Year Released: 2024
Genre: Traditional Country
Duration: 44:22
Label: Fence Row Records/MTS
Producer: Richard Lynch
Engineer: Beaird Music Group, Nashville

On “Pulling Up the Covers,” Richard Lynch doesn’t just revisit country classics; he breathes new life into them. This album is a carefully curated collection of 14 tracks, each a nostalgic nod to the golden age of country music. Lynch’s seasoned baritone and authentic delivery make this album not just a tribute, but a personal love letter to the genre that has shaped his life and career.

The LP opens with “Rest Your Love on Me,” a cover of the tender ballad penned by Barry Gibb and made famous by Conway Twitty. Lynch’s rendition is intimate and warm, his voice wrapping around the lyrics with a sincerity that feels both timeless and deeply personal. This sets the tone for an album steeped in reverence for the original works while allowing Lynch’s unique touch to shine through.

Tracks like “Out Of Hand” and “Ridin’ My Thumb to Mexico” carry the listener through stories of love, loss, and the open road—staples of traditional country storytelling. Lynch’s interpretations are faithful yet fresh, his vocals conveying a deep connection to the material. “I’m the Only Hell My Mama Ever Raised” brings a playful, rebellious energy, while “If We Make it Through December” offers a poignant reminder of the struggles and hopes that define the human experience.

The production on *”Pulling Up the Covers”* is as classic as the songs themselves. The arrangements are crisp and uncluttered, allowing Lynch’s voice to take center stage, supported by the rich, warm sounds of traditional country instrumentation. The choice to keep the production simple and authentic enhances the emotional impact of each track, making the album feel like a cozy return to country’s roots.

Similar Albums:
1. George Strait – “Pure Country”
2. Alan Jackson – “Under the Influence”
3. Randy Travis – “Influences Vol. 1: The Man I Am”
4. Conway Twitty – “Even Now”
5. Vern Gosdin – “Chiseled in Stone”

For those looking to explore deeper into the essence of traditional country with a more complex narrative structure, give Willie Nelson’s “Red Headed Stranger” a listen. This concept album is a masterclass in storytelling, with every song adding layers to a deeply compelling tale.

Verdict: 95/100

“Pulling Up the Covers” is a warm, heartfelt tribute to the songs that made country music great. Richard Lynch’s deep respect for the genre shines through every note, making this album a must-listen for traditional country fans and a touching homage to the legends who paved the way.

–Jana Krazinski

In an era where the musical landscape is as diverse as the peaks of the Himalayas, Michael Zuzek’s latest LP, Everest, stands as a towering achievement that boldly scales the lofty aspirations of classic rock. A self-engineered, produced, and mastered effort alongside Aidan Ellison, *Everest* is an ambitious, introspective journey that reflects both the weight of emotional highs and the depths of personal valleys.

The album opens with “The Man Who’s Never Found,” a track that immediately sets the tone for the LP’s thematic exploration of solitude and the quest for identity. Zuzek’s vocals, tinged with a weary yet resilient edge, carry the narrative of a man wandering through life’s desolate roads, seeking something elusive. The collaboration between Maarten Colenbrander and Scott Fordham on bass, coupled with Marco Ciardullo’s evocative guitar work, creates a rich, layered soundscape that complements Zuzek’s poignant piano and synth lines. The song’s narrative evokes a sense of yearning and disillusionment, reminiscent of the existential musings found in Springsteen’s *Nebraska*.

“All Comes Back” serves as a cathartic response to the opener’s despair, offering a glimpse of redemption amidst the chaos. Zuzek’s use of the piano and organ here is particularly notable, blending seamlessly with Scott Fordham’s bass and Ciardullo’s guitar to create a soulful, almost gospel-like atmosphere. The song’s lyrics suggest a cyclic nature of life’s trials and tribulations, with the recurring refrain “it all comes back to you” acting as both a warning and a comfort. There’s a subtle nod to Robbie Robertson’s influence, not just in the composition but in the thematic depth that reflects the cyclical struggle of life, akin to The Band’s explorations of American mythology.

With “5000 Days,” Zuzek dives into the themes of loss and the relentless passage of time. The track’s driving rhythm and haunting melodies evoke a sense of urgency, as Zuzek’s lyrics recount the pain of separation and the longing for reconciliation. Ciardullo’s guitar work once again shines, weaving in and out of Zuzek’s emotive piano lines, while Colenbrander’s bass provides a steady foundation that grounds the song’s emotional weight. The song’s energy and tempo—a brisk 180 BPM—capture the frantic attempt to reclaim lost time, a sentiment that resonates deeply with the listener.

“No Other” is perhaps the most heart-wrenching track on Everest, a love song that veers away from sentimentality and instead delves into the darker corners of human relationships. Zuzek’s lyrics explore the push-and-pull of a relationship fraught with misunderstanding and emotional distance. Brandon Marks’ guitar work, alongside Leah Vanderbyl’s drumming, adds a sharp, almost discordant edge to the track, mirroring the tension between the song’s protagonists. The contrast between the verses and chorus, with their differing tempos, reflects the instability of the relationship Zuzek sings about—a dissonance that ultimately feels cathartic.

“Sweet and Kind” provides a momentary respite in the album’s emotional journey, offering a softer, more reflective tone. The interplay between Zuzek’s piano, E-piano, and organ, along with Colenbrander’s bass and Ciardullo’s guitar, creates a lush, almost ethereal soundscape. The lyrics, however, suggest an underlying tension, as Zuzek sings of a love that is fleeting, always just out of reach. The song builds slowly, never quite reaching a climax, much like the unfulfilled promises it describes.

The existential dread reaches its peak with “Has My God Forsaken Me?”, a track that plunges the listener into the depths of despair and doubt. The song’s heavy organ and synth, combined with a relentless bass line and Ciardullo’s ominous guitar riffs, create an atmosphere thick with foreboding. Zuzek’s vocal delivery is raw and unfiltered, as he grapples with themes of abandonment and loss of faith. The track’s intensity is only heightened by its placement within the album, serving as a dark mirror to the fleeting moments of hope found earlier.

Closing the album is “Graystone,” a track that encapsulates the themes of memory and nostalgia that permeate *Everest*. Zuzek’s piano-driven melody is hauntingly beautiful, with Fordham’s bass and Colenbrander’s acoustic guitar adding layers of warmth and depth. The song reflects on the passage of time and the remnants of the past, much like a weathered stone that still holds the echoes of history. Zuzek’s lyrics are introspective, touching on the bittersweet nature of memory and the inevitability of change. It’s a fitting end to an album that has journeyed through both the peaks and valleys of the human experience.

Everest is a masterclass in modern rock songwriting, blending introspective lyrics with rich, textured instrumentation. Michael Zuzek’s ability to craft songs that resonate on both a personal and universal level is evident throughout the LP. The collaborative efforts of the musicians, particularly Ciardullo’s versatile guitar work and Colenbrander’s steady bass, elevate the album to a sonic landscape that feels both vast and intimate.

In Everest, Zuzek has created not just a collection of songs, but a cohesive narrative that explores the complexities of life’s emotional terrain. It’s an album that invites the listener to reflect, to feel, and ultimately, to understand the beauty in the climb, no matter how steep the path.

-Albert Ignatius