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Wide Open Country praises John Calvin Abney’s new single “Always Enough”

When John Calvin Abney finished writing “Always Enough,” naturally it felt good. But, it also felt like a necessary step in Abney’s budding career. Abney readily admits that may sound cliche and contrived, but it’s a genuine sentiment from the Oklahoma singer-songwriter.

“I don’t feel enlightened or anything,” Abney tells Wide Open Country. “I just feel comfortable with who I’ve become. I’m more connected with my songwriting and feel like I’m not trying to be somebody else anymore.”

“Always Enough,” the lead track from Abney’s upcoming album Coyote, is a dream swept lullaby that finds Abney finding himself. “There’s no point in making this so tough. Can’t you see now that we were always enough?” Abney gently sings on the opener. With its lush arrangements and intimate lyrics, it sets the table for the entire album acting as a harbinger of what’s to come. READ MORE…

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by Baby Robot Media

“Ain’t It Something, Hank Williams” by Leslie Tom Featured on Adobe and Teardrops Podcast

It’s not that Hank Williams songs need any improving. But on Leslie Tom’s newest release, they get a fresh interpretation. Ain’t It Something, Hank Williams isn’t a straight cover album, though Tom’s renditions of his greats like “Hey Good Lookin'” and “I’m So Lonesome I Could Cry” give them a contemporary vibe. What I think is most interesting about Ain’t It Something is the way Tom contextualizes songs that are familiar to the point of banality (there, I said it.) In Tom’s character sketches of the many people touched by Williams’ music — including herself — we get a sense of how the man became exalted into legend.

While you can generally tell the difference between Tom’s originals (for people like me who didn’t grow up with the music), it’s also impressive how much of a piece the album is. Tom isn’t trying to imitate Williams or even one-up him — but her performances make William’s songs her own to an extent that all of the songs come straight from her heart, as if she’d written them all herself. Time travel doesn’t exist (as far as we know) but artists like Tom can help us connect to our collective past.

by Baby Robot Media

Americana Highways Reviews Great Peacock’s New Release “Gran Pavo Real”

Great Peacock’s new release Gran Pavo Real [Spanish for Great Peacock] (Ropeadope Records) is a collection of the kinds of song that will commiserate with your longest day and empathize with your worst breakup moments. If you are in need of some catharsis, this album is for you. Produced by Dexter Green (Jason Isbell, Elizabeth Cook), mixed by Joe Costa, and recorded at Nashville Sound Emporium, this album is the second for the group and destined for widespread appeal. Guitar frontmen Andrew Nelson and Blount Floyd are locked in with rhythm section Nick Recio on drums and Tom Blankenship (My Morning Jacket) on bass; Ralph Lofton (Jennifer Holliday) joined in the project on “gospel keys.”

“Oh Deep Water” strikes emotionally with Carl Broemel on pedal steel, and here the band highlights its great Americana intuition for crafting songs that move people. “One Way Ticket” is another anthem “I’m a back row Baptist with stories to tell.” “Begging to Stay” and “Heartbreak Comin Down” address the fight or flight response that paralyzes us all in the initial phases of breakup. “Let’s Get Drunk” is has universal appeal with its outlining of a classic drunken date night. “All I Really Want is You” presents emotionally raw vocals longing against an acoustic backdrop. Each song on the album resonates anew with the sorrowful side of life. When commiseration and feeling understood in your darker moments is required, you’ll reach for this one again and again.

by Baby Robot Media

Guitar Girl Magazine premieres Midnight Larks’ new single “Shameless Child”

Midnight Larks, a surf-garage/psych trio from Atlanta, GA, released their new single “Shameless Child” from their new album Midnight Larks. The band is gearing up to release their self-titled debut LP on March 30th, were named Atlanta’s “Best New Band” in 2016 by Stomp & Stammer, have been featured at PunkNews, Creative Loafing & more, and have previously shared bills with Mastodon, Run the Jewels, Shannon & the Clams, The Coathangers, Jacuzzi Boys, King Khan & the Shrines & more.

Midnight Larks is a 12-track collection of psyched-out garage rock earworms. Blending influences from both surf-rock legend Dick Dale and Spaghetti Western composer Ennio Morricone with ’70s psych-rock sensibility, Midnight Larks create a sound that oscillates seamlessly from hypnotic to aggressive. New single “Shameless Child” foregoes surf-guitar licks in favor of downtempo, reverb-washed garage-pop that showcases vocalists Nikki Speake & Sasha Vallely’s powerful voices and classic pop sensibilities — a perfect way to soundtrack the first warm days of Spring. READ MORE…

by Baby Robot Media

Orlando Weekly previews rapper Woop’s hometown comeback show

Orlando rapper Woop is set to play a triumphant hometown show on Easter Sunday, after a lengthy absence from the music scene. The MC was released last month after serving nearly two years in prison and he’s hungry to make his mark again, starting with a string of Southern tour dates.

Woop made a splash in the rap scene starting in 2013 with mixtape Woop Nation, and following that up with Woop Lingo and #IDGAF. Collaborations with Migos and Yo Gotti only further elevated his profile, leading to effusive praise from Fader and XXL, before his imprisonment put the brakes on everything. Now the young rapper is ready to pick up where he left off. READ MORE…

by Baby Robot Media

Glide Magazine Reviews Great Peacock’s “Gran Pavo Real”

There are times where a band’s name and album cover provide little or no indication of what to expect. And when said references offer an image that’s the exact opposite of the music that accompanies those initial impressions, it may dissuade any initial encounter. The fact is, Great Peacock’s handle and the peacock covered skull head that adorns the cover of the band’s new album Gran Pavo Real offer no real reason to give any further thought to the music that may reside within.

Consequently, the potential listener is best advised to forget everything they may have been taught about the importance of first impressions. Despite any lack of familiarity, Great Peacock serves up a sound that resonates and reverberates as it soars towards the stratosphere. Take for example, the song “Begging to Stay.” The track combines the emotive plea conveyed by the title with a ballad that’s flush with emotional urgency. The solid grooves of “Hideaway” and “Rattlesnake” boast a rootsy rock feel that often brings to mind those denim-clad denizens of Laurel Canyon, circa the early ‘70s. There’s clear commitment here, and even the simple sentiments delivered by the soothing “All I Really Want Is You,” the Eagles-like rocker “Heartbreak Comin’ Down” and the questionable intentions of “Let’s Get Drunk Tonight” leave an emphatic impression that belies any sense of objectivity. The prime accouterments are here — agreeable vocals, ringing guitars, keyboards, pedal steel (courtesy of Carl Broemel of My Morning Jacket) and a staunch rhythm section that underscores it all — and indeed, that basic formula serves their style well.