Beyond Your Radio Article pertaining to showcasing “Unknown” musicians, bands, styles, or music multiverse travels in sound.

The Birdwatcher On Unknown Sundays 2024

THE BIRDWATCHER ON UNKNOWN SUNDAYS [YOU TUBE VERSION]

I’m pretty sure this is going to be a band that is relatively the most Unknown I’ve talked about.  An obscure band, that started out as Windsor For the Derby (of which until this Unknown Sunday and the research in writing the article past my appreciation for the albums, I didn’t have any connection with), and that’s the rabbit hole, unique, Memento (the movie) like moment of this article.  From a know absolutely nothing gamble from a used record store bin on vacation in Florida (and wait we’ll come full circle back to why that is) to an odd mix of ambient and jangle barren pop electronica, this one is a different kind of musical journey.  And, exploring it, all these years later, finding another connection to The Birdwatcher, just this year, the Windsor for the Derby.

Since the 90s, I had been writing novels.  Don’t get all excited, I’ve never had anything published, but I do enjoy the thrill and mystery and challenge of writing them.  It is probably why I’m attached to albums over singles and songs.  The entire scope from start to finish is the incredible journey, and the payoff is so much greater when it’s a complete picture (right?), or maybe that’s just me.  What I purposely went looking for, in music (sometimes) were ambient or low-fi orchestrations to play in the background that had moods that could set the background for my writing.  It’s like a soundtrack to a book (which never really took off in the music industry).  The only difference is I’m listening to it as the story is unfolding, the characters are speaking, and the description is flowing.  I find it often inspiring, and this was the find that was, well sort of, The Birdwatcher.

So, what attracted me to it was the cover, the band name, and then the title, The Darkest Hour Is Just Before Dawn.  I thought of the idea of the best REM sleep, and how nightmares can be their most vivid at those times, so I picked it up without any realization of what it might be.  There was a tag on it that stated ‘an amorphous blend of subtle, barren pop,’ and that was all I needed to snatch that up.  Hell, I’m not even sure if I completely understood that description, but I am a willing accessory to the music multiverse’s pull on me for new music that falls out of the common range.  And, The Birdwatcher did not disappoint in that description.

So, I discover the band, with it’s not quite Brian Eno, post rock mood-scape in the year 2000.  The album is basically working off of a concept of realizing the slip of darkness into the crack of dawn, exploring that on a very interesting, and rich – but – quite barren instrumental reach.  I found it very interesting and ear-catching.  Seemingly eerie and perfect for my writing background, which was the great surprise.  However, not the greatest vacation music to play in the car (remember I found this in Florida on vacation), so I definitely wasn’t able to put it on in certain company. ‘Cutting Rope’ is the perfect intro to realize that, no matter how much you feel the power of the music, it’s not going to reach happy time vacation goers (a little sub-reference there if you progressiver rock avant-gardest are reading — probably not), and there’s a level of repetition that is not going to rest with the common music listener.

So, what comes next is seeing another The Birdwatcher album release in 2001, which is apparently the second in the trilogy that was stated on the label of the first album.  The tag on this one says, ’emotive & fragile, strangely spooky, slightly unhinged.’  Oh hell to the yes!  Afternoon Tales the Morning Never Knew starts with fresh bell sounds and a keyboard etched gun fire into somber air-organ like playing and finally into a perfectly strumming and picked acoustic electronic riff (with that gun fire still hedging in the background).  There’s an odd plucking (maybe banjo) and the mood again is set for another background of musical expression.  Going back to this album, for this particular Unknown Sundays solidified that the second album draws me in more than the first.  There’s even a little bit of vocals on this record, giving it a Nick Cave indie like track, ‘Empty Boat.’  A lot to appreciate and digest, and I certainly appreciated it.

So, where’s the third in the supposed, mentioned trilogy?  I’ve been waiting for it for 23 years now?  I haven’t seen or heard any of it.  Searching isn’t that easy, as there are other bands that seem to share a common name with plural(s), so here I am — at the first draft of this article–and I now realize Dan Matz.  A name that I have apparently overlooked, just thinking only of The Birdwatcher, when in fact, Dan Matz is The Birdwatcher, and these were his solo albums.  So now, thanks to The Birdwatcher on Unknown Sundays 2024, I now have a new rabbit hole of musicianship to explore in Windsor For the Derby!  And, you can go either way on this one my music multiverse travelers, as Windsor For the Derby had albums prior, during, and after The Birdwatcher!  And, maybe, just maybe The Birdwatcher’s third album will finally emerge?!

Albums by The Birdwatcher In My Collection

  • The Darkest Hour Is Just Before Dawn (2000)
  • Afternoon Tales The Morning Never Knew (2001) 

Albums from Windsor For the Derby

  • Calm Hades Float (1996, Trance Syndicate)
  • Minnie Greutzfeldt (1997, Trance Syndicate)
  • Difference and Repetition (1999, Young God Records)
  • The Emotional Rescue (2002, Aesthetic Records)
  • Earnest Powers (2002, Emperor Jones Records)
  • We Fight Til Death (2004, Secretly Canadian)
  • Giving Up the Ghost (2005, Secretly Canadian)
  • How We Lost (2007, Secretly Canadian)
  • Against Love (2010, Secretly Canadian) 

Whale On Unknown Sundays 2024

WHALE ON UNKNOWN SUNDAYS [YOU TUBE VERSION]

We can learn a lot from two dummies.  Two poorly drawn, rock t-shirt wearing, odd giggling, do-nothing teenagers sitting around watching MTV.  Makes sense, considering they were a product of television channel MTV, and they certainly (in my generation and time) had us sitting around watching the channel, waiting anxiously for the next video to pop up.  Beavis and Butthead were their names (well, actually are their names as they seem to have rebounded on more than one occasion, even a recent Saturday Night Live skit), and they loved to get entranced or make fun of music videos, people and overall situations (be them appropriate or inappropriate).  It was no secret where their allegiances for music lay given the never changing t-shirt titles, and the usual head bobbing and horn fingers displayed.  The videos that appeared on this show ranged from timely, Milli Vanilli and Biz Markie, to throwbacks like the Bangles and Aerosmith (who was enjoying a resurgence of their own at the time), to the metal loves of Guns n’ Roses, Judas Priest and more alt-metal like White Zombie and Pantera.  No one was safe from ridicule, well accept this one time, when a sound I had never heard, an odd video, nearly inaudible lyrics and screaming caught my ear — and that of Beavis (in more ways than one).

“Hey. This is kind-like rock!?” Butthead surmised as he watches some men dressed in tin foil tight short, one in orange dress, and a woman sucking a lolly pop in braces on the video screen. “It’s not bad.” Giggles Beavis.  Apparently, as the lyrics state, she was taking candy…so the lollipop made sense.  The braces endured her to Butthead, who then expresses that she would be in to him.  The immediate disruption came into a wild lyrical rant that Beavis attempts to copy (hilariously) and then screaming and then the drop to this sweet alt-vocal, which the two cartoon teenagers suddenly took a wild interest in, was just that — not bad — not bad at all!  When she goes from inspecting knads (they go there a lot) to licking an arm pit, it’s off the rails, and I’m going there with this band!  Yeah, yeah, yeah…oh good there’s the usual name of song and band name in bold so idiots like me can find them (stalk them sonically).

Here’s the lyrical nonsense (but how cool is it):

You hobo humpin’ slobo babe
Get it off, get off, get off of me!
You hobo humpin’ slobo babe
Get it off, get off, get off of me!

Baby, we don’t love ya
Baby, we don’t love ya, baby, yeah!
Baby, we don’t love ya
Baby, we don’t love ya, baby, yeah!
Baby, we don’t love ya
Baby, we don’t love ya, baby, yeah
(really screaming – male vocals)!

This I found out was a Swedish alternative rock group, Whale.  Whale was a small part of wider alternative seen in Europe that got swept up in dance-alternative-rock-pop, and augmented vocal distortion to relate certain societal inconsistencies, some of which went from slap-you-in-the-face to more back-handed and sincere.  But, no matter what they were doing on their first album, We Care, from 1995, their sound was completely unique, bombastic where it needed to be and cleverly intertwined with catchy groove, off-kilter melodies, and sudden switches in distribution of the alternative sounds.  They were a perfect, weird outlier in the music multiverse at the time, and ‘Hobo Humpin’ Slobo Babe’ was a fine whap to the current ear-standards going around, and how fitting that Beavis and Butthead felt so inclined to say so as well (but far from articulate of course).

We Care, is actually a very intriguing record from start to finish, and one of the unknown pleasures of alternative rock in 1995.  There’s not a solitary dud on the record in my opinion, and I was even backed up on that by a certain Sunday television program called Four on the Floor, hosted by David Adelson of Hits Magazine.  Loved this show by the way, and trying to find footage is astoundingly difficult, but he would have musicians and artists guest on the program, and on this particular episode (which I believe Neil Young was on and John Popper) one of the critics went into what he was listening to, new that was catching his ear, and it was Whale’s We Care.  God I miss that show, and I know I didn’t see all the episodes because I didn’t get VH1 to start.  Oh well, maybe someday it’ll be available.

Who was Whale?  Gordon Cyrus and Henrik Schyffert met while working on a commercial and decided to collaborate on a music track.  Schyffert recruited his then-girlfriend, Cia Berg, to perform vocals, and the rest is well, Beavis and Butthead history.  Two albums only, as the sounds they were a changin’ even in Europe. despite the touring they were able to do with bands like Tricky and Blur (whom seemed to have managed the changing audioscape better).  It would have been exciting to see them once, or get a third album in.  Their creativity and energy toward taking alternative outside particular boxes was inventive in places, crazy in others, and sometimes a fun disturbing listen at times (check out ‘I’m Cold’ and you’ll understand what I’m talking about).  Whale was a swift kick in knads!  A wake up from the radio goo-goo and video ga-ga-ga and that’s ‘Where It’s At!’

I truly encourage the listen, especially We Care.  The follow up 1998 album, All Disco Dance Must End In Broken Bones, had some moments, but didn’t hit as raw and unpredictable as the debut.  Both of which are in my music collection, as well as an EP Pay For Me.

 

Kitchen Witch On Unknown Sundays 2024

KITCHEN WITCH ON UNKNOWN SUNDAYS [YOU TUBE VERSION]

So let’s turn up the fuzz, push the hard rock blues button, and let soulful and powerful unknown female hang her notes like Ann Wilson of Heart or shatter the skull in any stoner rock epic.  This is Kitchen Witch On Unknown Sundays 2024 on Mother’s Day.  So, get heavy on and raw with it you — mother lovin’ blues rockers!  Let me start out by wishing all those rockin’, bluesin’, hip/hop trippin’, classical kickin’, soul flippin’ and progressive ear-lovin’ mother of the music multiverse a very happy and blessed Mother’s Day.  You are the birth of it all and without you and your selflessness, we are all done and gone.  So, I raise this band, and woman within it, a relatively unknown in the music world, along with a glass to you all!  Now, on with this kick ass hard blues and fuzzed out rock band that I discovered because Amazon.com had the wrong name and album picture for two bands.  True story!

Did I mention I scour Amazon.com after I’ve exhausted two other new release sites on the Internet, just to make sure I’m not missing something?!  If I haven’t, you probably already figured that by the obscurity of some of the things we listen to and report on, on this article or on our shows.  And, when I mean that I don’t want to miss something, that can be just based on seeing an album cover that draws my attention.  And in this case, it did, 11 pages deep into the new release listing in Amazon.com (which is horribly put together, but I’m sure they could care less), I saw this stoner, heavy psyche album cover, noting it’s cool look, but I still kept scrolling because the band name didn’t register or make any sense (sorry that I don’t remember it, and I looked back so they obviously cleaned it up).  Then, I saw the album cover again, which was strange on page 13, but the band name — well that fit!  Kitchen Witch!  Attention grabbed, album purchased (a bit later when the price fell), and I did let Amazon know that they had a wrong album cover for another band.  Yes, I’m the guy that puts albums back in the right place, if they’ve been improperly placed (after all I know most record store owners and love them to death).

Trouble!  Got to love a band or an artist that sings a song with that title and intent, or a band makes that their album title and delivers!  That is the 2015 EP of Australia’s Kitchen Witch, and they definitely ‘Don’t Waste Your Time’ getting right into the thick of the hard rock blues pool with a cannon ball, wreckless splashing, and momentous glory!  From the dark riffing, to the soul-spilling blues vocals that seem to harken from a woman who has somehow sucked the old souls of Janis and Dinah Washington into a female version of Robert Plant, to the sound-shifting doom rock grooves, Kitchen Witch has everything a 70s heavy rock officianto would orgasm over!  Don’t believe me? Oh you should.  I’ll give you a link to a live performance back in 2018 that sound ridiculous for an outside show on YouTube below, and you can thank me later!

While I cannot get over the vocal of Georgie Cosson, and you won’t either, the reason this works so well is also her bandmates and their complete, submerged delivery of the doomy, heavy blues while being able to carefully shred or move into a soulful place to ensnare the rapture of her vocal reach.  It seems to come effortlessly for both band and Cosson, and that’s the magic of it all!  There’s not a moment wasted on albums from the longer tracks to the more standard blues rock late night radio pieces.  This particular band find is a rarity that deep in the web, that far gone from bands that probably have no business even being on any pages prior to them.  Just think of the stuff you’ve listened to that was on the first five pages of Amazon.com.  There is no disappointment and no let up for this Unknown Sundays from Kitchen Witch!

 

The Band is currently, and I don’t think it has changed since their conception in 2013:
  • Georgie Cosson – Vocals
  • Conor Kinsella – Guitars
  • Simon Elliott – Bass
  • John Russo – Drums, Percussion

Now, the truth of the matter of this posting is that I was really searching this Mother’s Day for something to put out there, and I had a lot of choices, but it was the fact that Kitchen Witch came up in my FORGOTTEN FAVORITES and they have a brand new single out ‘Glitch’, which is on the bandcamp page (you know I normally don’t listen to singles from any band – it’s albums baby), but I broke my rule on this occasion because it was seven minutes, and I just knew it was going to drive my heavy, stoner blues ear nuts!  Hopefully, it will do the same for you!

Albums by Kitchen Witch In My Collection
  • Kitchen Witch (2017)
  • Back To the Mud [EP] (2016)
  • Trouble [EP] (2015)

Rodrigo y Gabriela On Unknown Sundays 2024

RODRIGO Y GABRIELA ON UNKNOWN SUNDAYS [YOU TUBE VERSION]

The record store junkie in me visits them all over the US and Canada, and as you would expect, if I’m in a foreign country — that doesn’t deter me either. However this story doesn’t start in Mexico City, where the band is from, this one goes to Bogota Colombia, where my wife and I were there adopting our first child. So, one afternoon, we took a cab up to The Hacienda Santa Barbara. Now, you know me, I brought everything I needed to play my music, which amounted to a CD case of what I had selected for 24 albums, the laptop to play them, and a backdoor link to some of my start of digitizing my catalog (although the internet speed in our abode was not first world). That’s right, I was not on a streaming service at the time, and I’m not quite sure if it would have even worked, considering the connection and out-of-country IP. But, I was prepared to purchase some native music from across the genres, so that my daughter could continue to be immersed in her culture’s sounds, as well as for me to enjoy.

I did my homework, and knew that I would do several compilations (especially in the folk concepts), but I was truly fascinated to get into the Jazz, Electronica, and the acoustic playing. Bogota is a Spanish settlement. So, obviously, there’s a deep search going on in the store, as they tend to sell a bit more of the Western music because of exposure. So, for some reason, in the World Section (will call it, or at least I called it with my limited Spanish), I see this eyeball of a lizard or a dragon, and I’m immediately taken by the name Rodrigo y Gabriela, and it had this sticker claiming all sorts of great things! And, there were two mentions that immediately drew my attention, covers of “Stairway To Heaven” and “Orion” by Metallica. Oh you got some balls on you! Snag! Mission accomplished! Several albums, got the cultural music, after some broken Spanish communication, and a huge thumbs up from the one person behind the counter when they registered the Rodrigo y Gabriela album.

Surprise! They’re not from Bogota, Colombia. Somehow, they just were in the wrong bin title, or placed there unknowingly. But, oh thank you that mistake because I might have had to wait even longer to make the connection to this great duo out of Mexico City.

The minute it started I could immediately discern their unique manifesto to conquer the sound environment through especiale guitar workings, which at point were mostly acoustic (or at least in the first several studio albums Rodrigo y Gabriela played acoustically to each other with other artists coming in with an electric guitar in some spots along with the other instruments. Remarkable and impeccably produced, even the album, Re-Froc, which I believe was done without any microphones.  Also, the pounding of face of the guitar is the percussion in a lot of their music, and a backbone of their rhythmic connection as well as to the audience.

The duo does love the cover, and of course the more complicated the better. From Echoes (Pink Floyd) to Al Di Meola, Jimi Hendrix, and Carlos Santana. We were able to see them perform a few years ago with our two children at the University of Buffalo Center for the Arts, and it was a masterful acoustic and electric session of mind blowing proportions. I know it wasn’t Drake or Gavin DeGraw, but they knew they were in the presence of two talented, outrageously ferocious guitar players, and the Flamenco style was something they don’t hear in their music much, and that’s mostly true of the music multiverse. That’s why when they come up again the Metallica Three Album Tribute and do “The Struggle Within” to close the four disc set, you know the tremendous respect they have in the industry for their unique sound and love of music.

They were recently at Ameba Record Store in a YouTube “What’s In My Bag” and I just loved their choices, and it’s moments like that — that feed my curiosity for sounds and more music exploration. If you’ve not heard of Rodrigo y Gabriela, you should definitely give their flamenco modernized style and variety a good listen, especially if you’re an Al Di Meola fan, as they can certainly give him a run for his title.

Albums by Rodrigo y Gabriela In My Collection
  • Re-Froc (2002)
  • Rodrigo Y Gabriela (2006) – oddly enough released in Ireland.
  • 11:11 (2009) [Yes, that’s a Pink Floyd song title and they cover it.
  • Area 52 [Live] (2012) That’s with a Cuban orchestra.
  • 9 Dead Alive (2014) Which is all about paying homage to famous people and their triumphs.
  • Mettavolution (2019) – We’re going electric and acoustic.
  • In Between Thoughts…A New World (2023)

Terry Reid On Unknown Sundays 2024

TERRY REID ON UNKNOWN SUNDAYS [YOU TUBE VERSION]

Opportunity costs.  The fork in the road.  The choices we make, the reasons we make them, and then living on with them or in spite of them.  These are the heavy weights of living, not only for your dreams, but quite possibly for the dreams and lives of others.  None of us are strangers to this scenario, and all of us should have/could have that opportunity no matter what that goal/choice may be.  We live for the options of better, greater, and leaving our marks on this world, but sometimes when we get there (if we are indeed fortunate enough to put ourselves into that position by hard work and luck), the decision is not that easy.  According to the Headstones, on  their 1995 album Teeth and Tissue, “Clocking time slim chance is all you need, In living dying trying to find a life with guarantees, To know what it’s like to stand up and walk away, To know what it’s like to see someone else exhibit hindsight.  It still stings, it’s still ringing.” Hindsight, how we live with it, and what we do after the decision we made (regardless of the validity at that moment).  It’s happened to all of us, at certain age, and it’s going to happen to those coming forth in age.  Today, Terry Reid On Unknown Sundays 2024, and two forks in the road and the decisions he made, that for some reason, leaves him obscure to this day in the music multiverse.

“Superlungs,” Terry Reid, of St. Neots England, born in 1949.  A hard bluesy-rock with range to folk singer, and good songwriter messing around with a band called Peter Jay and the Jaywalkers.  Opening for the Yardbirds on some day in 1966, which caught the ear of a certain, legendary guitarist within that band.  “He had an impressive gutsy delivery for a 16 year old and he made a marked impression on me.”  That is the words of Jimmy Page, of course, and when the Yardbirds disbanded two years later, Terry Reid would be the first name he thought of to be in his next band, Led Zeppelin.  Terry Reid knows he is a blues rock singer, songwriter, guitarist and respected English vocalist at these times.  Hell, when Aretha Franklin makes a comment that the only things going on in England are The Beatles, The Rolling Stones, and Terry Reid, that’s kind of telling the score of things.  An astonishing comment, considering I am sure (besides those of a certain age and across the wonderful Atlantic Ocean to the right) most of you might be hearing his name for the first time?  No.  Let me get into why, and you’ll understand why it isn’t.

Mr. Reid was already promised to The Rolling Stones live tours, and considering their spotlight versus an unnamed band (well, The New Yardbirds maybe), Reid knew that guaranteed money and exposure was important.  I’m sure Page knew it, too.  Therefore, unless Page was ready to apologize to Keith Richards and give him an advance on the loss of revenue — there was not going to be an opportunity to hear that combination.  Reid, did however, mention another singer…for Page, which apparently worked out super-well for everyone.  So, opportunity cost at the time — a choice well made on both sides for Reid.  But, we do know where it went from there for Page and his bandmates.  Please be aware that Band of Joy, which is what Reid was referring to when talking about Robert Plant, was where he also mentioned their drummer, John Bohnam.  So, Terry Reid is truly an ear, which would serve him later, too.  Richie Blackmore would also try to get Terry Reid for Deep Purple before Ian Gillan in 1969.  I’m not sure if Terry Reid was responsible for leading Blackmore to Gillan (I assume not)., but considering the ear and scope of his reach, I guess it should not surprise anyone if that was the case.  So, Aretha was right, and then some.  He probably turned down Fiddler on the Roof and Pippin.’

Fast forward past several very good solo albums (no, I mean it, they are very very good), and Terry Reid hangs up his solo album nature for producing.  Remember, this also comes on the heals of having been one of the best opening acts of all time possibly!  He opened for The Rolling Stones, Cream, Jethro Tull, Fleetwood Mac, and a private gig at Jagger’s wedding!  His shout-blue-rock and folk could come at any moment in a song.  He had a range and register that truly could be called the male version of Aretha Franklin in some instances and uses.  He was also very keen to the changing landscape and sound around him decade after decade, which leads to the session works with everyone from Don Henley, Jackson Browne and Bonnie Raitt, but it doesn’t stop there.  His songs, (again you need to go back and listen to his catalog) wind up being licensed in too many movies to mention, but I’ll name drop a few here (and some are multiple songs on a soundtrack):

  1. Days of Thunder
  2. The Devil’s Rejects
  3. Wonderland
  4. Win It All
  5. Up In the Air
  6. The Greatest Game Ever Played

His songs have also been covered by:

  • Crosby Stills Nash & Young
  • The Hollies
  • Jack White
  • Cheap Trick
  • Joe Perry
  • Rumer
  • Chris Cornell

Now you have context.  I like Mr. Reid to another guy in another profession that passed up being Sonny Crockett on Miami Vice, Gary Cole.  While that’s a hell of story to tell, and I’m sure they both have to live to tell it more times than they care to, it doesn’t define them.  They made their career paths, took their opportunity costs on the chin, but continued on in their professions to their own legacy and pride (Gary Cole certainly has been a staple in network television with The Midnight Caller, American Gothic, The Family Guy and NCIS, as well as films like The Brady Bunch, Office Space, The Jones, Blockers…hell he even guest starred on Miami Vice).  Terry Reid has a vocal and command of his music that leads me to believe that his choices, his career path, and his entire life were close to exactly what his intentions were.  And, in hindsight, and hind-ear, he really has continued to have an incredible career that will live on with both sides — his choice and the opportunity costs that — in this case — is very cool to talk and hear about!

Mr. Terry Reid’s albums are hard to come by, my music multiverse friends (for the right price), so I do not have any of them in my catalog currently, but I will be searching and hoping to find them.  Good luck to you as well, that wish to fill that collection void, but rejoice that his catalog is just a click away.  Your choice (musical fork in the road – wink) go with River (1973), or go with Seed of Memory (1976).  You can’t go wrong.

Ian Brown On Unknown Sundays 2024

As an album junkie, I’m always in the thick of thumbing individually, one by one, in a seemingly never ending alphabetical arrangement of either genres of music or in my local case — used bins A to Z.  The Stone Roses was one of those finds in the used been that I had seen many times in my flipping of CD(s).  I had an impression, without every hearing an album that they had a indie low-sonic sound that I wouldn’t be that into, and considering what I was into back in that time frame and forward for a decade there was just a lot of other music that was reaching my ears.  I wanted a vocalist that popped, music that reached out and slapped you within instrumentation, too.  So, their self-titled debut sat there for two years, and the price would eventually drop (but that didn’t engage me to buy it — even though I buy everything almost).  I come back to used bins about every week, and it wasn’t until probably around the near end of 1990s that a music discussion at the checkout made me rethink my misguided passing of the Stone Roses (notice I didn’t say I was wrong about categorizing them).

Underrated albums of the 1990s, was the discussion, which was refreshing, because most of the discussions of 1999 was more about the Y2K conversion and computer shutdown and potential end times (like that’s never been a possibility — solar eclipse)Second Coming was the album they discussed, so I was intrigued.  So, I made a note that I should give the band a shot.  Next week, when in the store I bought that debut for $6.99 used.  And, it was exactly what I thought it was, and I really was not engaged with it.  Remember, though, this was NOT the Second Coming album, so I took my disconnect with a grain of salt, and made (like I usually do) a physical note to be on the lookout for Second Coming when it came to the used bin, which of course it eventually did, not too long after.

What a difference four years makes!  The John Squire guitar work gets a heavier treatment, great exposure, and the vocalist is more pronounced and has the English swagger and delivery that is engaging me more on this record.  Again, this is not to say that the debut is not a good record, and doesn’t have those moment of guitar wickedness from John Squire (because going back it sure does), but somehow this one just had me at the get go — and by ear throat when it was done!  It had so much groove, and it was something different in the alternative genre that had wonderfully decimated the music scene.  It’s that guitar work of Squire that was sending me unique vibes.  Interesting riff concepts and bridge work.  So, boom, I agree with those at the checkout, as it is truly an underappreciated, missed gem in the albums of 1990, and that debut gets more respect from me that it did.

So, when I start looking for more Stone Roses, it’s not going to happen.  That’s when you start to go down that desperate rabbit hole to find where the musicians went, right?  Oh, that’s right, you’re probably not an obsessive like me.  So I found Ian Brown’s solo career with his debut Unfinished Monkey Business, and from there it was a satisfying rock groove and production reach that was somewhat close enough to feel cool and engaging.  In fact, that was probably as close to Stone Roses as there were ex-members helping. But this big miss is definitely Mr Squire, but that’s another Unknown Sundays.  And, as the albums move on Aziz Ibrahim begins to find his own signature within the Ian Brown solo albums to give the albums more and more each time. This was definitely the case when Solarized, the fourth solo album of Ian Brown emerged after the Music of the Spheres sort of cool, minimalisms.

Ian Brown is a technical, sound producer and style blender of vocal and groove.  The way he incorporates the two or sometimes bringing in a third conceptual sound like electronica or ambient/club/loop (like Unkle and Nightmares On Wax on the Music of the Spheres Remixes) is always to expand the sound and the reach of the album.  It’s wonderful alternative ear candy, and since there’s no Stone Roses, there’s no question that Ian Brown is as close to it as it will get.  His multi-instrumental connections are astounding to here whether sonic or alternative over-the-top produced.  The hiatus which somehow brought out the bongos of Ripples, is another dimension of Brown’s musical infectiousness.  The only sad part is the lack of promotion and attention to such an artist beyond the small pool that knows, and now I’m sharing this with you!  So go, dive down this groovy, alternative rabbit hole and hear what all my attention is about, as well as the fuss of having Stone Roses make another album.

Ian is an interesting personality.  He has had songs removed from streaming do to radical points of view during COVID (which seems extremely interesting in censorship), as well as having done some jail time for actions on a plane, but with all of that, he’s still that frontman from this incredibly sought out band in the late 80s and early 90s.  The impression of then, still leads to the tempo, creativity and groove rock musician and producer he is today, and an artist in the music multiverse that — if you haven’t heard much of — you definitely should.

Albums by Ian Brown in my collection
  • Unfinished Monkey Business (1998)
  • Golden Greats  (1999)
  • Music of the Spheres (2001)
  • Solarized (2004)
  • The World Is Yours (2007)
  • My Way  (2009)
Stone Roses albums in my collection
  • The Stone Roses (1989)
  • Second Coming (1994)

Skrape On Unknown Sundays 2024

SKRAPE ON UNKNOWN SUNDAYS [YOU TUBE VERSION]

Hey “Jojo!”  Not exactly an endearing title to call out for an alternative metal band forming in the late 1990s (1997 to be exactly).  The landscape of music in the genre was definitely going through some changes and re-inventions, so it would be easy to get lost or frustrated for niche airplay on radio stations (remember Sirius doesn’t come along until 2002).  With the likes of Live, Soundgarden, Prodigy, Foo Fighters, Our Lady Peace, Blur and Radiohead pushing sounds in all kinds of directions, where is nu-metal and alternative metal in this mix?  Don’t forget that sounds from Fiona Apple, Tonic, Counting Crows, Matchbox Twenty, Beck and Sarah McLachlan are pushing the radio pop charts.  So, who’s in this right now that’s going the nu-metal direction?  Well, Nine Inch Nails, Deftones, Pantera, Obituary and Incubus. and possibly argue Helmet?  So, the landscape is undulating, unpredictable and the bend for single that has pop-metal and grungy elements seems to maybe have the opportunity to shine brightest?  However, there’s absolutely no filter or rhyme or reason to sustainment beyond the live show and opening acts utilizing each other within the common goals of the broad metal scope.

So, they did the fist reasonable thing.  Drop that name.  I agree.  However, in hindsight of my music knowledge, it would be a few years before I would realize the connection to a very cool and worthy unknown, cast aside band called, Stuck Mojo, that some of these fine metalists (apparently not a word — needs to be) were involved in.  So, we can talk about that on another episode!  On to the band now called, Skrape!  Orlando, Florida, home of Mickey Mouse and that obnoxiously overpriced theme park that is a destination the world over.  So, how do you get your following there in the land of kiddies and families seeking that wholesome entertainment and teen pop?!  Well, in actuality, at the time, they were one of the only metal acts from Orlando, so that maybe made them unique enough.  Unique sort of helped in their native area because of what people were surrounded by.  Want to cut loose and here something heavy and metal — they were a cult following so to speak, and so that drew enough attention to get them signed (probably under the unique ‘give them a try’ label).  The music they were putting down, cultivated more to nu-metal than grunge or alternative rock, so when they did start to go to some shows to test it out, it was not well received.  So, probably a little unnerving, but you got your record deal and let’s see where you land.

Well, New Killer America, was released March 20th of 2021, and let’s just say that I don’t think anyone understood the power of that thumb, and what they were trying to state with it.  But now, it’s all about the power of these really smart kids that have power to basically torche conventionalism, and the album’s production and nu-metal pitch definitely drew a lot of attention.  When you open from Slayer, Pantera, Soil, Static-X (there’s one outside the realm of standard metal) and Morbid Angel, you’re going to add to your audience and get noticed as long as you’re good and different — and they were (and they were modestly accessible, too).  The vocals and passion for metal construct with reaches to alternative bands like Deftones were certainly a steady foot hold in both genres.  The riffing was pure and very much in the wheelhouse of getting the crowds into the mosh!

So, where do things go wrong?  Old establishment.  It’s hard for old people to accept new things.  It’s why we do this channel.  Clive Davis, while very much a mogul of the industry, and a man who influenced generations of listeners and musicians, he didn’t apparently like the scene or the conceptual design of the label after purchasing it, and firing people handling such bands that didn’t fit what was successful by his definition.  Somewhat understandable, but unreasonable (probably), considering there was never enough time to properly push the bands that had this kind of sound.  So, basically, pioneering, would not be something Clive Davis was willing to do.  So, Will Hunt, the drummer for Skrape and the guys would have not move on, and the second album, Up The Dose, would fall on it’s own, even though it was a very very good follow up recording, and it managed to gather some alternative steam.  Sam Hunt would go on to be in Dark New Day and with Evanescence, as well as touring and filling in for Static-X, Tommy Lee, Black Label Society to name a few.  So, I’m sure he’s not as upset as he previously was at the time.  And, he also had a stint with Dark New Day and a brief stint with Disturbed vocalist, David Dramian’s side project called Device, which I dug as well.  The rest of the band’s musicians went on to bands like Dope, Blessed in Black, Audiotopsy, and Slaughter just to name a few.

Nu-metal would make a deeper impression as years moved on from these two albums.  In fact, there’s now a new Skrape name in the music industry, which is not anywhere in the wheelhouse of alternative metal/nu-metal.  It is in fact an electronica band of sorts, so don’t fall into that bad streaming match trap that is happening across platforms.  So, if you were and are a Deftones fan, this band has the more metal side of that anchor, but has a lot of material you will dig.  Mudvayne, Slaves On Dope, Lifer, One Minute Silence and Darwin’s Waiting Room could be others to compare to, if you plan to give these two albums a go.  The record label and the band certainly gave up way to early on this, as they certainly were in the right frame of metal mind for what was there and coming.  It’s too bad they could not have Skrape(d) out another record somehow.

Albums in my collection by Skrape

Albums in my collection from members (most of them being Sam Hunt) of Skrape

  • Dark New Day – Twelve Year Silence (2005)
  • Dark New Day – New Tradition (2012)
  • Evanescence – Entire Catalog  (although Hunt didn’t join band until, 
  • Dope – Felons and Revolutionaries (1999)
  • Dope Life (2001)
  • DopeGroup Therapy (2003)
  • Dope American Apathy (2005)
  • DopeNo Regrets (2009)
  • Device – Self Titled (2013)  [Tom Morello, Lzzy Hale, Serj Tankian, and Glenn Hughes guest on that record]
  • Black Label Society – Order of the Black (2010)

Copeland On Unknown Sundays 2024

COPELAND ON UNKNOWN SUNDAYS [YOU TUBE VERSION]

The magic of the music being played in the record store. There’s a reason – y’know. That audio signature is there to entice the ear, but that’s not always how it works when the receiver in the store is not in the right frame of audio mind. Sure, I’ve heard it a few times, where a customer asks either to turn the music down, or why it’s at such a volume (as if this is library). The look on the store clerk or owner’s face is always priceless. It would be the same for me, too, if I ran a record store. Oh, if I ran a record store…but that’s a story of maybe another day (that would be the like the sun and moon aligning, oh wait, that’s happening tomorrow).

The CD Exchange in Orchard Park, run by Bill Boehm, was one of those record stores that was a hint more cognizant of his clientele, keeping the album selections in the soft-rock, indie, electronica, and soft R&B. Think of Sade, Portishead, Mazzy Star, Jack Johnson, and of course, he always slid in Dave Matthews Band, Train, and others. Don’t get me wrong, I’m sure he would have loved to put on some Van Halen, Type O Negative, or Rush, but he stuck to the subtle underscoring music to leave the impression, and a lot of the time it worked on me. I guess that’s not a huge surprise, but just think how many times you may have been in a music store and heard a song, or a couple from a band as you browsed, thinking, I’m really digging this. Who is this?

This day, in the store, I was definitely struck that the soft rock of this band was leaking a bit into heavier sonic guitar work, which was dangling outside his usual signature music. It was in the wheelhouse mostly, having a familiarity of Ben Folds-ish, Five For Fighting meets Indie-Rock like Coldplay to some degree but more Mae or Relient K or Switchfoot maybe, but there were changes that showcased a different tone and reach toward emo and indie-rock, which at the time was a pretty big part of the listening culture of the music multiverse in the start to the 2000s (at least the first five years). It also had this jazz drum led song that was very much in the stream of what he would play in the store, so I’m really loving the range and changes. So, I did that other thing, that comes from having music being played in the store. I asked, “Hey, who is this, Bill?”

Copeland. Two friends from Lakeland, Florida. A guitar and piano playing singer-songwriter, Aaron Marsh, and bass guitarist, James Likeness. Bryan Laurenson on rhythm guitar, who basically seems to have been the only constant with Marsh, as Likeness would eventually leave the band to pursue a career in graphic design, which he had probably given up for Copeland. The two albums, Beneath the Medicine Tree and In Motion, were the albums I had heard at that moment, which is sort of an unusual thing in that day and age. The band released, In Motion (2005) but included Beneath the Medicine Tree within the record contract to engage the audience with more of the material, which included low-fi, alternative versions of songs, as well. A really great value, and with there being so much quality and good production, it proved to be an incredibly smart decision. Whether it’s the medical issue melancholy and hope of the debut, or the forward momentum and drive of their sophomore album, Copeland lyricism and delivery is extremely accessible in any class and situation (definitely a hint more in line with the female ear).

Why, Copeland? I mean you’re thinking this sounds like any other band. Well, here’s the important part. They had the element of indie-soft-rock, but they had this knack for brining in instruments, loop, and interesting and daring accompaniments to their tracks, like the xylophone of ‘Where’s My Head’ from the third album, Eat. Sleep. Repeat. which is interesting considering this was the first album they probably had the drummer slightly solidified over a studio musician (as I see not listing of a member in that capacity until this record’s timing). So, they were never afraid to go for it. That is not the only song that features that instrument on this album, either. It also had interesting drum work, feeling as if sometimes that drums actually feel like the “repeat” of the album’s title, feeling like sometimes they are going in reverse to the melodies. And, there are a lot more examples of cleverness in keyboard/piano that hints toward classical movement in the song, ‘The Last Time He Saw Dorie.’

While nothing about Copeland remains in a constant because of the reach of his vocal and high register attempts (mostly without the use of autotuning), as well the wispy choices and growing use of augmented production tricks for certain song moods, Marsh is almost always captivating. The song writing attention is grounded, often simple, but profound enough. He knows the power of a line, when to hang on it, and when to just let it be. He understands his own range and the importance of the music and production around him being able to effect the mood of a piece, and sometimes over the entire album. The lyrics, tons to appreciate and think about;

  • “You break your neck to keep your chin up.” – Chin Up, You Are My Sunshine.
  • “Or, the grace in your eyes overcomes any fall.” – Kite, In Motion.
  • “Perhaps when the day is new, We’ll find tomorrow is just ordinary, too.” Ordinary, Ixora
  • “Bright white puffs on the bluest pages” Skywriter, Blushing

They are a unique blend, and they were always reaching album by album for something slightly different, engaging, and true to their storylines of connection in love and loss of love, as well as common tribulations of life. I do love the fact that they loved to do a cover, holding it very close to the original, but putting it in the Copeland wheelhouse slightly:

Aaron Marsh’s voice shows up in other bands like Lydia, Anberlin, The Cinema, and Underoath to mention, which showcases the slight variety of genre he bounces between. He also was in The Lulls In Traffic’s, which utilizes loop and light hip-hop rap and piano arrangements (actually quite well done and a rabbit hole to go down). There was also the two 2021 EP(s) for Glaswing called Like Water On A Glass Table and I’m In the Checkout Line of My Life, which have a ambient texture in piano and rhythm with Marsh’s vocal (more close to Copeland in my opinion just more electronic in some parts).

No matter where you are in your listening habits, Copeland makes a good solid argument for the subtle influxes, emo-tive mixes, and background attention we pay to music. Whether it comes from the play choices of a fabulous records store in time, or from a silly website, YouTube channel from a music junkie. So, let’s do this again next week!? Eat. Sleep. Repeat.

Albums in my collection by Copeland

Hermanos Gutiérrez On Unknown Sundays 2024

HERMANOS GUTIERREZ ON UNKNOWN SUNDAYS [YOU TUBE VERSION]

There’s is just something alluring, dangerous, and erotic about the desert soundscape.  The Ennio Morricone Italian western mood intoxication, the wonder, and the majestic rolling landscapes coming to live via audio.  I am pure sucker for instrumental mood and sound designs somehow depicting and setting a mood and tone.  Hermanos Gutiérrez on Unknown Sundays is the perfect duo with six degrees of separation as to how I came to find them just at the beginning of last year.  That’s right, I started off with their album, Eternamente, which is a compilation recording.  Usually, that is not where I start, but I didn’t understand the title apparently.  Let me tell you the four degrees of separation that got me to this mood setting, Latin-classical fused duo that I first touted on #album4today on last day of August 2023.  But first, let’s give you a history of this Swiss duo.

That’s right, I said Switzerland, but that’s via Playas, Ecuador.  The two brothers of four were born of their Ecuadorian mother, married to a Swiss father.  So, Zurich it is, where Estevan studied  classical Latin guitar styles of milonga, salsa, and others, while being wavered (no pun intended) by surfer guitar sounds of the time.  Alejandro, eight years younger, has to play fast catch up, making fast work of learning guitar and expanding to steel pedal as well.  Eventually, the duo Hermanos Gutiérrez (obviously, the Gutiérrez Brothers) with Alejandro Gutiérrez (guitar and lap steel) and Estevan Gutiérrez (guitar and percussion).

Their first album, 8 Años, would be derived close to the classical Latin influence of guitar, playing close in style and flow, but in perfect tone, pitch, while evoking that element of mystery, intrigue and soundscape.  A beautiful recording for a first outing in the independent world.  El Camino de mi Alma and Hoy Como Ayer, the next two records, still held some closeness to tempo and Latin classical guitar works, but it is the production here, and the honing of their sound projection which is the stand up and take notice part.  Obviously, all of this coming with slight influences from the sound world around them, but not completely influenced by the western world (and when I say this, I’m talking in both sense of the word’s use).  Influence of Mexico, and the desert of the Western United States definitely shine and set moods and tones throughout the album I probably would put at my favorite, Hijos del Sol.  You can hear the change, maturity and attention to the influences, moods and potential experiences, which heighten the ear-filled experience.  And they have not looked back, retraced a solitary sand step or horse lead hoof — since.  Their latest from 2022, El Bueno Y El Malo, is a testimony to this, and definitely an album that keeps trying to steal my soul’s ear (more on that as we talk about the six degrees of separation that lead me to them).

Now the first degree of separation.  Tito & Tarantula’s work on the soundtrack, From Dusk Till Dawn, the movie by Robert Rodriguez, written by Quentin Tarantino.  ‘After Dark’ was the song, and beyond the vocals (which are cool Tequila wrapped perfection) there’s this hidden world beyond the horizon of the desert.  It’s tempting, dangerous, and mystical.  Oh yeah, I’m in!  From there I go back to the soundtrack to Desperado, another Rodriguez film, that Tito & Tarantula has ‘Strange Face of Love’ and then it’s ‘La Flor De Mal/Flower Of Evil’ from their catalog.  So, I’m ramping up.

Next, it’s Rodgrio y Gabriela, and that female Flamenco intensity and electric guitar virtuosity duo, which I had been listening to since Re-Froc (2006) that somehow brought me closer to the Swiss duo.  And it was during a listen to 9 Dead Alive’s (2014) ‘Misty Moses,’ during a writing session, where Google Play (now You Tube Music) wanted to lead me to Hermanos Gutiérrez, but I didn’t click on it right away — just made a written note.

The third degree of separation is the easiest, which I mentioned above.  Ennio Morricone is a heavy influence in this genre, almost as if, somehow, Italian composer extraordinaire somehow embodied the flavor, setting and dangerous mood of the Latin, Western world.  And for that, the Good the Bad and the Ugly, remains at the majestic mountain top of that soundscape, and an obvious influencer to me and to all those musicians within this mysterious musical environment.

The fourth, fifth and six degrees of separation come together nicely, and in the same circle/wheelhouse.  Third, Calexico, who just might be the best desert, jazz, Spanish tinted quasi-rock band in the industry today. When listening to their latest, El Mirador from 2022, the suggestion again became obvious (it’s funny, now that I try to make it happen it won’t make that connection — damn you algorithm).  So, now I’m taking notice, and I’m nearly ready to take the plunge, but for some reason they slip away from me for nearly a year?  Well, in my fifth degree, I’m doing research that takes me from Zella Day and Marcus King to the surprise producer, Dan Auerbach.  Yes, The Black Keys front man.  What’s his ear in the game?  I’m surprised to see his listing of all the production he’s done.  It’s the perfect anecdotal information that I used on Beyond Your Radio.  Cool, so I’m looking at all the entries, and there it is, 2022’s, El Bueno Y El Malo from Hermanos Gutiérrez.  I’m immediately drawn to the successful ear of the list of that which Dan Auerbach has helped, so they are now a click away from being heard!  And, at the same time, via social media (somehow), one of my favorites in the genre of that desert mood rock-jazz bending bands, Khruangin is remembering/touting the very same band as their soon to be opening act!  Seal the deal, click Hermanos Gutiérrez, and I grab compilation album, Enternamente., for which I’m an eternally grateful to all of these bands that made this journey to them what it was!

Their catalog is extremely tight, and if you love everything I just talked about, this is where you now need to click and land.  Walk the desert instrumental Latin tinged western soundscapes and mystique wrapped up beautifully by this Swiss-Ecuadorian duo.  This is music to cook by, entertain by, or lose yourself to.  Don’t be surprised if they show up in Beyond Your Radio’s Meal To Music series soon!  Bon-ear-petit!

I have not secured a Hermanos Gutiérrez Album For My Collection Yet! (but here they are again in order):
  • 8 Años  (2017)
  • El Camino de mi Alma (2018)
  • Hoy Como Ayer (2019)
  • Hijos del Sol (2020)
  • Eternamente (2021) – Compilation Album
  • El Bueno y el Malo (2022)

Thea Gilmore On Unknown Sundays 2024

THEA GILMORE ON UNKNOWN SUNDAYS [YOU TUBE VERSION]

My favorite Gilmore Girl (no not that silly, fast talking, clever over-the-top bantering show where the dialogue was so beyond reality’s scope), it’s this wonderful, catchy folk-rocker, British Neil Young-ish singer songwriter that’s been in the business for nearly thirty years.  Thea Gilmore on Unknown Sundays 2024, might just be one of my favorite female artists from across the pond.  Is it the songwriting cleverness, punchy, jabby lyrics, the way she weaves in and out of genres of rock, folk, alternative, and punky-pop, or is it the ability to make a song her own when she’s bending Bob Dylan, Neil Young, Gin Blossoms, or even The Buggles (name that tune)?  What I think it truly is, is the fact that her voice carries a sincerity in the delivery, it hangs beautifully when it needs to, if falls off when required, and it finds connection in just about every tone and tune no matter the genre.  She can also slip from playful, to memorable, from lighthearted to sombre and dark, without losing a hint of flow within the recording(s).  I feel she is an artists in the music multiverse because she loves it, and she loves being her, making the music she wants, and leaving the impression she chooses through the stories and experiences she makes, shares, or retells.  That’s success, if you ask me!

My introduction to Thea Gilmore, did not come from a gamble in the used bin.  I know you’re shocked.  This one I owe to NPR discussing their enjoyment of her fourth album, Avalanche, which caught the attention of a friend of mine who was working with me at the time in restaurant equipment and supply sales.  He asked if I had heard of her, as he had just heard about her on his radio.  I obviously had not, and that intrigued me (as he was rather smitten with her, and I didn’t consider him a new recording artist kind-of-lover).  So, without even listening to the show, I went on the recommendation and description from my friend.  Thankfully, Record Theatre was not afraid of the independent label, and they were usually up-on-it, when it came to the music gaining popularity and attention, so it was there!  After just a couple of listens, I definitely would have agreed with The Independent’s comment as her establishing herself as a “wordsmith of her generation.”  But, it is one thing to be a wordsmith, but a completely different thing to actually make it work and deliver it with the conviction that goes beyond the use of words.  Ms. Gilmore did this and then some, and with not much production trickery.  Using just her guise, her instruments of choice guitar, piano, xylophone (I believe) and voice, and the talents of Nigel Stonier (producer and instrumentalist with whom she has had a musical bond with for just about as long as her career, and up until their divorce in 2021, her husband), she definitely made one of the best records of that year, and in the female range — maybe the best (Beyonce, Madonna, Evanescence, Liz Phair, Dido were all in that year with new albums).

Categorizing her style and vocal, is like a tale of growth and movement toward expansion.  Obviously, in the earlier days, her youth she had a grogorious pension for alternative lyrics, sparse, stripped arrangements that were well produced, dynamically hanging on her every word and snappy delivery (that wordsmith at work).  Youth come to maturity, expansion of her palette in instruments as well as songwriting development.  For me it seemed to be a growth in beauty instead of angst, but still no losing that original word play.  Her topical pursuits, the changing environment around her, and the ways — and not so ways — of the world certainly had their impression, hand and mindset into all of this.  And, I’m sure personal life, children and career are the catalyst and vice of which the rest has bestowed.

Her latest release, Thea Gilmore, while reaching in for loops and ambient-like music structures, still harkens to the artist she remains.  The self title this late in the game is certainly a marking of rebirth and rediscovery.  No jumping off the deep end, though.  She has an angst, but it’s smart, hopeful, harkening to reality over harshness.  The lyrics, whether delivered in harmonic speech, brit-punk, spiritual vocal, or whispered temperance, the music entrances and succumbs to her melodic signature, driving the lyrics to you (from her meaning to yours).  There’s not a solitary record that doesn’t manufacture this in her entire catalog.  Even her covering of Bob Dylan’s entire record, John Wesley Harding, takes on the her hymnal (whom it is apparent to us, she cherishes).  She also was commissioned to complete the final works of Sandy Denny (an important and influential English, female folk artist).  Now, while I did not know Sandy Denny at the time, the rabbit hole that Thea Gilmore has brought me to has been extremely rewarding, and that is the catalog worthiness, and why she is on our Unknown Sundays 2024.  I certainly would love to have a Catalog Review Show — with her as my panelist!  That would be awesome (having the panelist be the artist on the Catalog Review Show)!  But, what I truly encourage you to do is — get into her catalog!  We’re doing Melissa Etheridge this week with 15 albums (Tuesday, March 19th), and you known what?  Ms. Gilmore is probably one of the only artists that might be able to be in that same female singer-songwriter rock category with her in longevity and catalog.  It is extensive, extremely interesting in all kinds of sounds and genres.  And, maybe by that time (I’m certainly not expecting her to give this Up State New York music listener her valued time based on a solitary article) — you might be able to be a panelists with me, reviewing the catalog and putting them in the order of your favorites!?  There’s going to be a demand for it!  I know you’re all out there!  Yes, I’m counting on you across the pond!  Reach out, as she deserves the attention from us neglectful single consumptive Americans.  ‘Are You Ready?’  You should be, as she should have been as popular as Sarah McLachlan, once you hear her (I might have oversold that a bit).  Nah!  I’m sticking to that statement!  ‘Let It Be Known’ (all of this will make sense if you listen to this catalog) I say!

Thea Gilmore Albums In My Collection:

She has another release as the band, Afterlight – Afterlight (2021), which is an interesting poetically delivered album (in some cases) that still features her tempered sombre, textured vocal stylings, falling in the timeline of the album, The Emancipation of Eva Grey.  There are also EP(s) and rarities which bear the familiar singles but they have wonderful covers as additions and B-Sides, so be sure to explore all of those as well, and of course, check her out all over the web and YouTube.