CD Odyssey Disc 1945: Ketch Secor

This is the third review in the last four that came out in 2025. While I select albums randomly every time, it does show I bought plenty of music in 2025. And every other year.

Disc 1945 is…Story the Crow Told Me

Artist: Ketch Secor

Year of Release: 2025

What’s up with the Cover? Ketch Secor channels the Fonz.

How I Came To Know It: I’ve been a fan of Old Crow Medicine Show for a long time, and Secor is the singer and key songwriter for that band, so when he released a solo record, I figured it was worth a listen.

How It Stacks Up: This is my only solo record by Secor, so it can’t stack up.

Ratings: 4 stars

Ketch Secor’s “Story the Crow Told Me” is part love letter to all the music that influenced him, and part thank you to everyone who helped him along the way. It’s a grateful and gracious record that tickles your ears and warms your heart.

Secor has plenty of material to draw on for such a retrospective, having navigated the highways of the world for 25 years as part of Old Crow Medicine Show. In lesser hands such a journey could feel self-indulgent, but this record is authentic and heartfelt throughout.

From the personal, Secor digs deep into his early experiences, busking his way across Canada and America, playing various holes in the wall (there is even a song called “Holes in the Wall” that honours them by name).

The songs have all the jump and energy that you’d expect on a full-blown OCMS album, supported by his OCMS band mates in several places, as well as additional star power of Molly Tuttle on harmony and even an appearance by the legendary Marty Stuart. The energy of the record is infectious, with hand-claps and sing-a-long choruses that make you feel like you’re part of the band, or at least in the front row of the show.

There isn’t anything particularly innovative on this record – it is the mélange of sounds typical of OCMS, mixing bluegrass, Americana, and country, but what it lacks in creativity it makes up for with veteran songwriting that delivers banger after banger.

Secor has assembled a band that is as tight and talented as they come, mostly settling down in the front of the pocket bluegrass style. It creates a jump and energy that makes it impossible to sit still. Matching the subject matter of the songs, the music is celebratory and lively.

Secor’s vocals are sneaky good. These songs don’t require a huge vocal range but they do call for elite timing and phrasing, and Secor delivers throughout. The effect is one of an expert storyteller, knowing how to lean in or out, complete with micropauses to emphasize punchlines and emotional notes when the moment demands. He’s so smooth at this that you’re liable to not notice, but it is worth the extra focus to appreciate his uncanny sense of timing.

In addition to revisiting his own personal journey through music, the record is also replete with music history. If you’re a fan of the history of Americana, folk and country music, there are Easter Eggs aplenty here. On “On the Wall” Secor celebrates getting your picture up on the wall alongside Hank Williams and Little Jimmy Dickens. The song is a mix of pride and humility as Secor reflects on the mark he too has made on music.

The album’s last song, “What Nashville Was” is the only negative moment on the record, as Secor laments the decline of Nashville’s music scene from a centre of creative excellence to the empty calories of new country that emerged in the nineties. Secor artfully blends in sections of Bob Dylan’s “Girl from the North Country”, plus samples of Johnny Cash, all mixed in with his own quick-witted perfectly timed message.

While the song takes more than a few shots at Nashville’s creative decline, ultimately this too is a love letter to not only what Nashville was, but that the idea of Nashville endures, or as Secor puts it, “still running in our blood”. Having been to Nashville, I can understand the dichotomy. Sure the Honky Tonk Highway can be a drunken mess of broken dreams, but just off the strip there are still plenty of artists working away making great music, and the heart of the town still beats today as strong as ever.

“Story the Crow Told Me” is a thoughtful journey through all the great music that paved the way in Secor’s journey, paired with all the people that contributed to his success along the way. It’s also a toe-tapping good time that just gets better and better on each listen.

Best tracks: Busker’s Spell, Talkin’ Doc Blues, Old Man River, Catch Me If You Can, Thanks Again, What Nashville Was

CD Odyssey Disc 1944: Courtney Marie Andrews

It’s another fine day as we look to an artist that I saw live just three months ago. This time we go back over ten years to early in her career.

Disc 1944 is…On My Page

Artist: Courtney Marie Andrews

Year of Release: 2013

What’s up with the Cover? A wistful looking lass (Andrews) decides if it is time to untie those heavy curtains. Probably depends on whether the light is hitting the TV funny.

At least that’s what determines curtain use at our place.

How I Came To Know It: I have been a fan of Andrews for about ten years now. “On My Page” is a re-release of an album even earlier than that, which I snapped up when I saw it in the record store.

How It Stacks Up: I have seven Courtney Marie Andrews records. “On My Page” is solidly in the middle. I’ll rank it #4

Ratings: 3 stars

Soft, understated, and emotionally powerful, “On My Page” is a record of a young Courtney Marie Andrews finding her voice. This is the flower of Andrews’ talent in the dawning light: a little fragile but full of beauty and promise.

With later records like “Loose Future” (2022) and “Valentine” (2026) (Disc 1915) you’ll hear me throw some occasional shade on all the production elements going on. Given how good those records are, you’d be justified to ask just what my problem is.

The answer is no problem at all, except that early records like “On My Page” have spoiled me with the pure Andrews experience - the undiluted stuff.

I could probably count on the fingers of one hand the number of singers that could break your heart with just their quaver, and Courtney Marie Andrews is one of them. Her vocals rise up through the arrangement with effortless power but yet always present as soft and vulnerable.

The opening track, “Woman of Many Colors” shows how aware Andrews is at using her instrument. The song starts at the highest point in the melody. It is sneaky hard to do what she does here and not come off pitchy, but it allows the song to immediately generate a restlessness. The lyrics double down on the effect with a clever turn on a coat of many colours, Andrews instead makes herself the patchwork of experience – living art.

In this early stage we have very limited arrangements, and while “Woman of Many Colors” has guitar, piano, some sort of shaker and (I think) a bass, it is all very subdued – more of a delivery system for the bird song of her voice as she shows you the artful joy of flitting from place to place and thought to thought.

This song is followed up by “This Time” which has more of a traditional anthem quality. Because of the nature of Andrews’ singing style she doesn’t need to belt it out to make you feel the feels. If anything, that slight hurt in the back of her throat is what makes you know how well she’s earned it as she delivers a refrain of “I ain’t goin’ back…this time.”

The songwriting on the album shows early and intense talent, and Andrews’ propensity for making private moments reflect as universal is already well developed, despite her still being in her early twenties when this record was recorded.

If there was a quibble, it would be that one of the records great assets – its quietness – can sometimes make it a bit harder to access. You get less hooks in the melodies and the instruments are often there more as a delivery vehicle for the poetry. This isn’t a bad thing, but it means to love the record that way it deserves to be loved requires you to bend your full attention to it and let the quiet moments slip into you.

There is also a similarity between the songs that later in the record can lead your mind to wander. A few years later, Andrews will have added just that extra amount of range and songwriting chops that take the concepts she’s trying out here and convert them into the masterpiece that is 2016’s “An Honest Life” (reviewed at Disc 1081). “On My Page” isn’t quite at that level, but all the ingredients are there, vibrant and on the verge of full bloom. It’s a prequel that is well worth the listen.

Best tracks: Woman of Many Colors, This Time, It Keeps Going, 500 Nights

CD Odyssey Disc 1943: Sunflower Bean

Welcome to the weekend, dear readers! I have a few chores to run today and when that is done it’ll be time for some much-needed relaxation and decompressing with my lovely partner.

Before any chores, however, we must honour the hierarchy of needs, CD Odyssey style. It’s similar to Maslow’s but music comes first and so…a review before brunch.

Disc 1943 is…Mortal Primetime

Artist: Sunflower Bean

Year of Release: 2025

What’s up with the Cover? Just another night hanging out with Sunflower Bean playing Vampire: Masquerade. And if every few months someone doesn’t come home from a session, who’s to question it?

Lead singer Julia Cumming has gone from blonde to black hair for her deep dive into Gothic mystery. Regardless of hair colour, sign me up for the next gaming session. Leave my phone at home and don’t tell anyone where I am? Whatever you say, Julia!

How I Came To Know It: I have been a fan since discovering this band through their second album, “Twentytwo in Blue” and have been following their career ever since. “Mortal Primetime” is just me doing that.

How It Stacks Up: I have three Sunflower Bean records. I was very much prepared to give “Mortal Primetime” top spot but I see I scored “Twentytwo in Blue” at 4/5. Although it’s close, I’m going to honour that decision of yesteryear. That puts “Mortal Primetime” at #2, but still easily displacing the relatively disappointing “Headful of Sugar”.

Here’s the full recap in case you are inspired to a deeper dive:

1. Twentytwo in Blue: 4 stars (reviewed at Disc 1230)
2. Mortal Primetime: 3 stars (reviewed right here)
3. Headful of Sugar: 3 stars (reviewed at Disc 1605)

Ratings: 3 stars but almost 4

“Mortal Primetime” is a record that straddles the line between mainstream pop and indie rock. These are two well-worn roads, and while Sunflower Bean don’t take any major chances, the record shows a band that has evolved their influences into something that belongs intrinsically to them.

Like all Sunflower Bean records, “Mortal Primetime” rides on the under-appreciated star power of lead singer Julia Cumming. Cumming has charisma to spare, and it translates into her singing voice, which is confident, emotive, and sweet with just the right amount of mist around the edges to give the record the Gothic feel it is going for.

Take note, however: if you are expecting Gothic at the Evanescence or Type O Negative, please lower your expectations and put the black lipstick away. This is more Gothic lite, with the twee observations and pop sensibilities of Rilo Kiley, mixed with the pale and wan undercurrent of an Emily Bronte novel.

Also like a Rilo Kiley album, there are a couple of songs where Julia takes a step back for a secondary singer – in this case guitarist Nick Kivlen. Like a Blake Sennett song on a Rilo Kiley album makes you pine for Jenny Lewis, when Kivlen came on I found myself immediately fidgeting while I waited for Cumming’s return. One of Kivlen’s songs – “Please Rewind” – is particularly saccharine. That phrase should be buried alongside all the VHS tapes from Blockbuster.

Fortunately, Cumming more than compensates, delivering her best vocal performance to date. The record’s opener, “Champagne Taste” has a fist-pumping anthem quality to it, and Cumming is flirty but tough in her vocal delivery. Kivlen’s guitars on this song are also top-notch (more on this later).

The band then shows their stylistic range on “Nothing Romantic”. Here Cumming’s voice is sweet, light and tinged with sadness as she sings the chorus of:

“There’s nothing romantic in being alone
I don’t wanna be the last lonely soul
Sitting at the bar drinking alone
Waiting for God to take me home”

I heard heavy overtones of Jarmusch’s 2013 vampire movie, “Only Lovers Left Alive”. Maybe that’s just me getting influenced by the cover, but that was my connection. Yours may be more mundane or personal such as a heartbreak of the more human kind (the album’s title is “Mortal Primetime”, after all). Whatever your reaction, Cumming’s evocative vocals express a human (or inhuman) longing that will get into your bloodstream.

And despite the shade I earlier threw on some of the Kivlen vocals, he is a talented guitar player with a lot of range. He can drop a rock-ready riff, a pop trill that tucks in as a perfect partner to Cumming’s vocals, and even bluesy tones when that’s needed. On “There’s a Part I Can’t Get Back” Kivlen is at his best, dropping some tones on the axe that are downright Buck Dharma adjacent. Long time readers will know this is high praise.

Overall, “Mortal Primetime” is a record that shows positive growth for the band, and a deeper understanding of what kind of music they want to make. It has less full-on pop bangers than “Twentytwo in Blue” but is arguably the more well-rounded record. A true return to form from a band that looks like they have plenty of creative juice left in the tank.

Best tracks: Champagne Taste, Nothing Romantic, I Knew Love, Take Out Your Insides, There’s a Part I Can’t Get Back

CD Odyssey Disc 1942: Miya Folick

Welcome back, readers. This past weekend I spent my Sunday at the Vancouver Folk Festival which was a delightful musical journey enjoyed in the company of good friends. Plus thousands of people I didn’t know, of course.

The highlight of the show was Anna Tivel, who I heartily recommend to any lovers of folk music out there. Great live, with a lyrical storytelling quality that exists both within her music and the stories she tells in between.

It was also great to see Ken Pomeroy (for the first time) and Tami Nielson (for the second) and just generally enjoy a day of music and companionship.

On to the review…

Disc 1942 is…Erotica Veronica

Artist: Miya Folick

Year of Release: 2025

What’s up with the Cover? A dirt-covered Miya Folick, dressed only in her underwear, strikes an awkward pose.

Is this the morning after a bad night out, or has Folick dug her way out of some shallow grave?

Either way, she seems to be emerging from some kind of harrowing experience and I hope she’s OK. Unless she’s a zombie. Then it isn’t that I don’t wish that she’s OK, but I will just do so at a distance. Safety first!

How I Came To Know It: I became a fan in 2018 when I heard her “Premonitions” record and I’ve been a fan since. This was just me buying her latest release.

How It Stacks Up: I have three Miya Folick records, and of those three one must be last. That one is “Erotica Veronica”.

As this is the final (for now) Miya Folick record currently in my collection, here’s a recap:

1. ROACH: 4 stars (reviewed at Disc 1687)
2. Premonitions: 4 stars (reviewed at Disc 1608)
3. Erotica Veronica: 3 stars (reviewed right here)

Ratings: 3 stars

Folick writes thoughtful indie pop music, in a genre that is sort of a slow-jam low key lounge kind of style. It isn’t a style that typically catches my attention but her songwriting is top notch and her melodies are both catchy and unexpected.

Her third record, “Erotica Veronica,” is all those things, although the overall quality of the songs here are a step down from her previous two efforts. Not bad by any stretch, but less powerful overall.

Folick’s vocals remain strong, and she has a whisper to her voice that augments the sweetness of her pop delivery, without overwhelming it. That bit of whisper is what gives all her songs – even the ones I liked less – a magnetic quality as she pushes and pulls you through various emotional states, often within a single song.

The record begins with “Erotica”, which has a twee sort of fairytale quality to it, setting a dreamy tone that echoes through the record. This song is deeply romantic overall, but there’s a distance to it (maybe it’s the echo in the production) that made me feel slightly distant from the vibe Folick is trying to establish.

Arrangement-wise, the record is standard pop fare, with guitar, piano and some string flourishes where called for. There is one unfortunate moment of extended jazz flute on “Felicity” that I could live without, but otherwise I had no serious complaint.

There is also a lean into the drum machine in a couple places (notably, again, on “Felicity”) where I would have preferred a more organic touch. However, that is a part of the soundscape of “Erotica Veronica” and I realized if I spent too much time second guessing the guy on the keyboard/synth I’d be missing out on a lot of thoughtful music.

“Fist” was more my speed, and I’m sure the “good ole regular” guitar strum didn’t hurt in this regard. I also like the way this song can shift from a skip-in-the-step sprung phrasing, combined with long sweeping flourishes that naturally flow into a flourish that feels a bit like ocean waves crashing into the shore. Folick songs like “Fist” go through a lot of movements in the short time available to a pop song.

While the record is solidly indie pop there are undertones of smooth R&B at work. This creates a tension with the folksy narrative quality of the lyrics, like a dance song that never quite lifts you past sway-mode. There’s nothing wrong with sway-mode but living in that crossover area of styles can be both innovative and dangerous. It isn’t that Folick falters while navigating that tricky space, but most songs lacked the edge of previous work. The intense yearning and vulnerability in her voice still won me over, but I admit some of that yearning was an echo from her previous efforts.

And for this reason, despite the favourable three-star rating, and no serious criticism (other than the one bit of jazz flute), I was left wanting just a little more.

Best tracks: Fist, This Time Around, Prism of Light

CD Odyssey Disc 1941: Amon Amarth

I’ve fallen hard for this next band in a short period of time. So hard I was still sorting out how I felt about the eight albums in my collection when I bought this one – their ninth.

As habits go, there are worse ones.

Disc 1941 is… …Versus the World

Artist: Amon Amarth

Year of Release: 2002

What’s up with the Cover? A warrior in full-on “D&D action figure” pose faces down his opponent: the world!

Yes, this intrepid adventurer has decided to fight…planet earth. This cover reminds me of that Monty Python skit of the guy who plans to jump the English Channel, dig to China and eat Westminster Abbey: you don’t like his odds, but you have to admire his moxie.

As for this particular warrior’s quest, I would just caution him that objects in space are larger than they appear.

How I Came To Know It: I learned about Amon Amarth way late – 2019 – through a friend. Since then I’ve learned they don’t make bad records, so when I saw this gap in my collection at the local record store, I snapped it up.

How It Stacks Up: I have nine Amon Amarth albums. I have more every time I write a review of them it feels like (when I reviewed “Twilight of the Thunder God” back in 2022 (Disc 1538) I only had five). Anyway, it is hard to stack against a moving target, but on balance “Versus the World” is…eighth, but that’s no shame with a band this good.

Ratings: 3 stars

Amon Amarth – the band that consistently reminds me that death metal is legitimately awesome when played at a high level and infused with a little melody. Plenty of death metal is too harsh for my tastes, but Amon Amarth is engaging and catchy, while being just as intense and dangerous as anything else in the genre.

“Versus the World” is the earliest record by Amon Amarth I’ve experienced so far, and served to educate me on the evolution of their sound. Later records have crisper production values and a bit more separation of sound. “Versus the World” is muddier and raw around the edges while retaining all the qualities that make for a great Amon Amarth record. It almost has a hardcore vibe, until that precision drumming of Fredrik Andersson kicks you in the side of the temple, practically yelling “metal” at your delicate Eustachian tubes. Daring you to be a wimp and put in ear plugs.

Just kidding. There is nothing wimpy about putting in ear plugs at a metal show, if you want to be able to hear music later in life. Safety first, kids.

But I digress…

Back to the record. With “Versus the World”’s thick crunch I was tempted to call it “wall of sound” but it isn’t – Amon Amarth are so tight in their playing, and so grounded in the tasty pocket of rhythm guitar player Johan Soderberg that it is more like a symphony than a smash.

As with most (all?) Amon Amarth records, the lads like to sing about Vikings and the shit Vikings get up to. Rowin’, raidin’, lootin’, killin’ and eventually crossin’ over into Valhalla for more of the same (Viking heaven was pretty much all the same stuff from Viking life, minus the ability to die).

They’ve also got a song (“Thousand Years of Oppression”) about Christianity which is not…er…complimentary. In the lyrics the band rejects the “kind God” for Odin, and pine for the return of the “wrath of the Norseman”. While those ships have – quite literally – sailed, the song is one of the record’s best, featuring some precision drumming from Andersson and a powerful inexorable build to climax.

When I first heard “For the Stabwounds in Our Backs” I was convinced it was about the Viking response to the St. Brice’s Day Massacre of 1002 (history buffs: look it up) but according to the liner notes it’s just a bunch of Viking warriors returning from the dead and doing what Vikings like to do most. Still, there’s no clarity on who the backstabbers are and for this reason I like my (incorrect) narrative better.

As ever, the powerful and highly emotive death growl of lead singer Johan Hegg underpins every song on the record. Hegg is, quite simply, the best death growl I have ever heard. He is able to enunciate his words, infuse just the right amount of melodic phrasing, all while losing none of the visceral aggression the genre demands.

“Versus the World” lacks the thump of the classics that would follow it, (“Fate of Norns” in 2004 and “With Oden on Our Side” in 2006) and the songs don’t have the same dynamic differences of later classics like “Jomsviking” (2016) (Disc 1542) but it makes up for this with a purity of vision.

It is also a great tether-point to start to better understand the band’s sound, vision, and evolution through the years. Has Amon Amarth changed in subtle ways through their 25+ year journey? Of course, and hearing early records is just a reminder that change or no-change, they’ve always been a force.

Best tracks: For the Stabwounds in Our Backs, Where the Silent Gods Stand Guard, Thousand Years of Oppression, Bloodshed

CD Odyssey Disc 1940: Olivia Rodrigo

When I was young I didn’t trust anything I perceived as being too popular. I missed out on a lot of good music as a result. Frankly, I still do,.

This next artist is monster popular to a degree rarely seen on the Odyssey, but I’ve managed to get past this. Talent has that effect.

Disc 1940 is… …Guts

Artist: Olivia Rodrigo

Year of Release: 2023

What’s up with the Cover? The arrestingly pretty Olivia Rodrigo flashes us a vampish glance.

Does she, as the album title suggests, have guts? Why yes, all over her hand in fact in the form of her jewelry and – spoiler alert – all over this record in the form of her songs.

How I Came To Know It: A friend put me onto Rodrigo’s debut record. This one was me just buying her latest, having been previously hooked.

How It Stacks Up: I have three Olivia Rodrigo albums, which is all of them. They are all good, and it is hard to pick a favourite, but I’m going to pick “Guts” as mine. At least for now.

Ratings: 4 stars but almost 5

It would be hard to predict Olivia Rodrigo would immediately top the brilliance of 2021’s “Sour” but here she is on record #2, topping it. On “Guts” we see an artist growing before our eyes, with edgier songs, more range of production and theme and a pop-perfect voice that is bigger and more badass than ever.

Some artists are “old souls” but there is also greatness in an artist that is just unapologetically and perfectly situated in their own age, and their own place. They’re comparable to nothing other than their own immediate experience, with a magnetism that pulls the listener inexorably into their orbit. This is the universe that Olivia Rodrigo invites us into.

On “Sour” we encountered a teenage Rodrigo, exploring coming of age, and on “Guts” we are treated to a woman leaving her teens, blossoming into the beauty and majesty of the world with all its marvels and devils.

Before I go any further, I am compelled to note that more than half the songs on this record are straight up A+ bangers as well. There’s no need to explore the inner depths of the adult world without having some effervescent sing-a-long action while you do it. Enjoy!

The opener, “All-American Bitch” is an excellent example, a song that bounces between a folksy guitar pluck and a crunchy B section of thump and crash that had me imagining Avril Lavigne at her peak.

“All-American Bitch” is also an early signal that “Guts” is a masterclass of production and arrangement. The song showcases Rodrigo’s sweet pop vocals, also shows she can rock out, and leaves the listener reveling in the repeated shifts between styles. The first time you hear it, it surprises you, and every time thereafter you have the delicious anticipation of expecting them. The more you listen, the more fun it gets. That’s pop at its best.

“Bad Idea, Right?” is an example of Rodrigo taking on more mature themes. In this case – a booty call she knows is a bad idea, but makes anyway. The song is playful and joyful, but it’s also a cautionary tale.

“Vampire” comes next. Just like the structure of an individual pop song, the album knows to put the best song tastefully in third place. Far enough in to leave you anticipatory every time you drop the needle, near enough that you don’t have time to start fidgeting about it.

Whoever “Vampire” is about (and theories abound) it is a master class in pacing, melodic structure, lyrical brilliance and a stunning showcase of every corner of Rodrigo’s vocals. You’ll hear power, phrasing, and sweetness, all wrapped in a churning undercurrent of regret and anger. You will also be compelled to sing along every time you hear this. When you do, please sing the real lyrics – with all the curse words – and not the irritating radio sanitized version. Fortunately only the “real” version is on the record.

While Rodrigo has plenty of vitriol for those that have wronged her, it is also an unflinching look inward. “Bad Idea, Right?” shows that even the smartest girls get urges, and “Making the Bed” is a song about owning your shit. Becoming a star this massive at such a young age can’t be easy, but Rodrigo embraces the self-exploration of all of it – the change, the effect it has on you and in the end, the recognition that whether we are behaving at our best or our worst, it’s still our choice at each step of the journey.

On “Making the Bed” you can see a talented singer-songwriter who finds herself in a very big moment and is not only up for the challenge, but aware and confident enough to share a song about it.

A shout-out is in order for Rodrigo’s songwriting collaborator and album producer Dan Nigro. Nigro pulls every single pop album trick in the book on “Guts”. He skillfully navigates through shifts in different instrumentation: sometimes piano, sometimes guitar, sometimes percussion. Usually it’s a seamless progression of several movements, all blended seamlessly in a three-minute pop song. Making songs this catchy is not as easy as Nigro makes it sound.

My only regret is looking back to discover I put “Guts” at #10 on my Best Albums of 2023 list.

It should be higher.

Best tracks: All-American Bitch, Bad Idea Right?, Vampire, Lacy, Ballad of a Homeschooled Girl, Making the Bed, Get Him Back!

CD Odyssey Disc 1939: Ozzy Osbourne

On my last review (Gang of Four) my friend Randall kindly reminded me that ten years prior when he’d introduced me to them and I said I didn’t like the sound. Well, I was wrong. In previous years I’ve been spectacularly wrong about such bands as the Police, U2, and Gods know what else.

This next artist is another example of something I had made up my mind to not like only to discover I was…er…mistaken.

Disc 1939 is… …Bark at the Moon

Artist: Ozzy Osbourne

Year of Release: 1983

What’s up with the Cover? Is Ozzy infected with lycanthrope here, or is it a werewolf who is infected by Ozzy?

Based on the hair, I’m going to go with the latter.

How I Came To Know It: I first heard this record when my brother bought it new. Back then, I didn’t love it. Frankly, I was a bit hung up on Dio at the time, and in 1983 it felt like when it came to Ozzy vs. Dio, you had to pick one, and I had picked Dio.

Fast forward several decades to an older and wiser me who has come to realize the whole Ozzy/Dio thing is a false dichotomy. You can enjoy both! Even so, I wouldn’t have gone there except my buddy Ross was parting with his CDs and I picked up a couple Ozzy records.

Neither one was “Bark at the Moon” but collectively they got me hooked, and before you knew it I was down in the record store buying this album.

How It Stacks Up: I have four Ozzy albums. Of those four, “Bark at the Moon” comes in at #4. Hey, something has to be last.

Ratings: 3 stars

It was admittedly weird to have a 40+ year gap between first hearing a record and then giving it a second chance. I had to overcome a lot of hard-wired bias to get there, but I’m glad I did. “Bark at the Moon” is a worthy entry in the early eighties pantheon of metal.

“Bark at the Moon” is Ozzy’s first record without Randy Rhoads. For me, overall it is a step down in quality in terms of songwriting, but Ozzy is still Ozzy and new guitarist Jake E. Lee is excellent. There is plenty of great content here, and while I’m going to note some of the warts, they aren’t so unsightly as to wreck the record.

Things launch with a bang, with the title track providing that insistent forward lean guitar riff that was a signature of Ozzy’s early solo career. It isn’t quite speed metal, but future speed metal bands were no doubt clutching their copies of the album and imagining a faster future.

Also, werewolves are cool. Not vampire cool, but pretty damned cool all the same.

Later eighties metal tended to lose low end power in the production, but this is the golden age of guitar crunch. It still soars, but the whole record has some great bottom end thump. A couple of times I paused the album because I thought something was wrong with my car. Nope – just the shake, rattle and roll generated from heavy metal in its early heyday.

Being a recent convert, I’m not an Ozzy aficionado when it comes to Randy Rhoads – I know I love him when I hear him – but Lee is no slouch, and drops some fine solo work on this record, fast and technical without sounding mechanical.

Ozzy’s signature voice makes everything sound interesting. He has a voice that can deliver hard edged attitude, but with a soulful hurt around the edges. He sounds like a veteran of the psychic wars, weary but filled with interdimensional wisdom. Ozzy has seen some shit, and he pours that openhearted angst into every song, fast or slow.

Songs like “Rock ‘N’ Roll Rebel” feel a lot like Saxon and borrow from that “party with the outcasts” kind of fist pumping anti-establishment chant style. No one does it quite like Saxon, but Ozzy’s foray into the style are solid and took me back to my own days of denim-clad iconoclasm.

On “Centre of Eternity”, Ozzy starts with some Gregorian chanting, church bells and organs. It is absolutely in the metal vibe, and the chugging guitar riffs that take over a few bars in make complete thematic sense. This is another frenetically paced tune, with Ozzy giving you a guided tour of the vast spaces of the universe…or just inside his own mind. Probably both.

“So Tired” is the album’s second single; a power ballad that plods in places (the guitar solo on this one was just OK) but Ozzy’s vocals are so pure and emotive that you’re drawn in and forgive a song that otherwise could’ve had a “Muppet Show” vibe.

The lyrics on the record are great when it is Ozzy riffing in his own head about the nature of the universe, but at other times they can tend toward worn cliché. Case in point, “Slow Down” which features the line “Slow down your haste is making waste”. Yech. Cringe. The song is a bit of an earworm but that doesn’t make it the strongest entry.

This record has two bonus tracks that were originally single B-Sides, “Spiders” and “One Up the “B” Side”. “One Up the “B” Side” is a hilarious decision to make the track on the B side about…tracks on the B side. Cool.

“Spiders” was hokey and forced and reminded me of the other early bias I had against Ozzy as a teenager: that he was the poor man’s Alice Cooper. Back then (as now) I was a huge Alice Cooper fan and felt like Ozzy was stealing part of that spotlight.

Like with Gang of Four, and Ozzy himself, I now realize that is silly. Ozzy brought his own style to topics of horror and suspense and did a fine job of it. Maybe not on “Spiders” but on “Bark at the Moon” and many more for sure.

I’m glad I gave this record a second chance and look forward to my continuing re-education on the second phase of Ozzy’s brilliant career.

Best tracks: Bark at the Moon, You’re No Different, Centre of Eternity One Up the B Side

CD Odyssey Disc 1938: Gang of Four

Welcome back to the CD Odyssey, where the luck of the draw brings us back to the late seventies.

Disc 1938 is… …entertainment!

Artist: Gang of Four

Year of Release: 1979

What’s up with the Cover? This cowboy looks like an untrustworthy creep, and the three panel “push in” effect doubles down on that feeling of foreboding.

Lest you think it is all a misunderstanding or a trick of the frame, Gang of Four has included subtitles that confirm beyond any shadow of a doubt that this cowboy is, in fact, a creep of the highest order.

How I Came To Know It: I read about this record on a “best albums” list on some music magazine site. I gave it a listen just to see what all the fuss was about and was hooked.

How It Stacks Up: This is my only Gang of Four album (so far) so it can’t stack up.

Ratings: 5 stars

To describe Gang of Four’s album as “entertainment” would be accurate to the record’s title but would fall well short of just how revelatory an experience it is. Entertainment ain’t the half of it.

“entertainment!” is a record that transforms the raucous protest of punk rock into danceable party music, all while not losing an iota of edge. It is a leading edge record of post-punk. Maybe not the first ever but arguably the funkiest.

From the opening notes of “Ether” crashing around with a deliberate awkwardness, you know you are going to be treated to sounds that challenge your understanding of rhythm all while still making some of the grooviest beats this side of Motown.

I wanted to just go on about Dave Allen’s bass riffs, and I could write the whole review about just how awesome those are. The problem is that every member of the aptly named Gang of Four represents an equal part of what makes this record leap out at you. There are no weak spots. Hugo Burnham’s drums? Insistent and aggressive. Andy Gill’s guitar? Alternatively gritty as hell and then loaded with sway and snap a moment later.

The vocals (mostly Jon King, with Gill featured on plenty of tracks) are blurts of manic energy, filled with unpleasant truths, a restlessness that lies somewhere between the political musing of the Clash and the stoned “I’m bored” vibe of the Ramones. The refrain in “Glass” sums up the experience:

“I’m so restless (I’m bored as a cat)”

These lads are so cool they can make restless boredom a good time.

Best of all, the production keeps all four elements even in the mix, each equally loud and competing for your attention. The sound is stark, with plenty of space, creating a delightful assault coming from all levels and directions.

The music’s pace leans forward into the pocket with a New Wave urgency, but with the dismissive snarl of a revolutionary. “entertainment!” sits in the heart of its own culture, simultaneously celebrating, judging, and taking the piss. The effect creates a breathlessness, the music giving you no time to contemplate outside of the moment, even as the lyrics echo evocative observations through your near-term memory.

It was all so bright and new, and I could feel the record’s innovations echoing through modern artists. The angry observations combined with creative beats made me think of Sleaford Mods, and the apocalyptic Goth-adjacent vision of some tracks reminded me of HMLTD. It feels like you are sitting at the wellspring of half a dozen musical styles, all spewing out at a frantic pace.

The final track on the original record, “Anthrax” is the record’s least accessible, starting with 90 seconds of droning guitar feedback and then some soupy soundscapes. Two sets of lyrics compete out of synch, one sung and one spoken, but lining up in unison for a half-line at the end of every other bar. None of this should work, but it all does. All that weirdness and excess could devolve into self-congratulatory tripe, but instead it draws you in and makes you dance, think, and then dance again.

The only thing I didn’t love about this record is that mine is a CD reissue with a gratuitous amount of bonus tracks (eight, to be exact). These don’t add a lot, but neither are they terrible. If I hadn’t heard the greatness of the original record immediately preceding them, I’d be giving them 4 stars all on their own.

As it is, there is no amount of bonus content that can deny the original record’s greatness.

Best tracks: All the original tracks, and some of the bonus stuff ain’t half bad either (Armalite Rifle is a favourite)

CD Odyssey Disc 1937: Finsterforst

Welcome back to the CD Odyssey where I methodically review all of the music in my collection in random order. I am 15 years and 1,936 albums into this journey. My trip has not yet matched the original Odysseus in terms of time spent, but I have heard a lot more music than him. He only got that one single from the sirens…not even an LP release.

Disc 1937 is… …zum Tode hin

Artist: Finsterforst

Year of Release: 2009

What’s up with the Cover? A gorgeous late evening sunset with a touch of menace about it. Like maybe around this lake lurks a slasher who murders anyone who dares to linger after the final rays of sunlight slip below the horizon.

Failing that, there are definitely mosquitoes.

How I Came To Know It: This is the latest in what I am calling the “Ross Records” – a suite of about 20 albums I purchased from my buddy Ross when he recently liquidated his CD collection. I was pretty excited that day. So excited I accidentally bought this album twice. I guess that means Ross did as well…

How It Stacks Up: I have four Finsterforst albums, but I gave up on one (“Weltenkraft”) after only one listen, so that one won’t be getting a review. Of the three that survived, I put “…zum Tode hin” (which according to Google Translate means, “Towards Death”) in at #3.

Ratings: 2 stars

What do you get when you mix traditional folk music with death metal? You get Finsterforst (in English, “Darkforest”), a German band who recognized that two great genres of music need not exist independent of one another if you have the energy and imagination to bring them together.

In light of this stylistic choice, the record’s title should be more than sufficient warning. The ‘towards’ part of “Towards Death” would be only when first select it from the shelf (or your buddy’s hallway) because the death-y parts of this record waste no time in revealing themselves.

The opening track, “Urquell” (which means “Source”) is ground zero for the sound Finsterforst is going for, with screeching raspy vocals, the thump of double bass, wall of guitar, and – of course – flutes and accordions. For the folk, you see.

Initially this combination drew me like a moth to the flame, and Urquell is the record’s best song, capturing the band’s ferocity and whimsy in perfect alignment. This is orcs and elves putting down their weapons to make music together. The result is weird but compelling.

What I didn’t realize in my first more casual listen is that these guys are not interested in a lot of development in the melody. A lilting section suitable for Morris dancing (of the angry kind), and a hammer-your-face death metal section, creating a wall of sound that is fun at first and then started to wear me out.

Don’t get me wrong, if I am in the mood for a wall of sound I’ll take guitar fury and double-bass drums over synthy mood pieces every time. The addition of things like flutes and bagpipes make it even better. But I also want to go on more of a journey in a song, particularly songs as long as these ones.

Because this is a very long record. It is only five songs, but with a total running time of over 70 minutes. The shortest of them is well north of 11 minutes and the final track surpasses 20. Listening to this record means you are in it for the long haul. No bathroom breaks (except maybe for the DJ) and no let up.

This is the last record to feature the lead vocals of Marco Schomas, and I’m hopeful that he is the common denominator for Finsterforst albums that don’t land as well for me (he is also on the already-abandoned Weltenkraft.

Schomas’ vocals – particularly after long exposure are, well, kinda painful. His growl doesn’t have the heft it needs and comes off sounding sharp and over-exposed. I am well-acclimated to death metal vocals, so I’m not a babe in the woods on this front, so do not mistake this for a general dislike of the style. I am sure some aficionados like their death rasps like this, but it wasn’t my cup of tea.

The record ends on a strong note, with the 20-minute monstrosity, “Untergang” or “Downfall”. I can’t tell you what it is about (everything is in German) but I can tell you it is epic, because at that length it pretty much has to be.

Unlike many of the songs on the record, “Untergang” has an extended ‘quiet’ period at the intro, featuring some soft guitar picking, and a very slow and satisfying build. At around five minutes in things get heavy, but the transition is smooth and welcome. “Untergang” had me wishing for the same level of dynamics and song structure for many of the other songs.

In the end, I enjoyed the feel of this record very much, but the lack of variability across the whole record, combined with its length and vocals that did not land for me, kept me from going all-in.

Best tracks: Urquell, Untergang

CD Odyssey Disc 1936: Queen Kwong

Happy Canada Day! I feel lucky every day to live in this vast and amazing country full of natural beauty, human opportunity and wonderful music.

As long-time readers will know I don’t favour artists based on country of origin, and I roll my reviews randomly, so even on Canada Day I don’t select a Canadian artist. Up next, a talented American singer/songwriter.

Disc 1936 is…Couples Only

Artist: Queen Kwong

Year of Release: 2022

What’s up with the Cover? Carre Kwong Callaway (aka Queen Kwong) holds a balloon. With her face partially obscured by the balloon it is hard to read her expression, but the balloon lets us know she may be thinking about a cat she loves. I, too, love cats.

I ordered this album through Bandcamp and this cover is personalized by Callaway, including both a signature and that balloon message (the actual cover just has a blank balloon – no words). This makes my album cover unique, which is kinda cool. Queen Kwong also sent me a sticker, so thanks for the personal touch!

On the back of the CD sleeve Kwong also added the message “Thank you for the support!” and a graphic of a cat exhorting me to “play it loud!”. You're welcome, and will do.

How I Came To Know It: My lovely, talented partner Sheila (of Ephemera fame) introduced me to Queen Kwong – thanks, Sheila!

How It Stacks Up: I have two Queen Kwong albums. I like them about equally and for slightly different reasons, but if forced to choose – which is literally what this section is doing – I put “Couples Only” in at #1.

This is not – as you may charge – cheating. Honestly re-assessing your position based on all that you know in the moment, and not relying on an artificial construct established from, say, a review you wrote on Canada Day 2026, is a fundamental principle of living an examined life. Ask Sartre or Camus and they’ll fill you in on the details.

Ratings: 3 stars

Queen Kwong is a talented singer-songwriter who explores the space between pop, rock and electronic music in creative and mentally stimulating ways. This space is a busy intersection of sound, however, and sometimes the traffic can get a bit congested if you’re a fan of sparse production like I am.

The record starts with a trio of what would end up being the best tracks, and also a good cross-section of the range to expect stylistically on the record.

“I Know Who You Are” is a mix of atmospheric reverb guitar and a funky synth beat. Kwong’s vocals are part singing/part spoken word with a bunch of overdub or at least a mic effect that mirrors it. This is music for underground after-hours lounges where men in tight shirts show off their tattooed pipes and women sit on old brocade couches and let their skirts ride up while pretending not to notice. It sounds, in a word, cool.

Lyrically, “I Know Who You Are” is also what you’d expect, with undercurrents of desire, betrayal and a whole lot of drama. Sit on that couch and introduce yourself at your peril, because you’re going to hear a lot of dirt about a lot of people you don’t know.

“EDMR ATM” follows this up, doubling down on the moody, sexy, and unsettling intersection of the opener. This song also doubles down on the grievance theme, with a refrain of “Gave up my baby and the homewrecker won.” Even without context this sounds like an awful experience all around. Fun random fact: On the first couple of listens I misheard the lyrics and thought Kwong was singing “gave up my baby and a whole rack of wine” which had me thinking that maybe the implied couple had been into wine and that this was a bone of contention during the breakup.

Rounding out the trifecta of the album’s great opener is “Sad Man” which has Kwong imagining an aging singer bemoaning their failure to make it big and having to playing shitty dive bars instead. This song showcases Kwong’s talent as a spoken word poet, with some of the strongest imagery and a clear delivery that imparts the weary exasperation of the titular character.

The latter half of the record plays off these early-established themes but lacks the same degree of focus things start with. The saturated production starts to edge into further degrees of experimentation, some of which lands and some of which feels unnecessarily diffuse.

Kudos, however, to late record highlight “On the Run” at Track 8, which brings in an early sixties crooner/doo wop beat that makes you want to sway with your girl at the Grad ’64 prom. It’s a song that’s just as full of heartache and pain of what comes before but has a romantic streak that the record needs in that moment.

The trio of songs that wrap the record following “On the Run” are not as strong, descending into the production soup, but stylistically similar enough to have me longing for what came before. Even in these moments where things get busy or a bit too “EDM-adjacent” for my personal taste, I still admired the architecture of the song. In the end, while this record isn’t typically what is in my wheelhouse, it still won me over.

Best tracks: I Know Who You Are, EDMR ATM, Sad Man, On the Run