November 2025's Indie Spotlight looks at Edward Rogers; 'Astor Place,' Mike Reid and Joe Henry's 'Life And Time,' Dave Bainbridge's 'On the Edge (Of What Could Be),' Max Gomez's 'Memory Mountain' and more.
In many regards, Edward Rogers personifies the sound and sensibilities of true Anglo rock tradition. That’s been the case ever since he launched his charming chamber pop duo, The Bedsit Poets. He further pursued his promise courtesy of a prolific solo career, not the least of which is due to his popular program “Atlantic Tunnel,” which airs weekly on WFMU Rock ’N’ Soul radio. Of course, it helps that Rogers also happens to have been born British and is, by turn, well versed in the rock traditions of the U.K. as well as the pop precepts fostered within his adopted environs of New York City. Overseen by veteran producer Don Fleming (the man behind the boards for the likes of Sonic Youth and Teenage Fanclub), Astor Place finds Rogers channeling David Bowie and Ray Davies via a series of overarched offerings that accelerate the drama to the fullest throttle. As a result, songs such as “The Olde Church,” “15 Eldon Road,” “Tears In My Martini,” “Lies, Cries and Alibis” and the title track come across as revved-up emotional anthems that resonate well beyond the usual pop parameters. Credit Rogers with reclaiming his musical birthright and establishing Astor Place as a source of eternal inspiration. (www.edwardrogersmusic.com)
Mike Reid and Joe Henry’s current collaboration, auspiciously titled Life and Time, could be considered a superstar summit. Reid’s efforts as vocalist, keyboardist and composer, and Henry’s high-profile production career elevate the effort overall, and with the added contributions of Bonnie Raitt, drummer Jay Bellerose, guitarist Steve Dawson, keyboard player Patrick Warren, and bassist David Piltch, among others, there’s plenty of collateral to ensure extraordinary results. Still, the project’s success ultimately comes down to the songs, a series of mournful and melancholy laments that convey spiritual and sobering sentiments that remain genuinely affecting from track to track. The overall sound brings to mind the early output of such essential artists as Eric Andersen, Tim Buckley and David Ackles, especially given the delicate designs. The result is a decidedly beautiful and breathtaking set of songs, each of which reflects a certain grace and dignity that continues to resonate well after the final notes fade away. It’s indeed gratifying to find two extraordinarily gifted musicians who are so well bonded that they can create such consistently emotive elegies. “Sleeper Car,” “The Bridge,” “Martin’s Ferry” and “City Of Light” create an emotional pull, but so too, every track on this album make a singularly emphatic impression. One can only hope this remarkable collaboration continues.(www.joehenrylovesyoumadly.com)
What could be a better combination than an assembled collection of predominant power pop practitioners (Vicki and Debbi Peterson of the Bangles, Rick Springfield, John Waite, Lou Gramm, The Lemon Twigs, The Spongetones, Kasim Sultan, Ken Sharp, P-Hux, Cherie Curie, Shoes, Marshall Crenshaw, Willie Wilcox et. al.) covering the work of the band that set the standard for power pop overall? Play On answers that question as confirmed by the 31 tracks spread across these two rich and robust CDs. Produced by Ken Sharp and the ever-prolific Fernando Perdomo, the set retains both hits (“Go All the Way,” “Tonight,” Overnight Sensation,” etc.) and deep cuts even as it offers a belated refresher course on the Raspberries’ lingering legacy. It’s nice to have veterans like Springfield, Gramm, Shoes, and Waite given the continued credit they deserve as well. Still, it’s the music that matters, and in that regard, all the artists involved do their due diligence by retaining the energy and exuberance that was so vital within the original renditions. While one can applaud the label for wisely recruiting the contributors, it’s those individual efforts that have made this tribute the compelling collection it is. Credit all involved with ensuring the Raspberries remain as tasty as ever. (www.thinklikeakey.com)
Max Gomez is the epitome of a timeless troubadour, a singer and songwriter who wears his feelings on his sleeve and subsequently infuses them into his songs. Over the course of his 12-year career, the music he’s made testifies to both his insight and ability. With Memory Mountain, he invests a full degree of honesty and emotion into each and every one of the songs, enabling them to resonate with sentiment and sensitivity. Oftentimes, the music recalls the work of such revered predecessors as Kris Kristofferson, Townes Van Zandt and Robert Earl Keen, and yet, at the same time, Gomez can claim to be a singular songwriter in his own right. A truly beautiful album, Memory Mountain finds Gomez further elevating his efforts and gaining higher standing in today’s Americana environs. The songs remain instantly and consistently memorable, and they’re expressed with such credence and conviction as to leave no doubt as to Gomez’s consistency and capability. So too, they are both poignant and personal within a series of descriptive scenic soundscapes. “New Mexico,” “Memory Mountain,” “Roses On the Moon,” and “Good Friends” put the listener into evocative environs, fully reflecting a distinct poignancy and passion that’s evident at every turn. Indeed, Memory Mountain takes Max Gomez to new aural and engaging heights. (https://maxgomezmusic.com)
Dave Bainbridge arrived at his solo standing with impressive credentials. His resume includes membership in the Celtic band Iona, his essential role in the prog-folk group Strawbs and his current freelance gig as part of Colin Blunstone’s current post-Zombies solo band. In the interim, he’s produced five solo albums and continues to make contributions to the efforts of others. Taken in tandem, it all further affirms the fact that he’s not only an adept multi-instrumentalist but also an artist with the skills and savvy to help shape a vast variety of expressive offerings. His latest outing is a sprawling two-CD set that reflects both his affection for Celtic folk and a decidedly progressive posture. Songs with titles such as “Colour Of Time,” “The Whispering of the Landscape,” “Hill Of the Angels,” and “Beyond the Plains Of Earth and Time” more than hint at his fondness for a certain celestial sensibility. Indeed, given the ornate arrangements, the ethereal ambiance and the consistently elaborate instrumentation, On the Edge would find a nice fit with Strawbs, classic Yes, early King Crimson, the otherwise obscure band Greenslade, or anything else that prioritizes imagination and invention as the core of creativity. Those with a fondness for sounds that bend boundaries and tamper with a template ought to find On the Edge (Of What Could Be) consistently living up to its name. (davebainbridgemusic.com)