Breaking Thru
Discovery is the lifeblood of music. In Breaking Thru we give a listen to independent artists that are making music that needs to be heard. Please give a listen, follow, and support DIY performers.
Annika Chambers and Paul Deslauriers (from the album Good Trouble on Love Lives Here Records/Vizztone Records) (by Danny McCloskey)
Good Trouble comes with a double-dose when Annika Chambers and Paul Deslauriers come together on their recently released album. The guitar of Paul Deslauriers, as well as JP Soars, back the vocal gymnastics of Annika Chambers. The pen of Annika Chambers and the music of her band are co-writers for some of the inspirational tracks on Good Trouble, such as the album opener encouraging “You Got to Believe”. The musicians share credits as they work through a molasses thick rhythm across “Heavy Load” as they suggest a model of “Stand Up” to fight the powers and the people holding you down. Good Trouble borrows song favorites as Annika Chambers and Paul Deslauriers chop up a Funk rhythm with guitar chords on George Harrison’s “Isn’t It a Pity”, go deep in the Blues with Little Willie John’s “I Need Your Love So Bad”, educate the masses reminding of the Joe South message in “Walk a Mile in My Shoes”, and hammer out a mighty roar to cover Mountain’s “Mississippi Queen”.
Listen to Annika Chambers and Paul Deslauriers on Spotify
Find more information and purchase options on the Annika Chambers and Paul Deslauriers website
Adeem the Artist (from the album White Trash Revelry available on Four Quarters Records/Thirty Tigers) (by Danny McCloskey)
Adeem the Artist learned the best delivery for a punch is by way of a smile, and he brings that lesson to his words for White Trash Revelry, his latest release. He shared that ‘my parents are both from a lot of generational trauma, and I was born right in the middle of it. Humor is how we survived’. White Trash Revelry presents the twang-studded gospel of Adeem the Artist. He introduces friends (“For Judas”), raises a ruckus in the rhythms (“Run This Town”), fondly recalls the passing of someone close (“Middle of a Heart”), and tries to make sense of the South where he grew up (“Heritage of Arrogance”). Adeem the Artist is a poetic shouter as he capably pilots the tales on the album. White Trash Revelry opening its door biding hello to first track “Carolina” as the recording reads a note to “Redneck, Unread Hicks” while Adeem the Artist discusses “Books & Records” along with “Painkillers & Magic” as he exits the album describing “My America”. (by Danny McCloskey)
Listen to Adeem the Artist on Spotify
Find more information and purchase options on the Adeem the Artist website
Aaron Ball Band (from the album New Strings available on Iron Gate Records) (by Bryant Liggett)
The Aaron Ball Band is straddling great ground. Part of that ground exists under a barroom stage, a place where Ball’s sound is ripe to entertain the crowd; songs that are friendly and fresh, where Rock’n’Roll meets Indie-Roots and Country, a danceable mix with broad appeal. Then there’s the Modern Rock radio ground, that aforementioned broad appeal able to stretch out to widening audiences. The half dozen cuts on New Strings isn’t so Indie that’s its appeal would just get to a small audience, instead Aaron Ball tosses up a sound that’s ear attainable for just about anyone.
The record kicks off with “Bad Decisions”, a bouncy and raw Reggae cut that rolls into the southern rock ballad of “Beer Before Whiskey”. Aaron Ball Band has the ability to drop what could be a hit for the masses, as “Damascus” and “Certainties” are Rock’n’Roll cuts, ripe for contemporary Rock radio, while “Lucky One” is right and ready for the same dial or even the soundtrack for Hollywood blockbuster. Big songs that will stand out despite the format.
The hit of the release is the closing title track; an inspirational cut with subtle Roots Gospel leanings. Aaron Ball and band use the concept of new strings on a guitar as putting a new lease on life. Aaron Ball is not painting himself into a sound corner. He’s dropping a friendly sound with friendly appeal, a sound that will easily pick up ears wherever it goes.
Listen to the Aaron Ball Band the Artist on Spotify
Find more information and purchase options on the Aaron Ball Band website
Zach Phillips (from the album Goddaughters available as a self-release) (by Danny McCloskey)
The opening of Goddaughters, the recent release from Zach Phillips.sets the standard for the album when “Cassiopeia” opens the song cycle, the flurry of strings sparkling like constellations in night sky, much like the one that gave the song its name. The sonics of Goddaughters features guitar-based distortion and string-bending that gives the album both texture and tone. The title track nods to the “Godaughters” in our lives as Rock’n’Roll plows across “Harmony Grove” while “Courtesy of a True God” stays the course for a Rock attitude in the arrangement, Zach Phillips promising ‘to ride’ for ‘a true god’. Goddaughters sways and struts on the guitars that lead the way in the melodies. Uttering “Curses”, Zach Phillips hammers out a beat as he searches for true love, whispering a wish to offset loneliness on “New Star”, swimming in “Ocean of Song” on a strong rhythm, and quietly relating “The House When I First Believed” while Goodadughters closes out the album bringing back the myriad strings of the album opener for “Cassiopeia in the Stars”. (by Danny McCloskey)
Listen to Zach Phillips on Spotify
Find more information and purchase options on the Zach Phillips website
Blue Largo (from the album Got to Believe as a self-release) (by Lee Zimmerman)
Named after an obscure Bill Doggett song circa the1950s, Blue Largo — the nom de plume for the husband-and-wife duo consisting of vocalist Alicia Aragon and guitarist/ backing vocalist Eric Lieberman — are well schooled in Soul, Blues, and R&B. Their new album and fifth to date, Got to Believe, offers a treatise on love, loss and the difficulties that have confronted the world due to politics, the pandemic and the distance and divide that have resulted in their wake. Here again, they stay true to their original template, a style that swings and sways in vintage fashion.
Blue Largo establish the premise with the initial song, “A World Without Soul”, a brassy and somewhat sassy declaration of desire and determination. ‘I don’t wanna live in a world without soul’ Aragon insists, with guitar, piano, and brass adding an extra flourish. Other tracks maintain a more upbeat attitude, as expressed through the strut and shuffle of “What We Gotta Do”, the sprightly sounds of “Disciple of Soul” (a song that originated as a tribute to Little Steven Van Zandt), the rousing revelry of “Gospel Music”, and, ultimately, “Soldier in the Army of Love ,a track dedicated to the people of Ukraine and their fight against oppression.
Still, there are the occasional moments that find the band — which also includes Taryn ‘T Bird’ Donath on piano and organ. Mike “Sandlewood Jones on bass, drummer Marcus P. Bashore, and saxophonists Eddie Croft, David Castle De Pro — tempering the tempo, even if it’s only in a momentary way. The mid-tempo “Soul Meeting” and a riveting version of “Don’t Let Me Be Misunderstood” — originally recorded by both Nina Simone and The Animals — provide an extra emotional additive. “Rear View Mirror” is heartfelt and profound, a performance that comes across as resonant and reflective in equal measure.
Ultimately, “Santa Fe Bound” ends the album on a note of unerring optimism. So, while the initial premise may have suggested otherwise, the pessimism fails to prevail.
(By Lee Zimmerman)
Listen to Jeremiah Johnson on Spotify
Find more information and purchase options on the Blue Largo website
Jeremiah Johnson (from the album Hi-Fi Drive By available on Ruf Records) (by Danny McCloskey)
Jeremiah Johnson blends smooth vocals, marinated in Southern Soul, with electric fire guitar playing. The match is perfect, and it sparks up the songs on Hi-Fi Drive By, his latest release. Jeremiah Johnson cruises into Hi-Fi Drive By with the pedal to the metal, dirving “68 Coupe Deville” into the album as he introduces the lady behind the wheel on a rhythm that barrels down the highway with keyboard guru Victor Wainwright along for the ride. The sonics blast from Hi-Fi Drive By, the production benefitting from the old school style of producer Paul Niehaus IV, and co-producer Tom Maloney. Jeremiah Johnson breaks it down, offering advice for “Young and Blind”, slipping in on a sly groove for “The Squeeze”, finger snapping a beat to shout out “Hot Diggity Dog”, and leaving dust in his wake with “Skippin’ School”. Sweet sounds are the background for the Southern Rock meets Soul (reminiscent of The Black Crowes early days) that drive the rhythm in “Ball and Chain” while Jeremiah Johnson picks out a late-night guitar lead that simmers underneath the invitations of “Hot Blooded Love” and exits the album letting the players behind him take the lead in “The Band”. (by Danny McCloskey)
Listen to Jeremiah Johnson on Spotify
Find more information and purchase options on the Jeremiah Johnson website
Good Trouble comes with a double-dose when Annika Chambers and Paul Deslauriers come together on their recently released album. The guitar of Paul Deslauriers, as well as JP Soars, back the vocal gymnastics of Annika Chambers. The pen of Annika Chambers and the music of her band are co-writers for some of the inspirational tracks on Good Trouble, such as the album opener encouraging “You Got to Believe”. The musicians share credits as they work through a molasses thick rhythm across “Heavy Load” as they suggest a model of “Stand Up” to fight the powers and the people holding you down. Good Trouble borrows song favorites as Annika Chambers and Paul Deslauriers chop up a Funk rhythm with guitar chords on George Harrison’s “Isn’t It a Pity”, go deep in the Blues with Little Willie John’s “I Need Your Love So Bad”, educate the masses reminding of the Joe South message in “Walk a Mile in My Shoes”, and hammer out a mighty roar to cover Mountain’s “Mississippi Queen”.
Listen to Annika Chambers and Paul Deslauriers on Spotify
Find more information and purchase options on the Annika Chambers and Paul Deslauriers website
Adeem the Artist (from the album White Trash Revelry available on Four Quarters Records/Thirty Tigers) (by Danny McCloskey)
Adeem the Artist learned the best delivery for a punch is by way of a smile, and he brings that lesson to his words for White Trash Revelry, his latest release. He shared that ‘my parents are both from a lot of generational trauma, and I was born right in the middle of it. Humor is how we survived’. White Trash Revelry presents the twang-studded gospel of Adeem the Artist. He introduces friends (“For Judas”), raises a ruckus in the rhythms (“Run This Town”), fondly recalls the passing of someone close (“Middle of a Heart”), and tries to make sense of the South where he grew up (“Heritage of Arrogance”). Adeem the Artist is a poetic shouter as he capably pilots the tales on the album. White Trash Revelry opening its door biding hello to first track “Carolina” as the recording reads a note to “Redneck, Unread Hicks” while Adeem the Artist discusses “Books & Records” along with “Painkillers & Magic” as he exits the album describing “My America”. (by Danny McCloskey)
Listen to Adeem the Artist on Spotify
Find more information and purchase options on the Adeem the Artist website
Aaron Ball Band (from the album New Strings available on Iron Gate Records) (by Bryant Liggett)
The Aaron Ball Band is straddling great ground. Part of that ground exists under a barroom stage, a place where Ball’s sound is ripe to entertain the crowd; songs that are friendly and fresh, where Rock’n’Roll meets Indie-Roots and Country, a danceable mix with broad appeal. Then there’s the Modern Rock radio ground, that aforementioned broad appeal able to stretch out to widening audiences. The half dozen cuts on New Strings isn’t so Indie that’s its appeal would just get to a small audience, instead Aaron Ball tosses up a sound that’s ear attainable for just about anyone.
The record kicks off with “Bad Decisions”, a bouncy and raw Reggae cut that rolls into the southern rock ballad of “Beer Before Whiskey”. Aaron Ball Band has the ability to drop what could be a hit for the masses, as “Damascus” and “Certainties” are Rock’n’Roll cuts, ripe for contemporary Rock radio, while “Lucky One” is right and ready for the same dial or even the soundtrack for Hollywood blockbuster. Big songs that will stand out despite the format.
The hit of the release is the closing title track; an inspirational cut with subtle Roots Gospel leanings. Aaron Ball and band use the concept of new strings on a guitar as putting a new lease on life. Aaron Ball is not painting himself into a sound corner. He’s dropping a friendly sound with friendly appeal, a sound that will easily pick up ears wherever it goes.
Listen to the Aaron Ball Band the Artist on Spotify
Find more information and purchase options on the Aaron Ball Band website
Zach Phillips (from the album Goddaughters available as a self-release) (by Danny McCloskey)
The opening of Goddaughters, the recent release from Zach Phillips.sets the standard for the album when “Cassiopeia” opens the song cycle, the flurry of strings sparkling like constellations in night sky, much like the one that gave the song its name. The sonics of Goddaughters features guitar-based distortion and string-bending that gives the album both texture and tone. The title track nods to the “Godaughters” in our lives as Rock’n’Roll plows across “Harmony Grove” while “Courtesy of a True God” stays the course for a Rock attitude in the arrangement, Zach Phillips promising ‘to ride’ for ‘a true god’. Goddaughters sways and struts on the guitars that lead the way in the melodies. Uttering “Curses”, Zach Phillips hammers out a beat as he searches for true love, whispering a wish to offset loneliness on “New Star”, swimming in “Ocean of Song” on a strong rhythm, and quietly relating “The House When I First Believed” while Goodadughters closes out the album bringing back the myriad strings of the album opener for “Cassiopeia in the Stars”. (by Danny McCloskey)
Listen to Zach Phillips on Spotify
Find more information and purchase options on the Zach Phillips website
Blue Largo (from the album Got to Believe as a self-release) (by Lee Zimmerman)
Named after an obscure Bill Doggett song circa the1950s, Blue Largo — the nom de plume for the husband-and-wife duo consisting of vocalist Alicia Aragon and guitarist/ backing vocalist Eric Lieberman — are well schooled in Soul, Blues, and R&B. Their new album and fifth to date, Got to Believe, offers a treatise on love, loss and the difficulties that have confronted the world due to politics, the pandemic and the distance and divide that have resulted in their wake. Here again, they stay true to their original template, a style that swings and sways in vintage fashion.
Blue Largo establish the premise with the initial song, “A World Without Soul”, a brassy and somewhat sassy declaration of desire and determination. ‘I don’t wanna live in a world without soul’ Aragon insists, with guitar, piano, and brass adding an extra flourish. Other tracks maintain a more upbeat attitude, as expressed through the strut and shuffle of “What We Gotta Do”, the sprightly sounds of “Disciple of Soul” (a song that originated as a tribute to Little Steven Van Zandt), the rousing revelry of “Gospel Music”, and, ultimately, “Soldier in the Army of Love ,a track dedicated to the people of Ukraine and their fight against oppression.
Still, there are the occasional moments that find the band — which also includes Taryn ‘T Bird’ Donath on piano and organ. Mike “Sandlewood Jones on bass, drummer Marcus P. Bashore, and saxophonists Eddie Croft, David Castle De Pro — tempering the tempo, even if it’s only in a momentary way. The mid-tempo “Soul Meeting” and a riveting version of “Don’t Let Me Be Misunderstood” — originally recorded by both Nina Simone and The Animals — provide an extra emotional additive. “Rear View Mirror” is heartfelt and profound, a performance that comes across as resonant and reflective in equal measure.
Ultimately, “Santa Fe Bound” ends the album on a note of unerring optimism. So, while the initial premise may have suggested otherwise, the pessimism fails to prevail.
(By Lee Zimmerman)
Listen to Jeremiah Johnson on Spotify
Find more information and purchase options on the Blue Largo website
Jeremiah Johnson (from the album Hi-Fi Drive By available on Ruf Records) (by Danny McCloskey)
Jeremiah Johnson blends smooth vocals, marinated in Southern Soul, with electric fire guitar playing. The match is perfect, and it sparks up the songs on Hi-Fi Drive By, his latest release. Jeremiah Johnson cruises into Hi-Fi Drive By with the pedal to the metal, dirving “68 Coupe Deville” into the album as he introduces the lady behind the wheel on a rhythm that barrels down the highway with keyboard guru Victor Wainwright along for the ride. The sonics blast from Hi-Fi Drive By, the production benefitting from the old school style of producer Paul Niehaus IV, and co-producer Tom Maloney. Jeremiah Johnson breaks it down, offering advice for “Young and Blind”, slipping in on a sly groove for “The Squeeze”, finger snapping a beat to shout out “Hot Diggity Dog”, and leaving dust in his wake with “Skippin’ School”. Sweet sounds are the background for the Southern Rock meets Soul (reminiscent of The Black Crowes early days) that drive the rhythm in “Ball and Chain” while Jeremiah Johnson picks out a late-night guitar lead that simmers underneath the invitations of “Hot Blooded Love” and exits the album letting the players behind him take the lead in “The Band”. (by Danny McCloskey)
Listen to Jeremiah Johnson on Spotify
Find more information and purchase options on the Jeremiah Johnson website
