Hundred-word Reviews for August 2024: Rock

Here’s another tidy (metaphorical) stack of hundred-word reviews. Awhile the coverage is brief, all five albums come with my recommendation. The unifying theme is rock, albeit of various substyles. And it just so happens that music from each of these five artists has been reviewed by me before now – often more than once – so be sure to follow the links for more.

Ward White – Here Come the Dowsers!
While I liked Ward White’s previous releases just fine, there was an arty undercurrent that – to my thinking – detracted (just a tiny, tiny bit, mind you) from the accessibility of the material. On Here Come the Dowsers! White has struck the perfect balance; the ambitious and finely-tuned elements of his music coexist with earworm melodies, superb arrangement and first-rate vocals. Those qualities have always been a part of White’s music, but here the blend is perfect. The music isn’t as retro or mannered as the (excellent) artwork might imply. Think of him as a Bryan Ferry for the 21^st century.

Fernando Perdomo – Self
L.A.-based, Miami-born Perdomo is a producer, multi-instrumentalist and general top-notch musical utility man who’s always busy assisting and/or collaborating on myriad projects by other artists. So it’s a refreshing change to encounter his solo releases, where he can shine brightest. As its title telegraphs, on Self, Fernando does it all: producing, playing, singing, writing etc. His twin proclivities – a strong pop sensibility and an ambitious prog perspective – both get showcased. The first six tunes are a nicely varied lot, with a breezy character dominating. But it’s the sprawling, 20-minute, Todd’s-Utopia-meets SMiLE title track that swings for the fences, succeeding brilliantly.

Leon Alvarado – The Changing Tide
Alvarado’s latest will strike some as very, very, very familiar. Lengthy opener “The Equilibrium” has a feel reminiscent of Wish You Were Here-era Pink Floyd. Moody and cinematic, his music is engaging and intriguing. “A Day of a Different Sort” is essentially a “Shine On You Crazy Diamond” pastiche with hints of “One of These Days” and fills straight outta “Have a Cigar.” Gilmourian guitar leads and Parry-esque sax fills (courtesy Supertramp’s John Helliwell) abound. As its title hints, this mostly instrumental album is quite like The Endless River. Very good overall, but the “Brain Damage” cover is too on-the-nose.

Sour Ops – Evangeline
I keep lookin’ at that cover art, but I don’t know what the hell it is, or is supposed to be. A bit disturbing for sure. But what matters in the music. Supremely tuneful, rocking tunes have an early ‘70s, Stonesy feel about them: grit to make ‘em real, polish to make ‘em catchy. Price Harrison know his way around a melody; his work feels classic without being derivative. One listen to “Standing in the Shadows” and the tune will be stuck in your mind. And that’s a very good thing. Evangeline is even better than Sour Ops’ previous releases.

Well Wishers – Just So You Know
A look through my archives suggests that I’ve reviewed music from The Well Wishers on at least ten previous occasions, dating back 12 ½ years. And for good reason: Jeff Shelton’s roaring power pop is the equivalent of a sleek, shiny muscle car with a convertible top. The songs are fun, catchy and muscular. Shelton has a seemingly inexhaustible well of hooky melodies, and he always wraps them in rocking arrangements. Fans of Cheap Trick, Fountains of Wayne, Sloan and the like will definitely want to hear Just So You Know. And like they say, hey kids: collect ‘em all!