Album Review: Samantha Mae, Reverie (2025)

The album cover of Reverie, by Samantha Mae, 2025.

Singer and songwriter Samantha Mae

Samantha Mae is a Vermont-based singer/songwriter who just released Reverie, her first full-length album earlier this year. Reverie gathers 8 original songs written by Samantha Mae. She’s a strong songwriter, and Reverie takes the listener through many different musical moods. Samantha Mae also has a fantastic, flexible voice that has elements of country, folk, and pop within it.  

The title song is a beautiful meditation on the loss of a loved one. Samantha Mae sings, “I’ve spent too many years/Chasing the ghost of you/And all I have to show is your old perfume.” That’s such a fantastic line, and Samantha’s voice gets the emotion of the song across.  

“My, My Baby Goodbye” is a catchy, up-tempo song about starting over in a new city. “Thinkin’ I might stay in this town just for fun/Just to see what my life could be,” Samantha sings, as she leaves an old relationship behind.  

“She’ll Know” is a fantastic break up song that details a toxic relationship. One of my favorite lines in this song is “You were a temporary high/and I’ve broken the bridge leading back to you.” Samantha’s voice has such power on this track.  

“Through with It” is a rollicking song that has a strong country flavor, and it features an excellent teasing, taunting vocal. Samantha makes it clear that she is tired of the toxic masculinity this guy has to offer, as she sings on the chorus, “Get out, get over it/You can’t even call this quits/Cause we weren’t even something worth a mention/And I’m through with it.”  

“Porch Light” shows off the lower range of Samantha’s voice nicely. It’s another excellent song, about finding love and sticking with it. Samantha Mae’s lyrics are thoughtful and heartfelt, and free from cliches. “Through all the years of my mistakes/I never made it easy for us to make it/But darlin’ we made it/The best damn story that we’ll tell to our children/Under that porch light.”  

“Keep You Happy” is a song about loss and saying goodbye. It has a bittersweet flavor, and the music still has a bounce to it, even though the lyrics are melancholy.  

“Time” is a lovely song, a slow ballad that finds the narrator worried that she’s “runnin’ outta time...pullin’ rope every day with the Devil/Nothin’ heard and nothin’ said.”  

“Mosaic” has a harder rock sound than the other songs on the album. Samantha sings about “Tension, tension builds and choir sounds/Conducting a catastrophic blow/To fuel my rage as I explode.” It’s a fantastic song, and a really strong song to end the album with.  

Reverie is an album with no weak songs. The production on Reverie is superb, with each song having a distinct sound and feel, and yet there’s a cohesion to the album as well. The variety of songs that Samantha Mae has written is really amazing. I’m impressed with her range as a songwriter, especially for a debut album. Samantha Mae is also a superb singer, and it’s easy to imagine her interpreting songs from many different genres. Reverie is an outstanding piece of work, and I’m looking forward to what Samantha Mae does next.  

Album Review: Frank Sinatra, Songs for Young Lovers and Swing Easy! (1954)

Songs for Young Lovers, 1954. Begins the trend of Frank wearing a hat and smoking on his album covers.

Swing Easy! 1954.

It’s Frank Sinatra’s Capitol recordings that most people think of when they imagine Sinatra. Albums like In the Wee Small Hours, Songs for Swingin’ Lovers!, Come Fly with Me, Come Dance with Me! and others cemented Sinatra’s reputation as a peerless interpreter of songs. Charles L. Granata wrote in his superb book Sessions with Sinatra: Frank Sinatra and the Art of Recording, “Virtually every song the singer recorded at Capitol is a model of perfection.” (p.91) I’m inclined to agree with Granata’s judgement. 

Frank Sinatra is one of the few popular musicians whose greatest fame came between roughly the ages of 40 to 50. Most people would say he did his best work during that decade, from 1955 to 1965. I can’t think of many other pop musicians one could say that about. Certainly there are artists who do great work between the ages of 40 or 50, but there are few whose work during that decade defines them as much as Sinatra’s does. 

In my review of Sinatra’s last Capitol album, 1962’s Point of No Return, I mentioned that the very first recordings Sinatra made for Capitol were arranged by Axel Stordahl, who had arranged almost all of Sinatra’s recordings for the Columbia label, from 1943-1952. Stordahl’s strength was arranging ballads, and since the great majority of the songs that Sinatra recorded for Columbia were ballads, the partnership worked out very well. As Sinatra’s Capitol years began, he was still loyal to Stordahl, and insisted that his first Capitol recordings should be arranged by him. Fortuitously, Capitol executive Alan Livingston got Sinatra to agree that if the records weren’t hits, he would try recording with Nelson Riddle. In April of 1953, Sinatra recorded “Lean Baby” and “I’m Walking Behind You,” his first songs for Capitol, arranged by Stordahl. (Heinie Beau actually arranged “Lean Baby,” in the style of Billy May.) At the end of April, Sinatra recorded with Nelson Riddle for the first time. The very first song they recorded together was “I’ve Got the World on a String,” which has become an iconic Sinatra performance. 

There was magic when Sinatra recorded with Riddle. Sinatra’s voice was slightly lower than it had been in the 1940’s, and Riddle’s up-tempo arrangements showed that he was ready to swing. Riddle’s arrangements highlighted Sinatra’s voice perfectly. 

However, Riddle was not the arranger for Sinatra’s first Capitol LP, Songs for Young Lovers. Thanks to Sinatra scholar Will Friedwald, we now know that George Siravo was the arranger. No one was actually credited with the arrangements on the original album, but since the front of the album read “Accompanied by Nelson Riddle,” everyone assumed that the arrangements were Riddle’s work. Siravo had arranged for Sinatra before-he was responsible for Sinatra’s most swinging sides that he cut for Columbia-these songs were released on the album Sing and Dance with Frank Sinatra in 1950. (The album was re-titled Swing and Dance with Frank Sinatra when it was released on CD.) 

Recorded over two days on November 5^th and 6^th 1953, Songs for Young Lovers included songs that were part of Sinatra’s live act. The decision was made that Sinatra’s Capitol albums and singles would largely be separate affairs. This choice meant that rather than just collect a hodge-podge of singles for an album, Sinatra was free to think about creating a mood and choose a unified set of songs to sustain that mood. This would lead directly to Sinatra’s classic concept albums like In the Wee Small Hours, and Songs for Swingin’ Lovers! Songs for Young Lovers was originally released as a 10-inch LP, meaning that it only held about twenty minutes of music. With the introduction of the 12-inch LP, Sinatra could create longer concept albums.

The songs on Songs for Young Lovers are:

“My Funny Valentine”-The beautiful Rodgers and Hart song is given an exquisite reading by Frank. The arrangement briefly turns into a waltz for a few measures. This song captures the intimacy of Sinatra’s voice very well.

“The Girl Next Door”-from Meet Me in St. Louis, where it was originally sung as “The Boy Next Door” by Judy Garland. Sinatra perfectly expresses the romantic yearning of the lyric, as he longs for the girl he hasn’t met, “though I live at 5135 Kensington Avenue and she lives at 5133.” I’ve always loved that lyric, not many songs can seamlessly work in a street address. 

“A Foggy Day”-A Gershwin song that is one of my favorite Sinatra tunes. Listen for the way he sings “shining” five times in a row-a sign of Frank trusting his rhythmic instincts more and more.

“Like Someone in Love”-This is the one Nelson Riddle arrangement on the album. It’s a lovely ballad, and Frank makes his vocal sound dreamy and abstracted, as though he really is “bumping into things.”

“I Get a Kick Out of You”-From the pen of Cole Porter comes one of Sinatra’s classic performances. The arrangement is a superb jazzy affair, with the guitar playing a prominent part. This version includes the original lyrics: “Some they may go for cocaine/I’m sure that if I took even one sniff/It would bore me terrifically too.” In later live performances and recordings by Sinatra, this verse was often changed to “Some like the perfume from Spain/I’m sure that if I took even one sniff/It would bore me terrifically too,” or to “Some like the bop-type refrain/I’m sure that if I heard even one riff/It would bore me terrifically too.” I love the way Frank hangs on to the f in “terrifically.” One of my favorite Sinatra songs. When I was a teenager listening to KLBB radio in the mid to late 1990’s, they would never play this version of the song-I assumed because of the cocaine lyric.

“Little Girl Blue”-Honestly, this is my least favorite song on the album. It’s Rodgers and Hart, so that speaks well for its pedigree. I just don’t care for the lyrics that much-I’m especially perplexed by the line “Sit there and count your fingers.” I’ve never heard that expression before. 

“They Can’t Take That Away from Me”-A fun and jazzy reading of the Gershwin classic. Listen for Frank mimicking the saxophone after he sings “The way you hold your knife.” 

“Violets for Your Furs”-A highlight of the album. Frank’s vocal is sexy and intimate, especially when he sings “And it was spring for a while, remember?” It’s as though he’s whispering in your ear. You can also hear Sinatra’s precise diction, as he sings “vi-o-lets,” with each syllable crystal clear. 

Songs for Young Lovers was released in January, 1954. It peaked at number 3 on the charts.The follow up to Songs for Young Lovers was Swing Easy!, with arrangements by Nelson Riddle. The eight songs were recorded on April 7^th and 19^th 1954. Swing Easy! was released in August, 1954 and also peaked at number 3. 

The tracks on Swing Easy! are:

“Just One of Those Things”-Another Cole Porter classic. Sinatra once said that he thought this was the saddest song ever. For a man who made a career out of singing what he called “saloon songs,” that seems surprising. I’ve wondered if he was thinking about his relationship with Ava Gardner when he said that, as their tempestuous time together certainly fits the song’s subject matter. Riddle’s arrangement fits Frank perfectly. Once again, you can hear Frank stretch an f on “fabulous flights.” And then there’s the wonderful moment when, singing the song the second time through, he goes for broke and sings “So goodbye goodbye bye bye goodbye baby and amen” instead of just “So goodbye, dear, and amen.” And he makes it work so well.

“I’m Gonna Sit Right Down (And Write Myself a Letter)”-This song has been recorded by many people, with Fats Waller’s version being the most well-known. Riddle’s arrangement features the vibraphone, and you can hear Sinatra’s total ease with up-tempo songs.

“Sunday”-Kind of an odd song, about a guy who is only happy when he’s going out with his girlfriend on Sundays. Why don’t they go out on Friday or Saturday? One of the lyrics is: “Friday makes me feel just like I’m gonna die.” Not a sentiment that’s often heard in popular music.

“Wrap Your Troubles in Dreams (And Dream Your Troubles Away)”-Frank sounds quite ebullient on this tune. I’m a big fan of the version that Dean Martin recorded for his 1958 album Sleep Warm-which Sinatra conducted the orchestra on. 

“Taking a Chance on Love”-Frank sounds even looser on this standard. As he sings “Mmmm, I’m in the groove again,” you could think he’s talking about his career rather than romance. Listen for: another elongated f, the second time he sings “Brother rabbit of course you’d better kiss that foot goodbye.” 

“Jeepers Creepers”-Sinatra makes the most of this silly tune, and Riddle gives it a gassy arrangement, with nice trumpet and trombone solos. 

“Get Happy”-The most swinging cut on the album, taken at a very brisk clip. Although it’s from 1930, the song will forever be identified with Judy Garland, who sang it in the 1950 movie Summer Stock. The instrumental break is great, but much too short. 

“All of Me”-Sinatra had previous recorded this song at Columbia, but now he invests it with a swinging swagger that is a new addition to his sound. 

Songs for Young Lovers and Swing Easy! are now combined on one CD, and while Sinatra and Riddle would climb to greater artistic heights on their next records together, these two albums remain an excellent example of Sinatra’s Capitol era sound.

Album Review: Bryan Ferry, "Avonmore" (2014)

Album cover of "Avonmore," showing a young Bryan Ferry from the 1970's.

This is the cover image that Amazon showed for Bryan Ferry's "Avonmore" before it was released.

Bryan Ferry, mid-1970's, looking like the cat that swallowed the canary.

Bryan Ferry in 2014, still as handsome and well-dressed as ever.

Bryan Ferry’s 15^th solo studio album “Avonmore” was released last month, and it’s yet another excellent piece of smooth pop from the former Roxy Music frontman. Ferry’s music hasn’t changed a great deal since 1980 or so, when the rough edges got sanded off of Roxy Music, but he still puts out perfectly glossy, elegant records full of beautiful midnight ennui. Ferry’s solo albums since 1985’s “Boys and Girls” are usually as smooth as a pane of glass, and “Avonmore” is no exception to that. 

“Avonmore” features eight new Ferry originals and two covers. Ferry is in great voice throughout the record. His voice has been burnished by the years, and that brings a certain melancholic quality to it that fits his songs very well. Ferry’s voice now sounds as world-weary as his songs have always been. “Avonmore” was produced by Ferry and Rhett Davies, who has worked with him off and on since the Roxy Music days. There are a lot of layers of sound going on, but “Avonmore” never feels overproduced. Ferry is supported by an all-star cast of musicians, including Nile Rodgers, Johnny Marr, Mark Knopfler, and Flea. Ferry’s son Tara plays drums on all of the songs, except for “Johnny and Mary,” and Ferry himself plays keyboards throughout the album. 

The track listing for “Avonmore” is as follows:

“Loop De Li”: A catchy song, featuring some hallmarks of Roxy Music’s sound, like an oboe and a saxophone. Ferry’s lyrics tell the story of someone caught in a pattern or loop with no way out. Ferry sings, “Well I know you know/we’re killing time/we’re on an up down see-saw/loop de li.” A beautiful portrait of alienation.

“Midnight Train”: There are 9 guitarists on this song! But somehow it doesn’t sound overstuffed, just polished like a smooth river stone. “Midnight Train” is one of my favorite songs on the album. Ferry has a way of making lyrics that could sound like clichés sound fresh. The song is full of romantic yearning, as Ferry sings, “I’ll never know/the meaning of your kiss/midnight train/must it end/like this?” I can just imagine Ferry standing forlornly at a train station, waiting for his girlfriend to come back, looking sad and handsome in a trench coat smoking a cigarette. 

“Soldier of Fortune”: Co-written with Johnny Marr, the guitarist from The Smiths. It has a laid-back insistence. Features some great guitar playing, this time from only 3 guitarists. As usual, Ferry is in pain in this song, as he sings, “I’m going out of my mind/and I won’t be back again.” 

“Driving Me Wild”: This song has something of an ominous feeling, as Bryan sings in the first verse, “My heart is pounding/I’m trembling with rage/I’m wrestling with my demons/on every page.” A woman is driving him wild, and Ferry sinks deeper into anguish: “No dream will ever be the same/everything around me calls your name.” This song has one of my favorite lyrics on the album: “I’m dealing with a feeling/that nobody knows/an unkindness of ravens/a murder of crows.” I knew that the proper term for a gathering of crows is a “murder” but I had no idea until I heard this song that the term for a gathering of ravens is an “unkindness.” Those very loaded terms just add to the unease of the song.

“A Special Kind of Guy”: Ferry is once again lovelorn, as he wishes that he could have the love of the girl in this song. Ferry sings that she needs “A special kind of guy/would take you by the hand/for all the world to see/wish it could be me.” This song is a good showcase for Ferry’s piano and keyboard work. It’s a beautiful song, melancholy, elegant, and yearning. 

“Avonmore”: This is one of my favorite songs on the album. There’s an intensity to the rhythm of the song that I really like, and that reminds me a little bit of the Roxy Music song “Both Ends Burning.” Once again, Ferry plays the yearning romantic, as he sings on this chorus: “I want a love that’s never ending/through all the thunder and the rain/but there’s no sense in pretending/I know I’ll never fall in love again.” Features a lovely saxophone solo from Richard White. 

“Lost”: A slow ballad that features Mark Knopfler from Dire Straits on guitar. Another romantic song for late at night.

“One Night Stand”: A funky song about the possibility of finding love with that stranger on the dance floor. Like “Midnight Train,” this song also features 9 guitarists, but again it doesn’t feel like too much. Ferry sings, “In the mood and in the dark/can you mend that broken heart?” We don’t know what the answer will be, but I’m guessing from the melancholy nature of this album it’s probably no. 

“Send in the Clowns”: Bryan Ferry singing Stephen Sondheim? Sure, why not. Ferry has always had success with unlikely cover versions, from the very beginning of his solo career. This is a lovely version of this standard from “A Little Night Music.” Ferry’s voice adds the necessary pathos, but he keeps it from going over the top. Nice trumpet solo from Enrico Tomasso. 

“Johnny and Mary”: Ferry’s cover of Robert Palmer’s 1980 hit single jettisons the nervous, New Wave energy of the original, drastically slows it down, and strips the song down to its basics. It’s brilliant and beautiful, and it starts with just a murmuring synth line and finger snaps. This version was originally recorded for Norwegian DJ Todd Terje's album “It’s Album Time,” released in April, 2014. I really love Robert Palmer’s version of “Johnny and Mary,” so I was excited to hear what Bryan Ferry would do with it. I love the lyrics to this song, as Palmer paints a vivid picture of this couple: “Johnny’s always running around/trying to find certainty/he needs all the world to confirm/that he ain’t lonely/Mary counts the walls/knows he tires easily.” Ferry’s version plays up the paranoia in the song, inherent in lyrics like “Scared that he’ll be caught/without a second thought.” “Johnny and Mary” moves at a languid pace, stretching out over nearly seven minutes, and I find it mesmerizing. A great ending to a marvelous album. 

My three favorite songs from “Avonmore” are “Midnight Train,” “Avonmore,” and “Johnny and Mary.” If you like Bryan Ferry or Roxy Music, go out and get “Avonmore,” pour yourself a drink, listen to it late at night and let the music wash over you.