John Corabi – New Day
American rock singer and guitarist John Corabi has, in the past, been called a rock journeyman (the frontman of supergroup The Dead Daisies has quite the musical C.V. including The Scream, Mötley Crüe, Union, ESP, and Ratt (as a guitarist), to name but five).
However, four decades on from the start of his noted career Corabi has now put his voice to, and stamp on, his first full-length solo album of all original material.
And it’s been worth the wait, because with New Day John Corabi has, quite purposely, put together an album reminiscent of the music he grew up listening to, and was inspired by.
The results are an a winning formula that mixes and matches classic 70s rock, soul, blues, funk and a touch of Southern/ Americana, sonically wrapped in an excellent production from Marti Frederiksen (who contributes backing vocals, guitar, piano and percussion).
Joining Corabi & Marti Frederiksen are Evan Frederiksen (drums, bass, B3 organ, guitar, mandolin, programming), Richard Fortus (lead guitar), Paul Taylor (piano, organ, clavinet) and Charlie Starr, who contributes a number of guitar solos.
The title track opens the album in optimistically rocking fashion, complete with Beatles-esque vibe and an incredibly catchy chorus.
All players are on point here (and tight as the proverbial), but John Corabi’s voice is the focal point.
'That Memory,' which started as rough idea from Blackberry Smoke’s Charlie Starr, is another with an ear-worm chorus and mid-tempo, good time feel.
Lyrically this is another song that looks to optimism, this time by walking away from a memory no longer needed (John Corabi’s almost visceral vocal delivery suggests he is baring his soul, and sharing a real-life experience).
'Faith, Hope and Love' is a down-tempo, balladeering affair that veers into southern-country/ Black Crowes territory (no bad thing).
Another great vocal delivery by John Corabi helps elevate this number beyond the usual lighters (now iPhones) in the air brigade, although the arms aloft acknowledgement is still a certainty if or when it’s performed live.
The lyrically poignant 'When I was Young' opens with 12-string guitar and mandolin before settling into its mid-tempo stride, with a Rod & The Faces/ 'Maggie May' type vibe (again, no bad thing).
Some effective chord structures are at play here and, in common with several of the songs on the album, it has a likeable swagger with an easy-going delivery. A charming highlight.
However, four decades on from the start of his noted career Corabi has now put his voice to, and stamp on, his first full-length solo album of all original material.
And it’s been worth the wait, because with New Day John Corabi has, quite purposely, put together an album reminiscent of the music he grew up listening to, and was inspired by.
The results are an a winning formula that mixes and matches classic 70s rock, soul, blues, funk and a touch of Southern/ Americana, sonically wrapped in an excellent production from Marti Frederiksen (who contributes backing vocals, guitar, piano and percussion).
Joining Corabi & Marti Frederiksen are Evan Frederiksen (drums, bass, B3 organ, guitar, mandolin, programming), Richard Fortus (lead guitar), Paul Taylor (piano, organ, clavinet) and Charlie Starr, who contributes a number of guitar solos.
The title track opens the album in optimistically rocking fashion, complete with Beatles-esque vibe and an incredibly catchy chorus.
All players are on point here (and tight as the proverbial), but John Corabi’s voice is the focal point.
'That Memory,' which started as rough idea from Blackberry Smoke’s Charlie Starr, is another with an ear-worm chorus and mid-tempo, good time feel.
Lyrically this is another song that looks to optimism, this time by walking away from a memory no longer needed (John Corabi’s almost visceral vocal delivery suggests he is baring his soul, and sharing a real-life experience).
'Faith, Hope and Love' is a down-tempo, balladeering affair that veers into southern-country/ Black Crowes territory (no bad thing).
Another great vocal delivery by John Corabi helps elevate this number beyond the usual lighters (now iPhones) in the air brigade, although the arms aloft acknowledgement is still a certainty if or when it’s performed live.
The lyrically poignant 'When I was Young' opens with 12-string guitar and mandolin before settling into its mid-tempo stride, with a Rod & The Faces/ 'Maggie May' type vibe (again, no bad thing).
Some effective chord structures are at play here and, in common with several of the songs on the album, it has a likeable swagger with an easy-going delivery. A charming highlight.
'One More Shot' is a semi-funky number that lyrically celebrates a glass or two of alcohol while the catchy chorus treads a rockier path.
Another album highlight, this song is guaranteed to go down extremely well live.
'1969' drives along on a solid beat and rocky guitar riff, underpinned by acoustic guitar.
Lyrically the song is a paean to significant, historic events of that year, unlike Bryan Adams' 'Summer of 69,' which is an altogether different subject matter.
'Laurel,' a sparse early Neil Young meets Laurel Canyon electric folk number, offers yet another side of both John Corabi and the album, as does 'Good To Be Back Here Again,' an excellent slow tempo "confessional" with a passionately delivered vocal (imagine The Eagles meeting Lynyrd Skynyrd in a Nashville studio).
The primarily acoustic 'Love That’ll Never Be' continues the country vibe.
An effective chorus, great middle 8 and strings accompaniment (redolent of later era Beatles) makes this "don’t know what you’ve got until it’s gone" number yet another winner.
'Cosi Bella (So Beautiful),' first released as a single in 2021, continues the Beatles influence with an up-tempo, cheerful arrangement allied with some multi-tracked guitars at the chorus (introducing a Queen reference).
With an arrangement that includes some staccato piano and even a bit of ELO, this song shows there are some clever musical brains at work here. Pop-tastic stuff.
'Your Own Worst Enemy' (another earlier single) opens with a riffy guitar and some B3 Hammond before introducing a funky part featuring clavinet and guitar. The chorus then emerges with a guitar/ bass walking part which suits the number perfectly.
Yet another strong number, this time very much at the rockier end of the spectrum.
Closing track 'Everyday People' is a cover of Sly and the Family Stone’s socially conscious chart topper from 1968.
The band keep it tight and spacey while John Corabi’s voice floats over the top; the results are a very good version of a very good song that, sadly, is as lyrically on point now as it was then.
As cited at the top of this review, John Corabi has already made a vocal mark or two in rock, but this album merely hints at that. The excellent songwriting has greater depth, the arrangements are well-considered and Corabi wears his influences on the sleeve of his tattooed arm.
A New Day indeed and, one hopes, a new solo dawn.
Nelson McFarlane & Ross Muir
FabricationsHQ
New Day will be released on 24th April via Frontiers Music Srl
Pre-Order: https://ffm.bio/johncorabi_newday
Another album highlight, this song is guaranteed to go down extremely well live.
'1969' drives along on a solid beat and rocky guitar riff, underpinned by acoustic guitar.
Lyrically the song is a paean to significant, historic events of that year, unlike Bryan Adams' 'Summer of 69,' which is an altogether different subject matter.
'Laurel,' a sparse early Neil Young meets Laurel Canyon electric folk number, offers yet another side of both John Corabi and the album, as does 'Good To Be Back Here Again,' an excellent slow tempo "confessional" with a passionately delivered vocal (imagine The Eagles meeting Lynyrd Skynyrd in a Nashville studio).
The primarily acoustic 'Love That’ll Never Be' continues the country vibe.
An effective chorus, great middle 8 and strings accompaniment (redolent of later era Beatles) makes this "don’t know what you’ve got until it’s gone" number yet another winner.
'Cosi Bella (So Beautiful),' first released as a single in 2021, continues the Beatles influence with an up-tempo, cheerful arrangement allied with some multi-tracked guitars at the chorus (introducing a Queen reference).
With an arrangement that includes some staccato piano and even a bit of ELO, this song shows there are some clever musical brains at work here. Pop-tastic stuff.
'Your Own Worst Enemy' (another earlier single) opens with a riffy guitar and some B3 Hammond before introducing a funky part featuring clavinet and guitar. The chorus then emerges with a guitar/ bass walking part which suits the number perfectly.
Yet another strong number, this time very much at the rockier end of the spectrum.
Closing track 'Everyday People' is a cover of Sly and the Family Stone’s socially conscious chart topper from 1968.
The band keep it tight and spacey while John Corabi’s voice floats over the top; the results are a very good version of a very good song that, sadly, is as lyrically on point now as it was then.
As cited at the top of this review, John Corabi has already made a vocal mark or two in rock, but this album merely hints at that. The excellent songwriting has greater depth, the arrangements are well-considered and Corabi wears his influences on the sleeve of his tattooed arm.
A New Day indeed and, one hopes, a new solo dawn.
Nelson McFarlane & Ross Muir
FabricationsHQ
New Day will be released on 24th April via Frontiers Music Srl
Pre-Order: https://ffm.bio/johncorabi_newday