Category Archives: Review

Single Release: ‘Come With Me To Hell’ by Wilkinson Blades

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Steve Wilkinson joins our own Phil Favorite to talk about the new single by Wilkinson Blades.

Stream or download “Come With Me To Hell” by Wilkinson Blades: Come With Me To Hell

A free man can only stay cooped up alone for so long. He’s gotta get out and get some human connection. You can sense that urgency right from the start of the new single from Portland rockers Wilkinson Blades, who venture into jangle pop territory with Come With Me To Hell.

Press play to listen on your Spotify account.

With a full record in the can, the band is cooling its heels in the throes of the pandemic, having decided in the meantime to release single songs in the run-up to a not-yet-determined full-length release. Come With Me To Hell is about making that human connection when you just can’t stand one more minute of isolation. It’s both a hopeful blast of pop sunshine and a call to action. “Join me, won’t you? This life’s worth living.”

— Phil Favorite

Steve Wilkinson of Wilkinson Blades begins his monthly residency Saturday, Feb. 27 from 2-5 p.m. at Alberta Street Pub. He’ll be joined by bandmate Grant Cumpston and guest Paul Brainard. Erin Wallace opens. Check the pub’s website for more information about ticketing, distanced seating, etc.

Wilkinson Blades: (l to r) David E. Lane, Grant Cumpston, Steve Wilkinson, Leif Myrberg

Record Review: Radio Receiver

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Nate Wallace of Radio Receiver joins our guy Phil Favorite for a video chat about his new project and its self-titled album.

Stream or download our interview with Nate Wallace and songs from Radio Receiver: Radio Receiver Feb ’21

Songs included on the podcast:
Soldier’s Boy
One Way To Slice A Pie
Lonesome As No Other Part
Dreamers Need Believers

Radio Receiver, Self-titled
(2020, Deer Lodge Records)

By Phil Favorite
That Much Further West Podcast

Some of the best storytellers are those third-wheel types. That quiet guy at the end of the bar with the rabbit ears and a knack for being invited into conversation. That super-sharp gal with a keen eye for detail and razor tongue riding shotgun with her friends, keeping them laughing with non-stop colorful commentary.

Songwriter Nate Wallace tells his stories like a guy standing at a gas station who just overheard two men plotting a crime. When his story starts, you immediately know you’re in for it, and you can bet you’re gonna get some juicy details along the way.

On the new self-titled record by Radio Receiver, Wallace steps away from his role as leader of the Portland-based country psych rock band Hearts of Oak to deliver a fresh batch of song cut from the same mold but left a little more open and spare.

There’s a sweetness to Wallace’s voice that adds a vulnerability and authenticity to these storyteller songs, and it shines especially bright when complemented by the backing and harmony vocals on Radio Receiver.

With Mark Folkrod on drums, Jason Willmon on bass and Anna Verlet on violin, the band plays it close to the vest, allowing Wallace’s acoustic guitar and voice to remain at the fore and leaving space for ace producer Ezra Meredith to sprinkle bits of sonic color all over the record.

Radio Receiver has a cinematic feel to it with swells of action and dramatic pauses that allow you to catch your breath during an overall thrilling ride. It’s a fine collection of tunes by a terrific songwriter who clearly works at his craft and who always has a great story to tell.

RIYL: Songs: Ohia, Silver Jews, Hiss Golden Messenger

Review of The Complete Recordings by Daystar

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The Complete Recordings by Daystar (2019, Independent release)

By Phil Favorite
That Much Further West Podcast

Rock and roll ain’t what it used to be, but every once in a while a song or a record or a band comes along to remind us why we love it and what we love about it.

The infectious rock of Daystar is designed to do just that. An unabashed throwback, Daystar — with their rootsy, jangly guitar riffs and pining croon — take you on an upbeat “best of” ride through the history of power pop on their debut record, The Complete Recordings.

Singer-songwriter Derek Phillips displays a deft handle at the controls. His sweet, slightly strained vocal pours nicely over a bed of catchy four-chord melodies reminiscent of bands like Faces, The Move, Big Star and the best of ’90s Brit Pop.

“Right at Home” sets the tone from the top. With its thumping floor tom and introductory power chords, it’s an arresting album opener meant to get the blood pumping. The songs that follow shift, whirl, crest and crash like waves before the warm ballad “Warped Reality” brings the A side to a close.

The record gets a little more musically ambitious as things move along, but Daystar manages to evoke a sunny optimism even when the mood gets serious.

For rock and roll fans dreading the coming winter darkness, this is a record to keep in your pocket. The Complete Recordings is like a blast of Vitamin D to help ward off the gathering gloom.

Podcast Trio Bravo

Stream “Right at Home”: Right At Home

Stream “Buttons and Brass”: Buttons and Brass

Stream “Angelina”: Angelina

Daystar celebrates the release of The Complete Recordings on Saturday, Oct. 19 at Bunk Bar, 1028 S.E. Water Ave. in Portland. The Resolectrics and Maurice & The Stiff Sisters open. 8:30 p.m. $10

Review of Deserted by Mekons

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Deserted by Mekons (2019, Bloodshot Records)

By Mike Lee
That Much Further West Podcast

The desert is bereft of forgiveness for those who choose to inhabit the shifting land. I don’t speak of those residing in concrete and glistening glass, monolith cities who survive on borrowed hydration and whirring A/C units. No, I am talking about the desert rat. The sidewinder who shifts through the land leaving little trace of existence.

These vagabonds have no archetype. They are devoid of country or nationality and these travelers stand hard with an edge against the wind and sand. They move underground, live in the shadows and embrace the freedom of the chilled night air in the deserted corners of our earth.

The life in the desert makes people adapt to survive, to grow and to learn. “Deserted,” a collection of nine songs by the Mekons is a great capsule of desert life. A genre-bending sonic excursion led by well-seasoned guides who can transform their musical experience into a Saguaro cactus blossom or a scorpion sting. 

Review of Forever by Vandoliers

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Forever by Vandoliers (2019, Bloodshot Records)

By Mike Lee
That Much Further West Podcast

The bandstand prophets of the Texas saloon must preach to their flock with conviction. They must reach a common ground and the message must be genuine. Their converts must know their musical guides have travelled the same roads and the mud drying on their boots has the same mix of bravado and despair. We don’t step up to the pine to drown our sorrows but to confide in our brothers and sisters with a round of shots and boots stomping on the dance floor in front of our roadhouse preachers.

The Ft. Worth-based Vandoliers certainly seem up to the task with their latest effort, “Forever,” on Bloodshot Records. They guide us through the ups and downs of modern American life of not only the Texan but every hard-working, blue-collar soul in this country.  We don’t take jet-away vacations but long road trips with our crew, enjoying all the local flavor of the places our wheels roll through.  We hate our jobs but find pride in our hard work and reward ourselves plenty with the sinful pleasures of our wild world.

Review of World Gone Wild by Ron Rogers & The Wailing Wind

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World Gone Wild by Ron Rogers & The Wailing Wind (2019, self-released)

By Phil Favorite
That Much Further West Podcast

Before he sank his feet into rich soil of the Pacific Northwest roots rock scene, Ron Rogers survived a spell working a variety of music business gigs in Los Angeles.

In that time he saw the best and worst of the industry, spending countless hours in the studio as an engineer, working for labels in various roles, and all the while working to perfect his craft as a songwriter and guitarist.

But nothing he experienced in L.A. or since moving to Portland has washed clean the Texa-delic blood he was baptized in as a younger man, and which infuses the sound of his band, The Wailing Wind, and their current album, World Gone Wild.

The band’s third album is a delightful throwback to the late ’60s, when Texas-based bands made bold musical statements on par with anything that came out of the Summer of Love scene in San Francisco. But unlike the wild head trips of The 13th Floor Elevators and the would-be hippy anthems of the Sir Douglas Quintet, Ron Rogers & The Wailing Wind deliver an upscale, more straightforward psychedelia that’s built for modern clubs and is perfect Internet radio.

It’s colorful, it’s danceable, and it rocks.

Credit goes to the whole cast of characters who make up the The Wailing Wind. Drummer Chris Bond and bassist Don Campbell provide the luscious groove, and a rotating lineup of lead guitarists including Chris Viola, Grant Cumpston and Mark Bowden deliver the twists that turn the record into a thrill ride.

But it’s the presence of backup singer Deborah Giles that adds a whole new element to the Wailing Wind sound. She joined the band after release of the band’s eponymously titled 2013 album, and has been riding shotgun alongside Rogers at the front of the band ever since.

Sometimes bold, often haunting, Giles’ voice is the perfect foil to Rogers’ creaking-door tenor.

Her presence is felt right off the top with the album opener “Ride On Baby,” which sets the trippy tone from the get-go. On “Slave Boy,” Rogers shows off his talent for clever wordplay, where the protagonist (antagonist?) proclaims, “I can wear these chains and shackles, and make you think they’re the latest style.”

The ride is mostly wild throughout but well balanced by some sweeter moments, including the tender ballad “Let Me Know.” But eventually all roads lead to Texas, where the “Flames of Waco” and “Beulahland” reveal a history both somber and foot-stomping.

Just goes to show, you can take the boy out of Texas, but you can’t take Texas out of the boy.

Review of Open Seas by The Resolectrics

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Open Seas by The Resolectrics (2018, Self Released)

By Phil Favorite
That Much Further West Podcast

It seems unlikely that a rock band with such a distinct vocal sound could survive the loss of their main singer, much less carry on and thrive.

But The Resolectrics have slimmed down and muscled up.

Their new album Open Seas picks up where its predecessor High Water left off but adds some classic British Invasion sunshine and guitar-driven fireworks to the Southern Delta R&B sound that helped the band stand out in Portland’s crowded indie rock scene.

Known originally for a three-part vocal attack and a musical sound that centered on keyboards, The Resolectrics now perform as a trio with original guitarist Tate Peterson and drummer John Becher sharing the vocal spotlight once commanded by departed keyboardist Ben Morse.

The personnel change hasn’t seemed to change the band’s philosophy — blended vocals remain at the center of the musical strategy. You hear it right off the top of Open Seas, with Peterson and Becher launching into the wild and rowdy “Elevator Blues,” a song that captures and raucous spirit of the band’s live shows and will be instantly recognizable to fans of the band’s debut.

But things start to shift from there. Layered guitar parts vary not just in sound but also in style on “Only Blind,” where a watery slide guitar hints at the psychedelic explorations that unfold as the album progresses.

On “In My Garden,” the band invokes The Beatles at their experimental best with soaring harmonies set against a mix of bouncy piano, fuzzy guitars and a lead vocal melody pulled right out of the Summer of ’67.

A few other tracks on Open Seas show the band taking a big leap forward.

On the record’s instrumental title cut, Peterson demonstrates a controlled excellence that speaks to his remarkable abilities as a guitarist and arranger. For the album’s final cut, “Cosmic Embrace,” the band cooks up a tune that is equal parts Beach Boys, The Band and Led Zeppelin.

Despite exploring these varied and classic sounds, The Resolectrics never stray too far from their American R&B roots. “No Reservations,” “Charlene” and “Got Your Letter” will have you tapping your feet with that instant familiarity that has been the hallmark of the band’s sound.

The mix of styles all comes together on the ambitious and triumphant “I Love You,” a standout track destined to be among the best songs you’ll hear all year.

Mixtape Trio Bravo:

Listen to “Elevator Blues”:  Elevator Blues

Listen to “Only Blind”:  Only Blind

Listen to “I Love You”:  I Love You

Live Review: Sarah Shook & The Disarmers at Mississippi Studios

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Sarah Shook & The Disarmers returned to Mississippi Studios in Portland and proved good as gold.

Sarah Shook & The Disarmers
Live at Mississippi Studios
Porltand, OR, USA
7-24-18

By Mike Lee

Followers of That Much Further West Podcast are probably already well aware that we (and I in particular) are big fans of the music of Sarah Shook & The Disarmers. We’ve included several songs from the band’s two albums on our podcast playlists, promoted the band’s video releases, and I even wrote a glowing review for their latest album, Years.

Last September, I went to see Sarah Shook & The Disarmers at their first show in Portland at Mississippi Studios with much anticipation after several spins of their excellent debut record, Sidelong. I left the show, well let’s say, disappointed. The band was great and they played the songs with precision and very true to the album versions, but the problem was a lack of energy. The show was flat, and for an old punk rocker like me, I need to get something, anything, from the band to be able to reciprocate, or else all that whiskey I consumed would go to waste (sort of). I still bought the vinyl and a trucker hat and went about my night.

Fast forward to July 2018, and again I find myself anticipating (with some reservations) another performance by Sarah Shook, this time at last weekend’s Wildwood MusicFest. Again the band was great, but this time the energy was on point and solidified in my mind the need to go see the band three days later at our original rendezvous point, Mississippi Studios.

My how things have changed. The crowd was eager and enthusiastic and easily three times the size of the show way back in September, and on a Tuesday night no less. The band’s lineup was the same except for a drummer who had been replaced by Kevin McClain (ex-American Aquarium), and they were ready to go when Shook took the stage, strapped on her guitar and walked to the microphone.

With her long hair hanging in front of her face, Sarah shared some playful banter with the crowd before they launched into the first song off of Years, “Good As Gold.” The band played two more songs, and then it happened again — Sarah took to the mic and engaged the crowd! She was funny, charming and exuded all the swagger her music projects. I was hooked. The crowd was dancing and singing along and it all felt so good.

With the energy flowing from the stage to the crowd and back, the band was tight and continued to set the songs up to showcase Sarah’s lyrics and vocals, the real star of the show. Over the next 90 minutes or so, Sarah joked with the band and guided the crowd through 21 songs and punctuated the encore with “The Nail,” a great song from the debut album. The crowd was cheering, hooting and hollering for more as the band slipped behind the closing curtain for the night.

Set List:
Good As Gold
Heal Me
Parting Words
Fuck Up
No Name
Over You
Road That Leads To You
Nothin’ Feels Right But Doin’ Wrong
Make It Up To Mama
Lesson
Damned If I Do, Damned If I Don’t
Heartache In Hell
Keep The Home Fires Burning
Sidelong
The Bottle Lets Me Down
Misery Without Company
New Ways To Fail
Years
What It Takes
Encore:
Dwight Yoakam
The Nail

Review of Years by Sarah Shook & The Disarmers

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Years by Sarah Shook & The Disarmers (2018, Bloodshot)

100 Words on Years
By Mike Lee
That Much Further West Podcast

How do you avoid the sophomore slump when your debut album punched through the country music scene in 2017? You craft 10 country songs infused with a frantic punk rock energy spinning a carousel of earnest lyrics about love, whiskey, heartbreak, redemption and two middle fingers up at the music establishment. Years expands where Sidelong left off teaching a lesson of all thriller and no filler. Tight, well crafted songs with an efficiency of rhythm, melody and lyrics that had me reminiscent of the mighty, Los Angeles, cowpunk legends, X!

Sidelong was the setup and Years is the knockout punch.

Mixtape Trio Bravo:

Listen to “Good As Gold”:  Good As Gold

Listen to “The Bottle Never Lets Me Down”:  The Bottle Never Lets Me Down

Listen to “Lesson”:  Lesson

Catch up on all things Sarah Shook and the Disarmers on their Facebook page or through Bloodshot Records. WEST COAST PEOPLE be sure to catch the band in July  as they hit the left coast and play our favorite festival, Wildwood Music Fest & Campout July 20-22, 2018.

Review of Crushed Coins by Caleb Caudle

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Crushed Coins by Caleb Caudle (2018, Cornelius Chapel)

100 Words on Crushed Coins
By Mike Lee
That Much Further West Podcast

Pushing the boundaries of sadness appears to be the job of today’s songwriter and it stands in stark contrast to the smiley-face emoticon façade of social media. However, to the discerning listener, there is so much more than melancholy in the works of the modern-day troubadour. The great albums will give us love and laughter along with tears and pain all paired side by side with adventure to add spice to the experiences of life. This album covers a plethora of emotions, giving us a glimpse of the wholeness we seek for ourselves.

Mixtape Trio Bravo:

Listen to “Lost Without You”:  Lost Without You

Listen to “Empty Arms”:  Empty Arms

Listen to “Love That’s Wild”:  Love That’s Wild