CD Review: Logan Vath “Lost on Leaving”

Like every ex-military personnel, Nebraska native (and current resident of Norfolk, Virginia) Logan Vath is now living the second part of his life. Vath is a singer-songwriter who has changed to that path in life after spending time in the military where he did four years serving as an Aerographer’s Mate, preparing soldiers for whatever weather conditions they may encounter. And now, not that long ago, Logan Vath joined up with the group known as Operation: Encore, an organization that helps former military personnel realize their full potential through training. Operation: Encore then helps those individuals (which includes people such as Vath) with many different opportunities which includes networking to truly begin living their dreams as real musicians.

After leaving the military, it was the musical heritage of Logan Vath’s family that reached out to him (his grandfather having been a gig musician who died before Vath was even born). The guitar left to Vath by his grandfather would inspire him to explore the world of music. And as a singer-songwriter, Logan Vath has put that musical background and inherited guitar to good use. Vath’s discography includes 2013’s Better Man or Ghost and 2016’s In the Presence of the Kingdom. Vath’s music has also been featured on the second compilation album of Operation: Encore artists called Monuments, where you can find track entitled “Once Was”.

Logan Vath is currently promoting his newest release, a five-song EP called Lost on Leaving. For this new EP, singer and guitarist Logan Vath is joined by Matt Hoffman & Andrew Montgomery on Keys and Organ, Nolan Thies on Bass, and Daniel Mendez on Percussion & Guitar. Together as a group, the musicians help to bring Vath’s latest release to life. The various songs included on this five-song release feature a good amount of Rock and Roll, some Folk-Rock and other influences. The songs contained within this release also contain a very intimate feel as Vath takes the listener on a very personal journey through the thoughts running through his head. Nowhere is that more evident than on the very first track.    

The 2018 release of Lost on Leaving from Logan Vath begins with the track “Enough Good”. The beginning track of the release features a strong Rock and Roll approach to the music with a driving feel to the drums as well as strong guitars. That musical approach gives the song a rather timeless feel as it could have come from the eighties, nineties, even today. With the lyrics to the song, Vath seems to be exploring the concept of trying to survive while living with your inner demons. The final words of the chorus seem to say it all: “Pretend I’m better now than I have ever been”. 

On the very next track, Vath slows the pace of the music down as the release continues with the song “Guard”. With that slower pace, the song’s lyrical content appears to continue the same train of thought that was present in the previous track as Vath explains that he wants to throw his cares away and try to regain a little freedom from the worry that consumes him. The listener experiences some of the emotional side of the lyrics on the track as those words are matched up well with a gentleness in the music that creates a Soft Rock/Adult Contemporary approach.

Lost on Leaving continues with the track “Winter”. Much like the previous two tracks, “Winter” once again finds Logan Vath turning inward for self-examination of his feelings and thoughts. The lyrics of the song find Vath feeling out of place even in the places where he belongs. The sadness and lonely feeling of Vath truly comes through in this track as he sings of being okay once the winter season comes to an end. The sadness contained within this track is only intensified by a slow pace as well as a light, easy feel to the music.

Logan Vath’s latest release continues with the song “Dover”. While it contains a similarly easy feel to the music, the music on this track ends up being closer to Indie Rock rather than Soft Rock and/or Adult Contemporary. The lyrical content about experiencing life in the city as the rain falls down feels as if it had been influenced by the likes of Bob Dylan and/or Tom Waits. Vath’s words seem to tell a story, very much like poetry set to music as he sings of awaiting the inevitable, as if he knows something bad is about to take place. While “Dover” contains a slightly dark feel to it, it also contains one of the most commercial musical approaches on the five-song EP.  

The Lost on Leaving EP from Logan Vath comes to a close with the song called “I’ve Been Told”. And like much of the EP, the final track of the release contains a slow pace to the music as well as a laidback feel to that music. That laidback feel to the music once again seems to add even more sadness to the track’s already somber lyrics about trying to find some sort of feeling of home when you are constantly on the move. The laidback feel to the track courtesy of the slow pace in the music helps to gently bring the Lost on Leaving EP to a close.   

Logan Vath’s Lost on Leaving EP is a very personal release. The five songs on it find the singer-songwriter looking at the world that surrounds him and questioning what it is all about while also doing a lot of reflecting on his inner feelings. The five songs on Lost on Leaving may not add up to an overly energetic release, but they do end up creating a solid grouping of tracks that feel truly interwoven because of their common theme of personal reflection.  

(For more reading about Operation Encore, check out the review for the first album, the second release of Monuments, the first review for Rachel Harvey Hill, the review for Andrew Wiscombe, the review of Steve D. Wilson, the review for The Real Doug Lane, the review for Stephen Covell, the review for Unknown Rider, and the review for Jerry Maniscalco by clicking on the links that are highlighted.)  

Single Review: White Owl Red “Working Class Heroes”

Based outside of San Francisco, singer/songwriter Josef McManus creates a style of music that uses plenty of Folk influence to flavor his songs. Of course, with San Francisco’s history with that music, it comes as no surprise that McManus would end up picking up that influence in his writing. And because of that, some of the songs that McManus creates are rather deeply steeped in political meaning. To bring his music to life, Josef McManus performs and records under the moniker of White Owl Red. Having already created quite a bit of noise with the success of his previous albums, especially 2019’s Existential Frontiers which is still making noise in the music industry, McManus is currently working on the follow-up to that release. And to give his audience (both new and established alike) a taste of the upcoming album, McManus (as White Owl Red) has released the track “Working Class Heroes” as a way to promote the new release. With “Working Class Heroes,” a title that refers to the title of John Lennon’s song called “Working Class Hero,” McManus’ political side comes through loud and strong. And although “Working Class Heroes” from White Owl Red finds Josef McManus creating a song around the idea of the men and women who help keep America strong and moving, the song is more about the facts of the situation and not so much about preaching. While there have been plenty of positive moments in the history of the American worker, there have been moments that proved to be challenges to those workers. The lyrics of “Working Class Heroes” speak of the pride and determination of those men and women trying to work around those challenges to try and make a living for themselves. The music to the track itself blends together Folk music and some Rock and Roll influence to create a track that contains a driving feel to the music while still being laidback. What results is a track that brings to mind a combination of Bob Dylan-like lyrics with music inspired by the likes of John Mellencamp or Bruce Springsteen, an artist himself who has written songs with rather strong messages within their lyrics. “Working Class Heroes” keeps the momentum of White Owl Red’s last release Existential Frontiers going and gives the listener just a glimpse of what it to come. Stay tuned for more Josef McManus and his band called White Owl Red in the near future.

For more information, check out White Owl Red’s PR firm, Whiplash/ Whizkid Management by clicking on the logo.

Check out the song of “Working Class Heroes” from White Owl Red.

You can also find the “Working Class Heroes” single from White Owl Red on spotify.

CD Review: Unknown Rider “Rtb”

It was back in 2014 that the organization known as Operation Encore was founded. Operation Encore is an organization that helps give former soldiers from all branches of the American military a new lease on life through the music that they are already creating on their own. And since the advent of the organization, two compilations have been created that feature music from those former soldiers.

Along with those compilations, several albums that were created by some of the artists are also being promoted by the organization. Artists such as Andrew Wiscombe, Steve Wilson, The Real Doug Lane, Steve Covell have put out albums that are being promoted with the help of Operation Encore. Rachel Harvey Hill, a wife of military personnel, has also released music that is being promoted by the organization. Now, former Coast Guard pilot Brian Boland has joined the “ranks” of former military personnel who are now a part of Operation Encore.

Brian Boland, the former Coast Guard pilot, joined the Operation Encore organization just recently and has just released his first EP entitled Rtb, a short-hand military term meaning “return to base”. On the Rtb EP, Boland has been joined by Ryan Johnson on guitar, Whit Wright on steel and piano, Kevin Mcclain on percussion, and Bill Corbin on Bass. Together,  Boland and these musicians combine their talents to bring Boland’s new release to life. 

For his music, Brian Boland performs under the moniker of Unknown Rider. It is with this moniker that he has just released his first album entitled Rtb, a short-hand military term meaning “return to base”. And to help shape his music, Boland has called upon the following musicians: Ryan Johnson on guitar, Whit Wright on steel and piano, Kevin Mcclain on percussion,and Bill Corbin on Bass. These men were also a part of the band known as American Aquarium. Together, Brian Boland and the four aforementioned men helped to bring the music of Unknown Rider to life.

As you make your way through the Rtb release, you notice a connecting theme between the tracks. That theme is movement. Many of the songs created by Unknown Rider deal with spending time in one specific place or another, and with the fact that Brian Boland spent much of his time in the military on the move,that really should not be that much of a surprise.

The Rtb release from Unknown Rider begins with the track “Hatteras”. This is the first of many songs on the album that deal with the theme of traveling. With this song, the lyrics find Brian Boland spending some time reflecting on a past relationship; a relationship that, apparently, took place on the beaches of North Carolina. The track features a Pop-Rock feel to the music. That Pop-Rock influence seems to take the listener back to the time of the nineties as the track’s musical approach brings to mind bands like Third Eye Blind or Goo Goo Dolls.

Unknown Rider’s new release continues with the track “Reykjavik”. With this track, the travelling theme continues. The lyrical content in the song deals with Brian Boland’s time as a pilot in the military as the song follows Boland on one of his many adventures with the men he served alongside. While the previous track of “Hatteras” contained a Pop-Rock feel to the music, “Reykjavik” has a strong Country vibe to it. That Country flavor comes courtesy of the inclusion of things like a slide guitar.

Just as fast as Unknown Rider’s sound changed with the track “Reykjavik,” the feel of the music changes again on the song “Mexico”. While you might expect a song with a title such as “Mexico” to have a Latin flavor, nothing could be further from the truth with this track. In fact, the music of “Mexico” actually brings to mind a combination of The White Stripes and Tom Petty. The sing-song style of the lyrics on the track actually brings to mind an influence of Tom Waits in both style and delivery. And once again, the lyrical content of “Mexico” deals with Brian Boland’s time on the road in the military.

Since many of the songs on the Rtb album from Unknown Rider deal with Brian Boland’s past, it should come as no surprise thata song or two would deal with the mental side of things. One song that deals with that side of things is “Searchin’”. And while the lyrics on the track do not go very deep into that, Boland does sing about considering what might have been, what has been and what happened to others who were around him as he goes in search of answers to questions he now has. As far as the music to the track is concerned, the five-plus minute song contains and Rock and Roll feel that features the sound of the organ Whit Wright as the main instrument.

The pace of the music slows way down on the song “The Shakes”. Just like with the earlier track son the album the lyrical content of this song deal with things that have taken place in past. On “The Shakes,” a combination of too much coffee and too many memories combine to create the shakes. The slow, steady pace to the music adds a bit of tension to the already tense feeling of the words to the track. It’s almost like you can feel the way Boland feels as he sings.

One of the most unique tracks the Rtb album from Unknown Rider has to be “Kerosene”. The slow pace that was featured on “The Shakes” returns on “Kerosene”. With this track, creates a song that combines several different elements into one track. The music of the track contains a musical combination of Rock and Roll and Soul. The result is something that is rather reminiscent of a track from The Band. Along with the Influence from The Band, the lyrics contain two distinct flavors at once. You can hear in Brian Boland’s voice a touch of Bob Dylan. That Dylan influence also appears in the lyrics.But the lyrics also seem to contain some Tom Waits influence to them.Altogether, the song of “Kerosene” is one of the standout tracks on the entire ten-song release.

After nine tracks that find Brian Boland writing about travelling from one place to another, he brings the album from Unknown Rider to a close with the title track. It is with the final track “RTB” that the term “return to base” seems to make sense as Boland sings of finally being able to go back to where he started off; or, being able to “return to base”. The final track of the release finds Boland and the rest of the musicians who helped him put the album together creating a track with one of the strongest musical directions on the release. The music of the track contains a strong guitar-driven Rock and Roll feel that would fit right with tracks from the seventies, early eighties. For a final track, the song “RTB” actually brings the album to a close with a strong feeling as opposed to most albums that feature a more laidback track for the final song.

Throughout the entire Rtb album from Unknown Rider, the listener is treated to songs that feature many different musical approaches. As a matter of fact, no two tracks feel the same. The album proves that, as a writer, Brian Boland has a lot of talent. The ever-changing feel of the debut release from The Unknown Rider offers some for nearly everyone. 

To hear some of the music from Unknown Rider, check out the live version of the track “Searchin‘” as performed by Brian Boland as part of the Sofar concept. 

You can find the rtb album from Unknown Rider on spotify. Also find him on Instagram under @unknownridermusic. 

In addition to recording under Unknown Rider, Brain Boland is a published author. You can find him under the penname Cole Williams. 

For more reading about Operation Encore, check out the review for the first album, the second release of Monuments,the review for Rachel Harvey Hill, the review for Andrew Wiscombe, the review of Steve D. Wilson, the review for The Real Doug Lane, and the review for Stephen Covell by clicking on the links that are highlighted.  

CD Review: Vagina Fetishists “Blood”

What happens when you take a “ballsy female musical theater veteran” and combine her with songs that were once sung by men? You end up with a musical concept that is truly unusual and extremely gutsy at the same time. The musician who created the unusual concept of reinterpreting songs originally sung by men in a female voice is known strictly by the band moniker of Vagina Fetishists and that is really all you need to know.

The tracks included on the new release of Blood by Vagina Fetishists have a common theme running through them. That theme is “blood”. From one track to the next, the listener experiences some of the most unusual tracks to be reinterpreted much less to be reinterpreted in a woman’s voice.

If you go about creating an album of nothing but cover tunes, the best thing to do is to try to make each song your own so you stand out from those who simply cover the tracks. The unique take concept is extremely true as you listen to each track on the Blood release from Vagina Fetishists.

The first song to be featured on the Blood release is the track “Sabbath Bloody Sabbath”. While the interpretation of the track included here is far less intense than the original by Black Sabbath, Vagina Fetishists’ take on the song makes for a fine rock and roll song. The slightly easier interpretation to “Sabbath Bloody Sabbath” gives the listener a glimpse into what will be coming as you make your way through the Blood release by Vagina Fetishists.

One of the most unusual covers on Blood is the Devo tune “Gut Feeling”. When Devo had created their version of the song, they did it in their style of New Wave music and the keyboards and guitars in the band’s signature sound worked together to form the music to the track. When Vagina Fetishists got a hold of the song the track transformed into a keyboard-based track with a slightly slower pace. While the music was now created by keyboard, it still contained a definite New Wave feel to it. The unusual take on Devo’s unusual style seems strangely perfectly for the song.

While Vagina Fetishists interprets some really interesting songs, one of the tracks that ends up being strong is the song “Masters of War”. The folk-rock interpretation of the song works rather well. The Grace Slick-influenced vocal delivery on the track works well to keep the song feeling as if it belongs within the musical era of the sixties.

When comparing the track the AC/DC track “If You Want Blood (You’ve Got It)” to others on the album, it feels slightly out of place. The track sounds downright weird when not sung in the trademark vocals of Bon Scott. The resulting sound still features plenty of energy in both the musical and vocal deliveries, but the vocals sound as if they were delivered by Ann Wilson of Heart and they don’t mix well with the Hard Rock in the music. “If You Want Blood (You’ve Got It)” is far from a bad track, it’s just not quite right without the male vocal delivery.

Blood by Vagina Fetishists continues with the Nirvana song “Dive”. The first thing the listener will notice with the Vagina Fetishists’ version of the song is the easier tempo. The new interpretation takes some of the edge off of the vocals that featured Kurt Cobain’s pain as he sung the lyrics to the track. The lighter approach to the vocals of the track is matched well with an equally softer approach to the music. For this track, the vocalist seems to present the notion that anger does not have to be harsh to be effective.

Although the vocalist does not sound quite right as the singer on “If You Want Blood (You’ve Got It),” she more than makes up for it on the Bob Dylan track “It’s Alright Ma (I’m Only Dying)”. While Dylan originally performed the song with a definite folk-like approach, the lyrics of the song have an underlying darkness to them that need more than the folk-like approach. Vagina Fetishists add a bit of darkness to the music by adding some organ to the track and the vocal delivery presented on the song helps to give the song the dark approach it deserves. At 10-plus minutes, the playtime for the track is rather long but seems to fly by as you enjoy the track. And the track helps bring Blood by Vagina Fetishists to a close.

It takes a person with some creativity to think of something that is a little out of the norm. The album Blood by Vagina Fetishists is just that type of situation. And the results are interesting and fun. Some tracks are better than others, but each track is well worth the time to discover just what can be done if you ignore the obvious.

Reviewer: Matheson Kamin Rating: **** (four stars)

Check out the talent of the band Vagina Fetishists by listening to the Black Sabbath track “Sabbath Bloody Sabbath“.

CD Review: Barbara Gracewood S/T

Within the music industry are a few artists who are influenced so much by the music of the past that they fall in love with that music. One such musician is singer Barbara Gracewood.

Barbara Gracewood recently got together with a band of musicians who were capable of creating a variety of musical styles so that the resulting music created by the musical ensemble had a very full feel to it. With this band, Gracewood recently created a self-titled album of covers in the style of albums like The Classics by Tony Bennett or The Great American Songbook by Rod Stewart.

The self-titled release from Barbara Gracewood begins with the track “Cold Cold Heart”. Having already been one of Hank Williams’ best loved songs when he released it, the track had one life as a Country and Western classic. When Barbara Gracewood and her band took hold of the song, the track took on a totally different feel as the ensemble created a track that feels more like something that Tony Bennett would sing than something from a Country star. The lyrics to the song still contain a certain amount of sadness to them as Barbara Gracewood gives them the emotional feeling they deserve.

Barbara Gracewood’s self-titled release continues with the song “If”. Originally recorded by the band Bread, the song initially had a very laidback soft rock feel to it. While the song still has a bit of that soft rock approach to it, Gracewood’s arrangement of the song adds some of the energy the original hit version by Bread seemed to lack. The version by Barbara Gracewood even outshines the version of the song that was later released by actor/singer Telly Savalas when he did his spoken word version of the tune. Of the three versions of the song that I am aware of, Barbara Gracewood’s version definitely has the most energy to it.

One of the most unusual arrangements of any of the songs included in the 2014 release from Barbara Gracewood has to belong to her version of the song “Torn”. Originally a hit single by Natalie Imbruglia could easily be categorized as pop/rock, Gracewood and her band make the song their won. The track feels as if it had been created by someone like Bonnie Raitt. The song now has a deeper bluesy feel to it. This version is so strong that if Imbrulia had not had her hit version of the composition that is now such a bit part of pop/rock or Top 40 radio formats, this version could easily have made its own history on those same radio stations. As with people like Jimi Hendrix, Manfred Mann and even Link Wray, Barbara Gracewood adds her name to the long list of musicians who have created a cover version to one of Bob Dylan’s songs. Along with the aforementioned musicians who have done covers of songs like “All Along the Watchtower,” “Quinn the Eskimo (Mighty Quinn),” and “It’s All Over Now, Baby Blue,” Gracewood adds her version of “Make You Feel My Love” to that list. And just like the others, Gracewood has put her mark on the song. While the original version of the song had an unmistakable Bob Dylan feel to it, the new arrangement for Gracewood takes the song back in time so that it would feel right at home on soft rock formats of the seventies. With this arrangement, both the band and Gracewood sound very relaxed and comfortable while they create a track that truly brings new life to Dylan’s words.

As on the song “Torn” earlier in the release, the track “Come Away with Me” finds Barbara Gracewood and her band creating their own special take on the song made famous by composer Norah Jones. While “Come Away with Me” by Jones has a very jazzy and laidback feel, the version found on this release again finds the band making the song their own. Instead of a jazzy and soothing pace to the music, the ensemble trades the jazzy feel for some blues and creates a track with a bluesy groove to it. The vocals by Gracewood seem to find a balance somewhere between the original jazzy delivery from Jones and the bluesy delivery of the music by Gracewood’s band. The track stands out as one of the strongest moments on the self-titled from Gracewood.

You can tell who a person’s influences are if that person happens to include several songs fronm that influence on their release. One such influence for Barbara Gracewood must be Rhonda Vincent as Gracewood included several tracks from Vincent on her self-titled release. Songs like “The Lucky One” and “Now That I Found You” are absolutely recognizable as part of the playlist for Rhonda Vincent and The Rage. And while the versions of the songs by Rhonda Vincent and the Rage have that undeniable country twang, the versions by Gracewood and her band fall into a more pop-oriented category. The versions of the two tracks that are included on this release as just as well arranged as any of the other tracks that make up the release.

While the ten tracks that make up the self-titled release from Barbara Gracewood come from many different writers with different writing, they all fir together as each arrangement seems to have been done to create one specific style that helps to bind the ten tracks together into one solid release that still features plenty of variety in the music. And although some of the songs are better known than others, they all show off the talents of the musicians involved and most importantly, help show off the talents of one Barbara Gracewood.

As Barbara Gracewood has no videos for any of the songs from this release up on YouTube, check out her CDBaby profile to preview tracks from the album.

 

Single Review: “Okie Highway” Bryan Kirschner

Bryan Kirschner is a singer-songwriter that creates music that incorporates several different elements to create his folk-rock music. When listening to the music of Kirschner, you can hear more than a few hints of people like Bob Dylan, Willie Nelson and other legends that have made a name for themselves. In fact, with his song “Okie Highway,” Kirschner creates a song that takes the listener back in time to days gone by. And since the lyrics of the song itself were based upon a picture of a family in the middle of trying to escape the drought that cost them their farm, the resulting music, subject and lyrical style in the track are very reminiscent of songs written by Woody Guthrie. For the music of the song, Bryan Kirschner allows the piano, guitar, bass and drum combine to create a track that sounds as much like a modern folk song as it sounds like something that would have been created back during the time of Woody Guthrie. The resulting song of “Okie Highway” brings back thoughts of the drought from 2012 that created the same sort of hardship on the people of the U.S. as they tried to survive the long ordeal. The song’s lyrics about the father trying to plead to the bank because of the lack of money due to the drought also bring the song’s subject matter back to the present-day. With this track, Bryan Kirschner proves himself to be just as talented a storyteller as he is a songwriter.

****(Out of Five)

CD Review: Bob Pressner “King of Nothing”

Sometimes your calling really isn’t your calling. It may take some time to realize that you should be doing something else. That’s what Commodities Trader-turned-musician Bob Pressner discovered and is now on his way to making a name for himself in the music industry.

The musical path that Bob Pressner has taken led him to create music that incorporates a lot of styles and genres into his style. It is this style of Americana that Pressner has included on his new release called King of Nothing.

Bob Pressner begins his new release King of Nothing with the song “iGirl”. A song about trying to find real love in a world of information where you have no contact with anyone real (“We found the future but forgot each other”), the singer sings about a woman who would be great to know if he could actually meet her. The song has a very catchy rock sound that will definitely have you singing along.

The pace slows down on the title track of Bob Pressner’s new release. “King of Nothing” is a pop song that features a beautiful instrumental background complete with strings. The pop/folk feel to the music works well when paired up with lyrics about a man who feels that he has nothing to show for himself and cannot even stake claim to anything of importance. The sad lyrics and the beautiful music combine to make a very moving song.

One of the best tracks on the album is probably the most infectious, as well. “Next Summer Never Came” is one of those well-written pop songs that have an unbelievably catchy hook as well as lyrics that will, once again, tear at your heart with their powerful feeling of sadness. The mostly acoustic song is very strong in its music. This song about unfulfilled love is strangely beautiful, give the meaning of the lyrics. It is also one track that will have you reaching for “repeat”.

And then, for the first time on the King of Nothing release, Bob Pressner releases his rock side. With the song “Renaissance Man,” Pressner creates a song that brings to mind the music of bands like The White Stripes or The Black Stripes. The guitar and drums of the song create the main part of the music to the track. If you are a fan of bands like The White Stripes, The Black Keys or even Mr. Gnome, this song would really feed your hunger for that type of rock music.

The pace slows down once again with the next track called “The Blue Has Left your Eyes”. In a song that sounds more like Alt-Country than Rock music, the words of this song sound as if Pressner is channeling songwriters like James Taylor or even Jim Croce. The meaning behind the lyrics to this song has greater depth than the vast majority of the songs being written by today’s artists or songwriters.

“Thinking Man” seems to find Pressner taking on the role of singer-songwriter. With words that seem to be more important to the song than creating a hard-rockin’ track, Bob Pressner seems to, once again, channel the likes of James Taylor. The relaxed feel of the track even has Taylor’s style to it.

The twang of the guitar on “Water Water” along with Bob Pressner’s smoky vocals brings to mind the music from Bob Dylan. The roots rock base to the music mixed with a more modern and soulful approach to the song make for a song that could find an audience almost anywhere.

The King of Nothing release from Bob Pressner features a lot of twists and turns throughout the length of the album: The Alternate Rock style of the song “Renaissance Man” mixed with the Alt-Country sound of “The Blue Has Left Your Eyes” and the Pop feel of the song “Next Summer Never Came” along with the “pop culture” references found in the song “iGirl” all help to shape the new album. Each song on the King of Nothing release gives the listener a different take on the talent of Bob Pressner; and each song on the new release from Bob Pressner gives the listener plenty of variety in the music.

Click the song title for the video to “King of Nothing“.