9. When It’s Cold I’d Like To Die (Resound NYC Version) feat. P.T. Banks
10. Slipping Away (Resound NYC Version)
11. Second Cool Hive (Resound NYC Version) feat. OUM, Sarah Willis
12. Hyenas (Resound NYC Version)
13. Last Night (Resound NYC Version)
14. Run On (Resound NYC Version) feat. Danielle Ponder, Elijah Ponder
15. Walk With Me (Resound NYC Version) feat. Lady Blackbird


Sleep Token – Take Me Back To Eden

And now this is the part where I explain myself, as to why I’ve selected Sleep Token‘s “Take Me Back To Eden” as the opposite way of ‘remixing’ if you will.  Remember I said completely enrapturing? I hope you did because it was only a couple a paragraphs back.  This record is completely and utterly enraptured in…wait for it…remixing and re-imagining how genres can be utilized in music.  This band is an enigma fronted by humans that have no identity beyond the moniker of  each person noted as ‘Vessel’ I, II, III and IV.  Perplexed?  Let’s give you the music genres that are encapsulated in this beautiful empowering and devouring progressive manifesto; alternative metal, post-rock/metal, progressive metal and indie rock with a dose of — hip/hop?  That’s right!  Each song has these bridges and crescendos which suddenly articulate a completely different yet somehow intuitive mix of genre(s).  Sound complicated?  It is, and has to be, considering their supposedly playing in a “sleep like trance” (where I’m assuming, like dreams, tend to bend time, space and usual reality, which in this case is their sound)  It’s like you’re listening to Shinedown with the vocal and temper in perfect in pitch and emotion, and as the bridge occurs you’re whisked away into a progressive metal core growl, or in other instances ‘Vessel’ has been overcome by a sinister Dracula driven Drake.  Sleep Token has blasted the concept of how albums of this nature take on remixing, layering, and ultimately presenting tracks.  This is not your mamma’s Linkin Park.  No no my post metal core ear vessels (okay I couldn’t resist), this is a band that’s taking the next evolution, utilizing the same tools as Puscifer and Moby to sculpt a glorious album, which even by title, is taking you back to their Eden.

You probably still don’t understand.  That’s okay.  I was so hyped by this album I had to include it with these two remixes!  So, go listen!  I’m positive you’ll enjoy all three of these works if you are the music multiverse travelers I know you are!

The band [yeah they do not identify themselves – ever]
Take Me Back To Eden Track Listing:
1. Chokehold
2. The Summoning
3. Granite
4. Aqua Regia
5. Vore
6. Ascensionsim
7. Are You Really Okay?
8. The Apparition
9. Dywtylm
10. Rain
11. Take Me Back To Eden
12. Euclid

Wicker Man On Unknown Sundays 10-2016

Sometimes showing some promise is not enough, when the industry mainstream popular music is going crazy, like alternative rock scene was during the 90’s. Hollywood (the label) was signing bands left and right with the alternative metal feel. I got a hold of one of their early projects in 1994-1995 simply called Wicker Man. Hey! When you commit to naming your band with this title, you better bring it! I think whomever signed them had that sticking in the back of their minds, and they knew there was something there…that promise (if you will). Great band name, check! Great cover art, check! Great big sound to match—check!


Chicago’s Wicker Man is one of these stories. They were rocking it stage to stage, opening for the likes of KMFDM, Marilyn Manson, and Powerman 5000 to name a few. Their self titled debut hit the stores in 1995, and locally I have to assume that the band did all right, but there was no question that it had no vital marketing behind the release throughout the country.  It was probably quickly lost in the shuffle of new artists and popular releases of the year. Especially, when you consider…1995! Need help, here’s a few to remind you in the alternative genre: Smashing Pumpkins’ had a small double album, maybe you remember that!? Here’s some more: Green Day, Oasis, Incubus, Blind Melon’s Soup, Neil Young’s Mirror Ball which had Pearl Jam on it, as well as Mad Season (a grunge spin off like no other), Faith No More’s King For A Day…,” Bjork’s Post, and even Radiohead’s game changer The Bends. Then there was this new release from that front man of Nirvana—what’s their name again…something…fighters?  I’m sure that one went unnoticed-right? Oh, and then there’s that angst ridden long-haired Canadian who told us all to swallow it down like a Jagged Little Pill. So, no wonder, when I look up Wicker Man, or is it Wickerman (that’s something that should have been fixed from day one), the only album I find, the only album I have…is the self titled debut.


Wicker Man can always consider themselves fortunate enough to at least have had a record deal, as well as a glowing review (hell, it rocks–and it rocks hard enough to be in the good company they were keeping), and a great fan base (from what I can tell from the remnants of Facebook). They committed no crime against the alternative metal genre, and while I never saw them live, I have two friends that saw them throw down–and deliver. Their album is one that I revisit at least once a year. Why? Because, it’s a go at it, anger management issues kind of alternative rock record that certainly had the feel of rawness, but hints of developed production and attention. It also reminds me, again and again, at how much the music industry success is tied to what’s going on within the confines of radio play, record industry advertisement budgets, and the will of public’s word of mouth. Back in 1995, we were not hacking away at the keyboard to get some tweets or feelers out for “free” (now it’s called organic) publicity. Groups were not able to friend a gig/event, send up a stream on Soundcloud, or have a Podcast from their Wayne’s World knock off garage.


Today, if the band has a record out there, I missed it–can’t find it. If so, send it to me! And after you get a chance to listen to the debut, you’ll probably be seeking out that supposed sophomore record, too. So, all I can give you is this clip, the picture of the record, and tell you this…“Brainfreeze” is probably one of the best 90’s hard rock, alternative songs you never heard! It must kill…live!  Below is a taste from YouTube, “You Annoy Me.”



Wicker Man Albums in my collection:   Wicker Man (1995)

This “Unknown Sundays” was done back on March 6th of 2016, and yes I still have that hard copy that I pulled out of used bin at Record Theater that was probably only $5.99 at best!  Only thing I can do is give you this link below on You Tube with comments from a lot of people after they listened (some during COVID lockdown).  Wish there was more to go on, but I’m always checking out and linking to their Facebook RIP page.  – Mark Kuligowski  [May 14th 2023]

Self Titled Debut Album On You Tube [5 Years Ago]

Album Review Saturdays 2023 Episode 8

We give you three very different bands at very different places in the music multiverse this week.  A Tucson rock band gloriously trapped in a desert sound surrounded by Latin roots, and pitched marvelously in a gothic-like nature.  Another, a music hall of fame snub for the last six years, that created their own sound against the grain of current radio, in the face of record company refusal, giving us plenty of once-in-a-sound-time recordings — and this one might be their greatest achievement of all time!  Finally, let’s head over to Norway and get into a thrown down of hard blues revival proportions!  Sound good?!  Of course it does!


Xixa – Genesis

There’s a tremendous connection in the Arizona area for desert latin-fused rock bands! Xixa (chicha – yes the Peruvian drink) is one of those tight “guitar slinging” six piece bands that has adopted their special place in the music multiverse along side the likes of Calexico.  This is a precision latin-fuzed blues rock that while maintaining a much more gothic delivery has not forgotten the need for rhythm and catchy leg bouncin’ design.  Genesis sticks true to their amazing sound, but leaves nothing on the table!  Yes, they’ve been downing the chicha on this one for some truly flame throwing southwestern thrill ride!  If you’re going to walk into their middle-of-nowhere rock Cantina have your headphones ready, maybe even a third eye.  You never know what’s lurking in their audio shadows to give you the feeling you might want to buddy up, grab some stakes, garlic, holy water, and some one-liners!  You’re in for music thrill ride!

The band:
  • Brian Lopez – vocals, guitar.
  • Gabriel Sullivan – vocals, guitar
  • Efren Cruz Chavez – percussion
  • Geoffrey Hidalgo – bass
  • Hikit Corbel – bass
  • Jason Urman – keyboards
  • Winston Watson – drums
Genesis Track Listing:
1.  Thine Is the Kingdom
2.  Genesis of Gaea
3.  Land Where We Lie
4.  Eclipse
5.  Soma
6.  Eve of Agnes
7.  Velveteen
8.  May They Call Us Home
9.  Nights Plutonian Shore
10.  Feast of Ascension




The Smashing Pumpkins – ATUM

ATUM (autumn) is a three disc, shoe-gazed, indie-rock, alternative, electronically orchestrated, rock opera masterpiece told by the genius that is the entity known as, The Smashing Pumpkins.  Don’t remember them?  Don’t know of them?  Heard them, but don’t respect it?  Don’t worry they don’t care, and why should they?  They know eventuality meets greatness, and ATUM is, absolutely, greatness!  The one problem — this is massive greatness that takes time to develop, absorb, and eventually truly appreciate!  I couldn’t believe what I was listening to, and I found myself sucked into this fantastical concept record that rivals anything ever made (yes Pink Floyd and The Who fans)!  I don’t say this lightly. The return of Zero and Glass (characters, if you will) from the ridiculously awesome, Mellon Collie & the Infinite Sadness and wickedly textured, Machina/The Machines of God are back for a two hour music multiverse jaunt through the creative space consciousness and expertise of The Smashing Pumpkins courtesy of the lyrical perfectionist, Mr. William Corgan.

There’s a starting point, it’s his vocal, and in this case — multi-vocal.  You’ll understand as you continue to listen.  It’s like he’s singing in a slightly different magnitude and a different perception, which I guess should not surprise, but it still does!  The lyrics are completely engaging, absorbing, and definitely meant to be heard on the level — and not just for Corgan himself.  This is the pouring out of story told in lyric, but also told brilliantly in emotion of the accompaniment of drums (oh the fuckin’ drums in the third act), synthesizers, guitars-guitars-guitars, and piano — and who knows what else, considering Corgan’s ability to integrate odd instruments And, the third act certainly lends and bends the record into a more prog-like environment that it was teasing with the entire first two acts.

No. I know what you’re asking.  It’s not a return to the angst or the past.  It’s The Smashing Pumpkins with a sensibility and comfort that should be a music experience for all kinds of generations, which is kind of what they are.  This wonderful musical entity that seems to soar above, swoop in, and deliver despite the risk, the sojourn and the potential Harmageddon (wink).  This is sure top 23 of 2023 for us here at Beyond Your Radio, and we certainly encourage you to give it the time it deserves.  One problem — do you play this in entirety at a live show?

PS:  There’s even more songs on some deluxe box set as mentioned in a recent interview, but the only way we’re getting that into our collection is delivered by Mr. William Corgan himself at a Meal to Music that we might be planning… (prices are in the $750 range)!

The band:
  • Billy Corgan – vocals, guitar, bass guitar, keyboards
  • Jimmy Chamberlin – drums
  • James Iha – guitar
  • Jeff Schroeder – guitar
  • Katie Cole – backing vocals
  • Sierra Swan – backing vocals
ATUM Track Listing:
Act One
1. “Atum”
2. “Butterfly Suite”
3. “The Good in Goodbye”
4. “Embracer”
5. “With Ado I Do”
6. “Hooligan”
7. “Steps in Time”
8. “Where Rain Must Fall”
9. “Beyond the Vale”
10. “Hooray!”
11. “The Gold Mask”
Act Two
1. “Avalanche”
2. “Empires”
3. “Neophyte”
4. “Moss”
5. “Night Waves”
6. “Space Age”
7. “Every Morning”
8. “To the Grays”
9. “Beguiled”
10. “The Culling”
11. “Springtimes”

Act Three
1. “Sojourner”
2. “That Which Animates the Spirit”
3. “The Canary Trainer”
4. “Pacer”
5. “In Lieu of Failure”
6. “Cenotaph”
7. “Harmageddon”
8. “Fireflies”
9. “Intergalactic”
10. “Spellbinding”
11. “Of Wings”


Howlin’ Sun – Maxime

Take a nice hit from the Norwegian hard blues band, Howlin’ Sun with us!  The old-school, slower bluesy riff is heavy in the camp of Maxime.  You can feel it in your bones as much as your ears.  The way the guitar trails off, the entry and rawness of the 70s vocal, and the constant devilish, Led Zeppelin style rolling flow.  The song “Bittersweet Morning” brings about a more country-rock-blues that slips close to The Black Crowes, and it’s always classic when we hear that Hammond organ gospel-pumpin’ in the studio!  If you’re a fan of the Rolling Stones, The Kinks, The Black Crowes, Dusty Springfield and a guitar worship that hints at Gibbons, Kravitz, and White you’ve got all the boxes check marked for this good solid 31 minute blues rocker!

The band:
  • Tor-Erik Bjelde (vocals)
  • Magnus Gullachsen (guitar)
  • Pieter Ten Napel (drums)
  • Torgrin Nåmdal (bass)
Maxime Track Listing:
  1.  Maxime
2.  Let’s Go Steady
3.  All Night Long
4.  Jayne
5.  Be Mine
6.  Last Time
7.  Main Pretender
8.  Lost
9.  Bittersweet Morning
10.  All Night Long

Music Bites Eat A Peach by The Allman Brothers Band

In the mid Seventies I worked in a famous kitchen in New Orleans.  The Executive Sous Chef was in love The Allman Brothers Band.  We would listen to the Allman Brothers Band 8 hours a day!  Certain songs over and over.  That being said, this album produced one of my favorite songs of all time!  “Mountain Jam” is a stellar rock instrumental.  It is twenty-eight minutes of a grateful dead-ish jam, really focusing on the group’s strong points.  It’s playful, but not too intense, like some space jams tend to be.  When you add “Melissa,” one of their few top forty radio hits, “Trouble No More,” and “Blue Sky” you have a high energy southern rock album!  Arguably their best.  This Album I use regularly to reduce depression.  Music Bites Eat A Peach by The Allman Brothers Band!
This menu is southern based and is very New Orleans influenced.  The beverage choice here is a nice Italian Chianti.
Enjoy the menu!  Bon appetite!

Southern Cheesy Biscuits

Ingredients [makes 12 biscuits]

  • 3 cups All Purpose Flour
  • 1 tablespoon Baking Powder
  • 1 teaspoon Cream of Tartar
  • 1 teaspoon salt
  • 1/4 teaspoon Pepper Flakes
  • 1 cup shredded Cheddar Cheese
  • 1/2 cup cold Butter
  • 1/2 cup milk


  • Combine all ingredients except milk and butter.
  • Blend butter in with pastry blender till fine crumb
  • Slowly add milk till dough just comes together.
  • Scoop out golf ball size of dough on to greased baking sheets
  • Bake 450 for 18-20 minutes


New Orleans Southern Chili


  • 1 lb ground Beef
  • 1 lb ground Pork
  • 1/2 lb Andouille sausage – 1” slices
  • 2 Onions- Finely Chopped
  • 1 Green Pepper – Finely Chopped
  • 1 Red Pepper – Finely Chopped
  • 3 cloves of Garlic – Minced
  • 2 cans diced Tomatoes
  • 1 small can Tomato Paste
  • 1 bunch cilantro – Chopped Fine
  • 1 bunch Parsley – Chopped fine
  • 3 tablespoons Chili Power
  • 1 tablespoon salt
  • 1/2 tablespoon pepper


Beyond Your Radio Music Bites - New Orleans Southern Chili

  • Sauté onions and garlic in a large Dutch oven
  • When translucent, add peppers cook for 5 minutes
  • Add pork and beef till brown
  • Add andouille and cook for 5 more minutes
  • Add the rest of the ingredients, stir well and simmer covers for 45 minutes.
  • Serve over Rice


Peach & Pepper Cobbler

Ingredients – Filling

  • 3 cans peach Halves-Drained
  • 2 tablespoons Jalapeños Minced
  • 1/4 cup diced Walnuts
  • 1/4 cup Honey
  • 1 teaspoon salt
  • 2 teaspoon black pepper
  • 1/2 cup sugar granulated

Ingredients – Topping

  • 3/4 cup butter soften
  • 3/4 cup brown sugar
  • 1/2 teaspoon salt
  • 1/2 teaspoon cinnamon
  • 1/2 teaspoon Szechwan peppers- ground


  • TOPPING:  Mix together all ingredients by hands until it resembles 1/4 inch crumbs
    • Lay peaches cut side down on a greased 9 x 13 pan
    • Sprinkle with chopped Jalapeños and Walnuts
    • Mix together all the rest of ingredients in a bowl with a whisk.
    • Pour on top of peaches (make sure peaches are completely coated)
    • Sprinkle topping evenly over top of cobbler
    • Bake 375 for 30 minutes
    • Serve warm with Ice Cream

Red Snapper On Unknown Sundays 09-2016

I miss the ability to have several old school record store choices in Western New York. I used to love taking a side trip while making sales calls for the day in Rochester, New York (I think that one was called Fantastics), or making a jaunt downtown (Buffalo, NY) to New World Records (which had an import selection, new and used stuff), and now it’s pretty much just Record Theatre (now they’re gone) and Friz B’s. Not that there is anything wrong with that, but it’s just the diversity of what was coming in and available in used records and in over-stock was much better. This allowed me to just throw caution to the wind, diving into the used bins for an hour–striving to find that something different, special, or just left behind. Putting faith in the name of the album or the songs on the back, or even the cover art was my only possible gauge (we didn’t have phones back then to give us instant knowledge).

This is how I discovered Buckethead (becoming associated with the likes of Buckethead before most in the record industry who now might hail him as one of the best guitarists in the world had ever heard his name). While his album Colma is still considered my number one find of all time–$1.00 people–I have a number two, that blows my mind. Red Snapper, and their jazz, trippy, blast of an album, Making Bones, from 1998. This record started it all for me with them!


When I saw it, the name of the band caught my eye, and then seeing the songs “Bogeyman” and “4 Dead Monks” sealed the $3.00 deal. The pioneering acid-jazz band from Britain came tripping through my car stereo with a free, flowing, sophisticated electrical–acoustical precision that I had never heard before in a jazz environment. At the time, I had no idea they had opened for The Prodigy along with Foo Fighters. Nor did I have any idea that they were already in process of dissolving the band. Damn, right?! Well, I can only assume it was because of the lack of record sales…because when I find a great band, like all us music junkies–I go looking for more, and I’m willing to pay full price, of course. But, there was nothing on the shelves–anywhere. It is always discouraging when you hear such proper, loose talent like this and you can’t get access to more of their music (remember the internet wasn’t your greatest sales tool back then). I was able to secure
Our Aim Is To Satisfy, and it did just that–thank the luck of the record browsing gods.They reformed in 2007. Giving us A Pale Blue Dot, and just recently (remember this is an archive post) Heyna, all of which continued the radically talented musicianship that I had come to play religiously in the background. I don’t know what’s on the horizon for Red Snapper. They certainly don’t get much attention here in the United States that I’m aware of, nor do I see them heavy on the record store shelves, which are usually a bit more stark these years. There’s an album called Key from 2011 that I’ve been unable to rightly procure, but I’m sure that I will, when it’s suppose to.

Red Snapper utilizes guest vocals and musicians to keep their music as diverse as their acid jazz. From the trippy-funk tracks to the soundtrack styles, instrumentals wrapped in boogeydown cellophane, there’s something that just gets your toe tappin’, your heart pumpin’, and your mind inspired.  If you’ve never heard of Red Snapper beyond the tasty fish that you’ll find on the specials lists, then get out your best musical fishing rod and cast deep into the used records under “R” and yank out anything they got–you’ll be hooked.


Red Snapper Albums in my collection:   Prince Blimey (1996), Making Bones (1999), Our Aim Is To Satisfy (2000), Red Snapper (2003),  A Pale Blue Dot (2008), Hyena  (2014)

This “Unknown Sundays” was done back on February 29 of 2016, and yes that was a leap year post!  I’m still searching for other albums as they have a few more I’ve yet to snag, including the newest of the bunch, Everybody Is Somebody (2022), which as of this day, I have yet to listen to.  Oh hell, it’s going to get spun right after I post this, who am I kidding!?  I still stand by my convictions that this band will hook you!  Looking back in regards to mentioned record stores:  Hi-Fi Records, which came to being after Record Theater closed, and Friz Bs (still around today, Jeff even owns the plaza now), are my local record stores!  While the resurgence of vinyl is encouraging, the availability of good quality, Beyond Your Radio used CDs seems to have slowed, I still continue my chronic browsing with hopes of pulling up one or two more to finish the collection!  – Mark Kulgowski  [May 7th 2023]

Album Review Saturdays 2023 Episode 7

On this Album Review Saturdays were going all Canadian!  Music appreciators, officiantos, and collectors certainly know the rich musical history of the country, and their affinity for nurturing beloved musicians, bands, and a live musical culture that continues to rival the rest of the world!  You don’t have to believe me, just look up some of your favorite artists, bands, and albums, and check the producers, too — you’ll be a believer.  And, in this Album Review Saturday, we’re showcasing two beloved musicians at different ends of the musical career spectrum, one in the more independent scene, spanning over a quarter century. and one in a category of Canadian legend — both with intriguing new releases.  Then we’re throwing one more Canadian act, because they’re an example of the range of cool that comes from the country that invented the coolest game on earth — hockey.

Grandson – I Love You, I’m Trying

Let’s start with the fun new album from Grandson!  Nice band name there, right!?  This band’s new record, “I Love You, I’m Trying,” is definitely expanding the lyrical angst that has fueled Mr. Benjamin’s song-writing style. The production loves his vocal hip/hop driven pace, and adds the devilish distortion, drum tracks and trickery in every nook and cranny.  There’s swagger without being self-indulgent.  There’s catchy, explosive beats, and there is those that drop down tempo to handle a bit more sincerity.  All of this flowing from real world experience made lyrics on every social scale.  Grandson’s latest offers a lot for the pop, hip-hop with that niche, heavy alternative, which seems to be a great idea to give more inclusiveness.  If you’re drawn to K. Flay, Bishop Briggs, Asher Roth and even some Missio — you will be into the audio adventure!

The band:  Jordan Benjamin
I Love You, I’m Trying Track Listing:
1. Two Along Their Way
2. Eulogy
3. Something To Hide
4. Drones
5. I Love You, I’m Trying
6. Half My Heart
7. When the Bomb Goes
8. Enough
9. Murderer
10. I Will Be Here When You’re Ready To Wake Up (ft. Wafia)
11. Heather
12 Stuck Here With Me


Emm Gryner – Business & Pleasure

What does one say about Emm Gryner?  She’s an artist that I have been wanting to put into “Unknown Sundays” (and I still will), as her catalog of albums and projects are worthy of such..  This is just going to be about her new album “Business & Pleasure” which is probably somewhere around her 20th album!?  If you’re from Canada, there’s a good chance you’ve heard of her (if you have not – you’re welcome), but if you’re outside the Canadian border, it’s not so likely. I don’t want to dive too deep into her 25+ years, but it’s safe to say — her time with David Bowie, and her musical producer father have been steady ships in her creative boundlessness.  This album dives a bit back into that late 70’s early 80’s vibe for my ears (hints of Steely Dan, her love of Hall & Oats, and others), but the clever song-writing, sub-referencing is something of what makes her so cool!  This is more of an adult contemporary record, but it’s fun, so very well produced, and latches on to some familiar sounds that make it warm and intriguing.  This is a more than one listen, especially for those of us that have followed her career for two decades plus.  There’s a rabbit hole here that I would love to take our panelists down one day, but for now, “Business and Pleasure” has soul, beauty, nostalgic guts, and the delicate voice of a Canadian songstress that’s not afraid of her steady business side and the pleasure she intends to bring willingly to those ready for the ear-filled ride.

The band:  Emm Gryner (vocals, keyboards, guitar, bass guitar)

Includes:  Shannon Forrest, drummer (Toto), keyboardist Pat Coil (Michael McDonald), bassist Larry Paxton (Alison Krauss), guitarist Tom Bukovac (Taylor Swift), guitarist, Pat Buchanan (Hall & Oates, Dolly Parton)

Business & Pleasure Track Listing:
1. Loose Wig
2. Jack
3. Valencia
4. Summertime
5. The Chance
6. Queen
7. The Second Coming
8. Strangers and Saints
9. Burn the Boats
10. Don’t Give in
11. Real Love

Gordon Downie & Bob Rock – Lustre Parfait

I’m literally in tears as I write this, and I apologize ahead of time for the writing in an attempt to showcase the record.  I don’t need to go into why, as I’m pretty sure anyone who says ‘they know music’ knows why.  I don’t know where in the timeline this album was started or how it was finalized (I decided to not look at anyone’s reviews or information on Google).  Mr. Gord Downie (one of the greatest front-men in Canadian rock history with The Tragically Hip, as well as all around fantastic human being) and Mr. Bob Rock (legendary producer with the resume of heavies like Metallica, Bon Jovi, The Tea Party, The Tragically Hip, Our Lady Peace, Motley Crue, The Cult and The Offspring to name just a few) come together to deliver this beautiful co-creative sentimental, straight ahead record that has the stamps of both men’s talents on it.  It is a glorious reminder of the power of the singer-songwriter, the impact lyric and melody have to one another, and the moment(s) that we come to love, cherish, and too often compartmentalize.  This is, start to finish, a put it on loud record, but there’s that one song that lands the hardest, the best…that just takes me back to front row at Ontario Place in 1992, or at University at Buffalo, where ‘there was only once chance to save the world’, or Markham Fairgrounds where he ‘could have been Kevin Costner or Clint Eastwood’…truly………The Moment…Is…A…Wild…Place.  Indeed it is, a moment I, and most of my friends + a country will never, ever forget.

The band:  Gordon Downie (vocals) and Bob Rock (guitar, production)

Supporting musicians on Lustre Parfait include Dexter HollandNoodlesAbe Laboriel Jr.Tom Keenlyside, Steve Madaio, Camille Henderson and Saffron Henderson

Lustre Parfait Track Listing:
1.  Greyboy Says
2.  The Raven And The Red-Tailed Hawk
3.  Lustre Parfait
4.  The Moment Is A Wild Place
5.  Something More
6.  Camaro
7.  The North Shore
8.  Is There Nowhere
9.  To Catch The Truth
10.  Let Me Howl
11.  HellBreaksLoose
12.  The Safest Day Of The Year
13.  In The Field
14.  There Goes The Sun

Dylan LeBlanc On Unknown Sundays 08-2016

If you’ve been following the mixed-folk scene (I say this because Folk has managed to mix into alternative, alternative country, blues, rock, rockabilly and more over the past eight years [remember this article was originally written in 2016]) then you’ve probably heard of Dylan LeBlanc. However, I can honestly say that even with the likes of Emmylou Harris appearing on his debut album, and the sincerest accolades on his second album and touring with Alabama Shakes, Calexico, Lucinda Williams, The Drive-By Truckers and even Bruce Springsteen, that I had never really listened to a solid album. That ended this week.

Cautionary Tale is a beautiful, light alternative-folk-blues record that has a bleak sense but a humbled, mumbled melody delivery that helps him rise above the din of the crowd. “Look How Far We’ve Come” certainly lets the listener know that he has a knack for the complete musical craft, and treats every song like the very tale of caution the album suggests. There’s typical guitar work but it’s the backing of violins and strings and piano that subtly attach themselves brilliantly and naturally to each song.

The Shreveport artist handles Americana song writing with a depth and classic feel that reminds one of Neil Young with the despair delivery of Bob (yes, that Dylan). There’s a darker side there, too, along with a few voice changes that he can lean on for special ocassions, too. And, apparently, that dark side was not far from the celebrated truth that nearly destroyed him. At an early age he went from Applebee’s server to the next Neil Young. That’s not something you hear every day. In fact, I never heard it—and I adore Neil Young probably above most. So, what happened? This straight from his webpage: He slipped into a blur of booze and self-doubt. Exhausted and damaged at just 23-years-old, Dylan came home to Muscle Shoals, Alabama to write a new life for himself. In comes Cautionary Tale to save a promising career with the friends and music backbone of Ben Tanner (Alabama Shakes) and John Paul White (formerly of Civil Wars) to push away that self doubt. Mission accomplished for sure.

Pauper’s Field and Cast the Same Old Shadow are haunting records reaching back in his catalog, and I certainly implore you to do give them a listen only after you feel the revenant of Cautionary Tale. These are records done with hints of tunnel vision and blasts of genuine talent that does dazzle. Even articles written in review of these two recordings mention “holding back,” which resemble more of the self doubt, mentioned by Dylan. No question that these two early records are at a dangerous age, considering their magnitude and the adorning musical pressures. That makes them all the more important in foundation, revealing so-so much vocal by vocal, piece by piece, and track by track.

Give Dylan LeBlanc more than your earful attention. Give him the benefit of the doubt that he has a new embodiment of music to draw from, and a desire to bury the doubtful demons and use them like a determined Ryan Adams. I know you’ll be deeply moved, eagerly engaged, and pleasantly surprised by a rising talent–rather than the supposed second coming…although–I’m considering this the early warning shots to a controlled, polished greatness to come.



Dylan LeBlanc Albums in my collection:   Cast the Same Old Shadow (2010), Cautionary Tale  (2015)

This “Unknown Sundays” was done back on February 21 of 2016, and I was a year late to Cautionary Tale.  Renegade in 2019 was a record that I felt had all the same makings of Cautionary Tale without the grit that drew me to the article in the first place.  It did seem to be made with a alt-pop sensibility, but that probably comes with more production being available or attempted.  Still a good record, well received and in the wheelhouse expected with creativity still in tact.  I just recently listened to his EP covers called “Past Times,” where he takes on Dylan, The Rolling Stone, Glen Campbell, Buffalo Springfield, and Led Zeppelin.  The choices are definitely what you would expect given his style.  The covers do have his distinctive voice and kept close in arrangement to the originals, but for me it’s the JJ Cale “Sensitive Kind” that is the stunner here.  He’s still on my radar because there’s that alt-folk groove arrangement that still draws me in and this feeling that there’s going to be a tale told in maturity somewhere down the line that might cast a completely different light on the shadows of a decade of work.    – Mark Kulgowski  [April 30th 2023]