A Look Back – John D. Lamb Offers a Wise View of the Past on ‘Good Hart’ Album

Good Hart 6-panell outside.qxp:0 — John D. Lamb’s latest album features 12 storied tracks filled with forthright lyrics, humorous and nostalgic reflections, and kinetic ‘70s-fueled instrumentation. Photo – Mark Foril

These days, John D. Lamb views life through a clearer, wiser lens.

The Royal Oak, Michigan folk-rock singer-songwriter and guitarist revisits past relationships, experiences and lessons with gratitude on his latest album, Good Hart, via Mezzanotte Records.

“My executive producer [Bill Vlasic] said, ‘It sounds like you’ve reached a point now where you can look back,’” Lamb said. “And I thought, ‘I suppose, there are some cautionary tales.’”

Alongside those cautionary tales are 12 storied tracks filled with forthright lyrics, humorous and nostalgic reflections, and kinetic ‘70s-fueled instrumentation.

“When I was done with the record, I was trying to think of a title for it, and I was looking for whatever the overall theme might be,” said Lamb, who’s inspired by Gordon Lightfoot, Jim Croce, Warren Zevon and John Prine.

“I had thought about naming it after one of the songs … and I went through a bunch of different titles, but I thought Good Hart was really the only thing I could call it because that’s where we recorded it.’”

Lamb recorded his fifth album with co-producers Michael Crittenden and Jim Bizer last April at Good Hart Artist Residency in Good Hart, Michigan. They spent two 15-hour days laying down tracks for the album in a beautiful house located 35 minutes southwest of Mackinaw City.

“It’s built for painters and artists, and they recently started having songwriters and composers there,” he said. “I had use of the place for a few days, so I invited Michael and Jim to come up north … we were isolated and just had the lake out of our windows.”

Those picturesque surroundings also allowed Lamb to reflect on the album’s nostalgic sentiment and how time has shaped his own “good heart.”

“I felt that, too. At first, I thought it was kind of audacious to say that, but by taking the ‘e’ out and realizing it’s a town name, I thought, ‘Oh, OK,’” Lamb said. “It wasn’t my first choice, but several people said it has to be that, and I said, ‘OK, you’re right.’”

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Spring Forward – Earthwork Music Celebrates the Season with Michigan Tour and Sampler Album

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A Michigan music collective is ready to spring forward with a new tour and music sampler.

Earthwork Music, a collective of artists and musicians that fuses music with cultural and environmental awareness, is kicking off its first collaborative tour in five years this week with a run of Michigan shows.

Tour stops include April 19 at Kalamazoo’s Dormouse Theatre, April 20 at Lake Orion’s 20 Front Street, April 21 at Grand Rapids’ Midtown, April 22 at Traverse City’s The Alluvion and April 23 at the Ludington Area Center for the Arts in Ludington.

“The spring tour features 18 musicians and will be a cabaret-style show featuring each person leading one song with a varying backing band supporting. It will be beautiful, chaotic and absolutely magical,” said Nicholas James Thomasma, a Grand Rapids folk singer-songwriter and an Earthwork Music collective artist.

“Sometimes it will just be one or two people on stage; sometimes it’s a full band. Sometimes there are strings, sometimes drums, sometimes acoustic guitars and sometimes all 18 of us will be on stage together. Part of the excitement about this tour is that even the artists aren’t sure how it’s all going to work yet!”

Thomasma will share that anticipation alongside 17 other Earthwork Music artists, including: Dede Alder, Earthwork Music founder Seth Bernard, Ralston Bowles, Sari Brown, The Antivillains’ Sarah Cohen, Samantha Cooper, Chris Good, Jordan Hamilton, Amber Hasan, Josh Holcomb, Audra Kubat, Elisabeth Pixley-Fink, The Crane Wives’ Dan Rickabus, The Appleseed Collective’s Vince Russo, The Go Rounds’ Mike Savina, Jo Serrapere of Stella! and Ben Traverse.

“The thing I enjoy most is the thoughtful and creative people that make up our collective,” Thomasma said. “It’s a treat to play music with these folks, but even more so it’s a treat to simply know them as friends and spend time with them off stage.”

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The Soundcheck – Soundslikeotto, Ohly, Tom Alter

c-d-x-PDX_a_82obo-unsplash — “The Soundcheck” celebrates newly released singles, EPs and albums each month. Photo – C D-X

It’s been nearly eight years since I started The Stratton Setlist, and I’ve heard a barrage of wonderful new music from independent artists during that time. While I’ve written hundreds of features on different artists across multiple genres, I wanted to find a way to showcase more people through a new monthly series called “The Soundcheck.”

And welcome to “The Soundcheck.” Each month, I’ll compile a roundup of newly released singles, EPs and albums from local artists inside (and outside) Michigan. I’m proud to share the inaugural edition, which features electropop from Soundslikeotto and indie-folk from Ohly and Tom Alter. Plus, this edition celebrates my favorite season of spring.

Sit back, breathe in the spring air and enjoy these refreshing sounds.

Soundslikeotto, “So High”

Soundslikeotto delivers an infectious helping of ‘80s electropop on their latest single, “So High.” The Detroit indie-pop sextet of Chesney Walters (vocals), Jonny Walker (guitar), Nate Dornfried (keys), Ryan Freitas (bass), Connor Maggio (guitar) and Austin Howard (drums) dropped their addictive new single in March after releasing their debut EP Still Picture You last summer. (It’s especially effervescent on cassette.)

On “So High,” the band fuses hyperactive synth, electric guitar, bass and drums with a bold storyline about being in an intoxicating relationship. Walters sings, “No control / You tighten your chemical hold / So hot and so cold / And I can’t get enough, get enough, get enough.”

Honestly, I can’t get enough of this single and its instant adrenaline rush each time I play it. Soundslikeotto’s confessional single belongs on a clear Memorex mixtape alongside Phil Collins’ “Sussudio” and “Don’t Lose My Number.” Dust off that boombox, insert mixtape and let the addiction begin!

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Heal Over – Cameron Blake Explores Forgiveness and Finds Renewal on ‘Mercy for the Gentle Kind’ EP

Cameron-Blake-Press-Photo-Eric-Bouwens-photographer-copy — Cameron Blake embarks on healing journey of self-discovery on “Mercy for the Gentle Kind.” Photo – Eric Bouwens

For Cameron Blake, time and tenderness heal deeply buried wounds on Mercy for the Gentle Kind.

The Grand Rapids, Michigan chamber-pop vocalist, composer and multi-instrumentalist embarks on a cathartic journey to explore forgiveness and find renewal on his latest EP.

“That’s when the process began, and I thought, ‘OK, what are these three songs, ‘Blue Note,’ ‘Mercy for the Gentle Kind’ and ‘Cricket’s Waltz,’ about?’ I had to go back and piece it all together, but I was doing that simultaneously while preparing for my Return to the Violin recital,” said Blake, who’s also a classically trained violinist.

“Then I realized it was a very subconscious thing that I was making this record about the healing process and how the only way to heal something is not to harden up, but to show tenderness.”

Blake thoughtfully examines that concept throughout Mercy for the Gentle Kind’s six poignant tracks, which feature poetic lyrics and cinematic instrumentation mixed with indie-folk, chamber-pop and classical music sensibilities.

“And then I found the John Berger audio, which was in an interview with him talking about how we can judge systems and we can judge actions, but we can’t judge the human soul,” he said.

“I said to myself, ‘Wow, what a profoundly beautiful and incredibly difficult idea,’ but it sort of struck me because that’s exactly what I did with that past teacher of mine and that’s what healed me. It simply brought together the whole project.”

To learn more about Blake’s journey, I chatted with him about his background, a past traumatic experience that impacted his ability to play the violin, his “debut” album and latest EP, the Music in the Heights concert series and his upcoming plans.

Continue reading “Heal Over – Cameron Blake Explores Forgiveness and Finds Renewal on ‘Mercy for the Gentle Kind’ EP” →

Back Home – Marty E. Relocates to Upper Peninsula and Releases ‘Benevolent Criminal’ Debut EP

Marty E 1 — Marty E. stands near the waters of Lake Superior. Photo – Virginia @lostinthewoodsmichigan

Marty E. relishes returning to his old childhood stomping grounds in the Upper Midwest.

The Bessemer, Michigan garage-rock singer-songwriter and guitarist-drummer recently relocated to the western Upper Peninsula near Ironwood after living in New York City for more than 20 years.

“Everybody asks me, ‘Why did you move from New York City to goddamn Ironwood?’ The reason is I grew up in northern Minnesota, and my parents and grandparents all grew up in this area, like Ironwood, Michigan and the Hurley, Wisconsin area,” said Marty E., who’s also known as Marty Erspamer and hails from Grand Rapids, Minnesota.

“My great-grandfather had emigrated from Tyrol in Austria, and he went to Cleveland, but had heard the mining business was booming up here. Along with his brother and his cousin, he jumped a train, hitchhiked and somehow got here. The three of them started building houses up here, so I have deep roots here.”

Those deep, familial roots inspired some of the raw, honest tracks on Marty E.’s debut solo EP, Benevolent Criminal, which is now available on vinyl. The six-track EP features a seamless blend of gritty, lo-fi alt-rock, punk-rock and garage-rock instrumentation fused with introspective lyrics about change, loss and renewal.

“When I was singing, Jaime [Hansen] and Keith [Killoren] both really helped pull workable performances out of me and [taught me] how to think about it and how not to freak yourself out and have a whiskey or have a beer,” said Marty E., who’s inspired by The Replacements, the New York Dolls and The Velvet Underground.

“You want it to come out how you hear it in your head. Hindsight is always 20/20 when you’re recording, and you’re like, ‘I could have done this better, and I could have done that better.’ What it is … is a snapshot of the time, and I’m just really happy that I was able to come up with a recording that what you hear reflects what was here.”

Continue reading “Back Home – Marty E. Relocates to Upper Peninsula and Releases ‘Benevolent Criminal’ Debut EP” →

Free Reign – Gerard Smith Brings Noble Prog-Rock Elements to ‘Lullabies in an Ancient Tongue’ Album

Gerard Smith 1 — Gerard Smith embarks on a prog-rock odyssey on “Lullabies in an Ancient Tongue.” Photo courtesy of Gerard Smith

Gerard Smith freely reigns in the court of prog rock on Lullabies in an Ancient Tongue.

The Detroit vocalist, multi-instrumentalist and founding member of Bill Grogan’s Goat fuses noble elements of Celtic music, hard rock, jazz and folk with political and mythological themes on his latest album.

“I love that line, ‘Lullabies in an Ancient Tongue,’ it’s from King Crimson’s song, ‘The Court of the Crimson King,’” said Smith, who plays guitar, mandolin, bouzouki, bodhrán, tin whistle and concertina. “I also had an idea for a lullaby rolling around in my head for a long time; it’s ‘Sweet Dreams and Soft Mornings.’”

Throughout Lullabies in an Ancient Tongue, Smith embarks on a prog-rock odyssey filled with pursuits for justice, courage and truth. The album’s storyline seamlessly shifts from fantasy to reality alongside melodic instrumentation, complex time signatures and world soundscapes.

“This album is a collection of songs, but these are all themes that I think about a lot. It’s the idea of the stress of living your life with political dissent,” he said. “It’s especially true with the way the lyrics fall out in ‘Standing Stones’ and the whole idea of propaganda and how people cannot think critically when they want to be part of a [group].”

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Seriously Funny – Danny VanZandt Balances Wit and Sincerity on ‘Music to Your Ears’ Album

Danny VanZandt 1 — Danny VanZandt breaks code of taste on “Music to Your Ears.” Photo – Kris Herrmann

Danny VanZandt doesn’t take himself too seriously on Music to Your Ears.

The Detroit indie-rocker strikes an optimal balance between wit and sincerity on his refreshing new album.

“I’m a really goofy guy in my personal life, and I love making jokes and stuff. I wanted this album to be goofy and funny, but I still wanted the subject matter to be important,” VanZandt said.

“For artists, especially early on, everything can feel like it’s the art school film where it’s black and white and super serious. The big lesson I learned between the last album and this one is that a lot of my favorite serious art still has a lot of humor in it … and some of my favorite comedies are tearjerkers and have a real serious side to them.”

That ideal mindset flows throughout the 11 authentic tracks featured on Music to Your Ears. Filled with vivid tales of youth, nostalgia, and the passage of time, the album whisks listeners along from one memorable VanZandt adventure to the next.

Zany escapades occur at rock ‘n’ roll history museums, Wendy’s, Bruce Springsteen on ice shows, the Stranger Zone, mountaintops and other locales. Collectively, those stops provide greater insight into VanZandt’s past, present and future.

VanZandt also features brands and music artists as his ironic sidekicks throughout Music to Your Ears. These “pals” include AC/DC, Guitar Center, Jamba Juice, Eagles, Vineyard Vines, Enclave, Cat Power, Google Earth, McDonald’s and others to distinctly set each track’s scene and mood.

“When you go outside, it’s not like forests and rivers anymore, it’s Subway and Domino’s. If you’re going to do a modern-day landscape painting, like Jake Longstreth, it’s a painting of an abandoned Circuit City,” said VanZandt, who recently graduated with a master’s degree in art history from Wayne State University.

“I wanted it to have that feel and also in a pop-art way, like ‘What do brands mean and signify?’ That’s a big 21^st century anxiety that we all deal with. I wanted it to feel true to actual modern life, and there’s something I love about how banal all that stuff is.”

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Double Duty – Lily Talmers Explores Humanity and Spirituality on ‘Hope is The Whore I Go To / It’s Unkind to Call You My Killer’ Album

lily talmer ark — Lily Talmers performs at The Ark in Ann Arbor, Michigan. Photo – Lori Stratton

Editor’s Note: This article features a portion of the Ann Arbor District Library’s Jan. 5, 2023 Pulp interview with Lily Talmers.

Lily Talmers fully embraces her authentic self on “Birthday Song.”

The Brooklyn, New York indie-folk singer-songwriter gets vulnerable and introspective on an intimate track from her latest double album, Hope is The Whore I Go To / It’s Unkind to Call You My Killer.

“It’s definitely kind of like a prayer and an asking; I wrote it on my birthday, which is kind of funny,” said Talmers, a University of Michigan alumna.

“But I think the central image of the song is thinking about unfolding as a human … and it’s very vulnerable to be a human. It’s just admitting that and feeling often like when we bring our full selves to other people it’s hard to do that and not be embarrassed.”

Surrounded by wistful nylon guitar and strings, she sings, “So please excuse the hardness of my softening / If I’m unworthy, Lord, I swear I’ll fake it good.”

“It’s this image of wanting to be your full little sweet self and feeling ashamed of that,” Talmers said. “It’s also oscillating between those two things, like ‘I want to go back into the womb, and I don’t want to interact with anyone,’ and wanting to fully be with people and be loving and brave.”

Talmers beautifully illustrates that relatable dichotomy alongside poignant reflections about hope, humanity, spirituality and growth across the 21 tracks on Hope is The Whore I Go To / It’s Unkind to Call You My Killer.

Within those tracks, she shares haunting tales wrapped in emotive string-brass instrumentation and pensive folk-jazz and Latin-Mediterranean soundscapes.

I recently spoke to Talmers about her background, ambitious double album, prolific writing and recording process, and upcoming plans.

Continue reading “Double Duty – Lily Talmers Explores Humanity and Spirituality on ‘Hope is The Whore I Go To / It’s Unkind to Call You My Killer’ Album” →

To Be Continued – In a Daydream Finds Catharsis on ‘I Was a Victim of a Series of Accidents’ Single

In a Daydream’s Bryan Porter addresses the realities of recovery on “I Was a Victim of a Series of Accidents” with bandmates Jake Rees, Poppy Morawa and Adrian Clark. Not pictured Danny Van Zandt. Photo – Kris Herrmann

Bryan Porter sees life as an ongoing work in progress on “I Was a Victim of a Series of Accidents.”

The In a Daydream lead vocalist-guitarist candidly addresses the everyday challenges of recovering from addiction on the Detroit emo/indie-rock quintet’s latest single.

Alongside vulnerable synth and courageous electric guitar, bass and drums, Porter sings, “Yeah, I wanna say I’m all right today / But ‘clean’ feels like the wrong word to use / When it’s not just ‘what’ but ‘who’ you abuse.”

“I wanted this song to be the first one I put out after the last record, so I wanted to directly reference the last song on the last record. Toward the end of ‘Everything Hurt Beautifully (So It Goes),’ I sing, ‘I wanna say I’m alright today,’ and so I use those lyrics again in this song,” he said.

“The part where I say, ‘But ‘clean’ feels like the wrong word to use,’ means I’m not using drugs, like I’m technically clean, but that it doesn’t feel right still, and my work isn’t done.”

To learn more about In a Daydream’s strong work ethic, I chatted with Porter about his background, the band’s last full-length album, his road to recovery, the band’s latest single and their plans for the future.

Continue reading “To Be Continued – In a Daydream Finds Catharsis on ‘I Was a Victim of a Series of Accidents’ Single” →

Collective Consciousness – Slowfoot Reveals Personal Thoughts and Mantras on ‘Something Good’ Album

Slowfoot’s Tony DiDio, Frank Grimaldi, Kris Greig, Mike Conley and Peter Zajicek bring “Something Good” to listeners with their debut album. Photo courtesy of Slowfoot

For Slowfoot, Something Good captures a collective inner monologue from past to present.

The Waterford blues-rock quintet’s debut album reveals personal thoughts about loss, growth and ambition, especially from lead vocalist-guitarist Frank Grimaldi and organist Peter Zajicek.

“I wrote ‘Lonely Hearts Club’ when I was 17 after my first bad breakup. It’s just a heartbroken kid who thinks he’s never gonna fall in love again. ‘Long Road Ahead’ was me trying to write a song that sounded like a Jimi Hendrix song,” Grimaldi said.

“What comes out from me lyrically are things that I don’t have the courage to say directly to people, or they’re something I just wanna get off my chest. They’re also mantras, even if they’re negative. I feel like Pete [Zajicek] writes out of frustration as well.”

Those shared experiences from Grimaldi and Zajicek truly produce “something good” for Slowfoot listeners.

With bandmates Mike Conley (guitar), Kris Grieg (bass) and Tony DiDio (drums), they present a profound release filled with soulful vocals, introspective lyrics, vintage Hammond organ solos and bluesy instrumentation.

“If you asked all five members of the group, you would get five different favorite bands. There’s a lot of different stuff melting into our sound, and you know who wrote what song,” said Grimaldi, who’s influenced by Humble Pie, Led Zeppelin and Derek Trucks.

“It’s only me and Pete who have been writing the songs, but you can feel my writing tendencies versus Pete’s. He has a lot of words in his songs … and my songs are more Hemingway in their approach.”

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The Stratton Setlist

Catch the opener. Stay for the encore.

Category: Albums