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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New Moon Songwriting Challenge Facilitates Artist Co-writes and Collaborations in April

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An upcoming songwriting challenge encourages artists to seek out new collaborations with other songsmiths.

Starting April 1, artists can partner with another songwriter (or two) to co-write and enter an original, unreleased song in the inaugural New Moon Songwriting Challenge.

Open to all ages and genres, artists can submit their co-written songs by recording a video of their performance and posting it on Instagram using the hashtag #newmoonsong and tagging the following songwriting challenge sponsors by April 30: Electric Moon Studios (@electricmoonstudiosgr), Chelsea Whitaker Photography (@chelseawhitakerphotography), Sounds of the Zoo (@soundsofthezoo) and Crooked Tree Creative (@crookedtreecreative).

Entrants also must follow all four of those Instagram accounts to participate. The songwriting challenge ends at midnight on April 30, with submissions limited to one entry per artist.

Participants can be from anywhere, but each entry must include a collaboration between at least two or more artists.

“Our hope is that artists have the chance to create something new with someone they might not have collaborated with before,” said Elle Lively, a Grand Rapids, Michigan artist development consultant and collaboration facilitator with Crooked Tree Creative and a songwriting challenge organizer and sponsor.

“The whole purpose of this challenge is to bring artists together who choose to participate in something a little different.”

A panel of judges will review all entries via Instagram and select the grand prize and runner-up winners by May 7.

The grand prize winner will receive a recording session with Electric Moon Studios to record the song, a promo photoshoot with Chelsea Whitaker Photography, a live showcase opportunity with Sounds of the Zoo, a video shoot with Dogtown Studio and an artist consulting session with Crooked Tree Creative.

The runner-up will receive a recording session with Electric Moon Studios, an artist consulting session with Crooked Tree Creative and a promo photoshoot with Chelsea Whitaker Photography.

Songwriting challenge service providers are located in Grand Rapids and Kalamazoo, Michigan, so winners must be willing to travel to redeem the services.

All artists that submit entries will have their songs featured in a social media post. They also will receive a 10-percent discount on related services from select sponsors through October.

For more information, visit Crooked Tree Creative’s Instagram post.

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” →

Upward and Onward – Patrick Sheufelt Records with Pandemic Pat & The Murder Hornets and Versus Versus, Runs I/O Detroit Studio

Regardless of whatever life throws at them, Pandemic Pat & The Murder Hornets quickly rise to the occasion.

The punk-rock solo project of Ferndale vocalist, multi-instrumentalist and producer Patrick Sheufelt captures this fearless sentiment on their confident new single, “Rise,” out March 17.

“A lot of my family and friends have been falling on tough times in the post-pandemic era—lots of heartbreak, financial hardship and just general gloom going around. And I thought I’d write a song to try and fight back some of that darkness a little bit,” he said.

“It’s similar to what I said about ‘Firelight’ on the first record [2020’s Not Dead Yet], where I saw stuff happening (at that point it was the protests and the madmen running the country), and it prompted an emotional response and subsequently a pretty cool song from me.”

Throughout “Rise,” turbocharged electric guitar, bass and drums urge people to seize the day as Sheufelt’s raspy vocals proclaim:

“You danced with me under the snow and said / ‘They’ve got me on the ropes, this time I don’t think I can find my way out,’ / But here you are on your feet again, fighting to the bitter end, leaving these demons so far behind.”

“When I was writing it, one of my traveling friends, Xavier O’Luain, was staying here at the studio. He was a bit of a sounding board for some of the melodies and whatnot. As far as the recording, no one else was on this one; I just wrote all the parts as I picked up the instruments,” said Sheufelt, who started Pandemic Pat & The Murder Hornets in 2020.

“Of course, it started on vocals/acoustic [guitar], then drums, bass and guitars. I always do lead guitar last as sort of the cherry on top of the song. And on this note, I’m looking for band members for this project. If anyone wants to learn some relatively easy parts and go on tour, hit me up!”

Continue reading “Upward and Onward – Patrick Sheufelt Records with Pandemic Pat & The Murder Hornets and Versus Versus, Runs I/O Detroit Studio” →

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].”

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

Second Spin – Brad Phillips Gives ‘Dance Again’ Another Whirl as Debut Songwriting Single

Brad Phillips features a violin orchestra on his latest single, “Dance Again.” Photo courtesy of Brad Phillips

Brad Phillips never imagined his song “Dance Again” from Willow Run would take on a whole new life.

The Americana singer-songwriter and multi-instrumentalist revived the initial stripped-down track from the 2018 World War II era play and transformed it into a sweeping, cinematic ballad.

“The song was only two verses with a chorus and was performed with only voice and a simple, lonely acoustic guitar part. There was a lot of anguish and longing at its core at that point,” said Phillips, who’s from Dexter and teaches at the University of Michigan’s School of Music, Theatre & Dance.

“Since then, there has been another verse added, and the arrangement grew quite dramatically. The instrumentation of this new version is several layers of both acoustic and electric guitars, piano, bass, percussion, background vocals and a violin orchestra.”

Out Feb. 10, “Dance Again” soars and flourishes as Phillips’ debut songwriting single. As a longtime sideman, he’s spent most of his musical career playing acoustic guitar, mandolin and violin with Michigan-based artists, including Jeff Daniels, Stevie Wonder, Aretha Franklin, The Verve Pipe and May Erlewine.

“For years, I had wanted to be a songwriter, but I could never get out of my own way enough to let it happen. It wasn’t until I was given permission to be and encouraged to be exactly who I am that I was able to let the music in my heart flow freely,” Phillips said.

“I think I always wanted to share this song with the world beyond its place in Willow Run. This song really represents one of those rare moments in creativity in which it feels like someone else wrote it, and I was simply the conduit through which it was transmitted.”

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In the Moment – Kyle Mikolajczyk Captures Creative Spontaneity for ‘Echoes in Eternity’ Single

Kyle Mikolajczyk brings soothing Motor City sounds to his latest instrumental single, “Echoes in Eternity.” Photo – Karen Ritchey / LUX Artist Management

Kyle Mikolajczyk credits a looper guitar pedal and “The Office” TV series with inspiring his debut solo single, “Echoes in Eternity.”

Back in 2019, the Detroit hard-rock guitarist summoned those creative influences for his serene instrumental and fully embraced the moment.

“I was trying to find different chord patterns and landed on the acoustic/rhythm guitar pattern that you hear in the song and then recorded what I was doing on my phone,” Mikolajczyk said.

“During the moment I was recording it, I had ‘The Office’ on the TV in the background, and right before I started playing, the character Dwight yelled, ‘Whatever you do in this life echoes in eternity!” Every time I would play it back, that’s what I would hear first. It seemed like a sensible working title, so thanks, Dwight, or Rainn Wilson!”

That unexpected artistic fusion resulted in the soothing sounds of “Echoes in Eternity.” Everlasting waves of bluesy electric guitar, radiant acoustic guitar, humming bass, shimmery synth, soft drums and ticking percussion immerse listeners in unexpected bliss.

“After years of putting out music with different groups, it’s been a totally different game releasing music as a solo musician. I’m able to go any route I like, and that’s a great feeling,” said Mikolajczyk, who plays in about a dozen different Detroit bands.

“Listeners have been extremely receptive and supportive … since I’m usually known for straight-forward rock ‘n’ roll. Within the construction of the song, I made sure there was an undeniable sense of comfort, care, love and beauty.”

To bring the track’s tranquility to life, Mikolajczyk worked with Dearborn engineer Robert Cadena and Detroit drummer/percussionist Garrett Ramsden.

“I’ve been developing the song over the last few years, and I finally got into the studio this [past] fall to get to work on releasing it,” he said. “They were both able to add so much to this track … very professional and thorough.”

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The Stratton Setlist

Catch the opener. Stay for the encore.

Tag: Michigan