• the noise
January is an addictive CD. It is textbook rock ’n’ roll with the added dimension of soulful organ and prominent bright piano. I’ve played this four times already. The song structure on “Lisa Jack” sounds very Rolling Stones-ish. It’s three-chord rock with some organ and piano. The vocals sound like The Black Crowes. It’s more like Steve Marriott. No. It IS more like the Black Crowes. It’s American sounding, not British. The third song, “Tag,” starts with piano and vocals. Sounds like The Band. [John, all the while, is playing his Gibson SG, unplugged, along to this CD] “Stranger’s Song” has a very Bono-ish vocal quality, very plaintive and lonely, like some early U2 song. You can hear all the musical parts distinctly. And “Another Dying Day” is totally the blues. [John counts the 12 bars and verifies.] Yeah. This CD has a ’70s California/Eagles/Leon Russell thing happening. Maybe a little Texas, too. “Show Me the Green” sounds a lot like John Lennon on “Twist and Shout.” I really like this CD except for one thing... The vocals need to be up front. Exactly. I should be able to understand every word with music like this, and I don’t. But overall, this is a fantastic CD.
-Robin Umbley/John Hess
• Northeast Performer Magazine
The Gilded Splinters' debut release resounds with contemporary Americana sounds, tinged with classic rock stylings. Its catchy hooks laced with glimmering production by JP Bowersock (The Strokes, Ryan Adams) make the record easily digestible and definitively inoffensive. Comparisons to alternative pop act Train (remember that irritating Drops of Jupiter song from the '90s?) are, unfortunately, inevitable, as January possesses a similar sense of smoothed over pop grit and a vocalist with a nearly identical affect. Frontman Josh Buckley gives the occasional Mick Jagger growl during his musings over tortured women and grief-stricken lives to give the songs their strongest feelings of authenticity.
Each track employs swooping melodies accompanied by tinny guitar twang and straight-ahead pop rock drum beats. Like many acts in this radio-friendly genre, Buckley's vocals maintain a palatable composure while hinting at deep, emotional strife below the surface. But just a hint. In general, Buckley sticks to a safer sound that remains family-friendly enough for Grammy performances and teen soap operas.
The standout single, "Lisa Jack," serves as a solid album opener with its raw, electric blues shuffle. The piano work on "Show Me the Green" flirts with rockabilly antics, but seems unconfident, straying too far from the band's comfortable alt-country niche.
After the first four tracks, however, the album starts to fade into the same repetitive song structuring and predictable changes. The Gilded Splinters' songwriting is competent and shows fleeting moments of potential; overall, however, the band doesn't take nearly enough risks to hold the listener's attention for 50 minutes. Seven out of the 10 songs here clock in at over four and half minutes and all seven of those could be tightened up considerably. (Self-released)
• The Boston Herald
‘Living’ is good in Buckley country
“Remember ‘Solid Gold’?” Josh Buckley asked me between chomping boneless Buffalo wings at the Pour House, a Boston watering hole that merits a mention in his song “Furious Ink.” Of course I remembered “Solid Gold,” but I hesitated to admit my love for glittery dance shows.
“I saw Mick Jagger on that (show) when I was 4 or 5 years old and said, ‘I wanna be him,’ ” Buckley confided. “At that moment I saw my mom’s heart break. I saw her crumble in fear.”
These days, Buckley’s mama is smiling about his musical career. She even marches up onstage, with his 4-year-old nephew in tow, to request the more upbeat songs in his melancholy repertoire.
“My music sounds like redemption,” Buckley said. “I sit and write songs about whatever I’m going through - about change or not changing, or a girl. Whenever I write, it’s always a spiritual connection to a higher power. It takes me to a place where nothing matters. I know that’s cliche, but it’s true.”
Buckley shows off an original country/folk style and striking high voice on his debut full-length CD, “Living Man’s Blues,” which is rounded out by a band adding bluesy piano and upright bass.
No, he’s not pretending to be from Mississippi. Instead, his accent sways between the Acton-raised boy he is and an alter ego that screams tortured Southern countryman.
“Country music is what I’m most intrinsically connected to - they tell it how it is,” said Buckley, who also takes cues from the Rolling Stones, Simon and Garfunkel, and Elvis. Although he’s one of few country acts thriving in Boston’s pop- and rock-saturated scene, he said his next full-length album will be harder, with rock roots.
“There’s so many ways to say something, and I figure, why not try ’em all? You can turn a slow song into a punk sound, or take a punk song and make it a samba or something.”
Just to clarify, there’s no samba or salsa in his future, but he has been listening to the Beatles, the Beach Boys and the Clash.
And while he still wants to reach Jagger status, he also dreams of playing the Grand Ole Opry.
“I don’t care if I have to break in,” he declared. “I’ll play at the Opry someday. That’s when I’ll know I’ve made it.”
- Kerry Purcell / Music (July 2006)
• The Boston Globe
"Reasons to like Josh Buckley:He sings love songs with a twang. He plays Americana tunes with an indie rock feel. He likes his girlfriend enough to keep her picture on his website."
- Sidekick (June 2006)
• Metronome Magazine
Singer-songwriter-guitarist Josh Buckley displays a carnival-like quality to his songs, and whether intentional or not, that's what's depicted in the liner artwork as well.....a photograph of a
carnival like the ones you see in supermarket parking lots and empty, small-town fields. His music is lively and upbeat as he portrays a childlike innocence to his lyrics and delivery. Keyboardist Phil Aiken, electric bassist Brian Runck, stand up bassist Joe Wisink, and pedal steeler Mike Castellana along with Dana Colley on sax, John Marcato on drums, Dave Wesson on harmonica and Andy Butler and The Broken Bottle Singers on backing vocals, all help to build the pieces of Buckley’s compositions making for a solid effort. Cool songs include the album's title track, "Living man's Blues," the bouncing "Life Among the Ruins," and poignant workingman's cry "Get Off My Back (and get on with your job)."
- Douglas Sloan (June 2006)
• The Boston Metro
“Josh Buckley plays the type of rootin’ tootin’ songs that might get him signed soon.”
• WERS Boston
“These 12 tracks convey a new take on American roots music. Buckley’s soul permeates through songs about women, life, and just trying to get by, anyway you can.”
- Dave Poehler
• Electrokitty Recording
“When Josh first came into my studio I knew he had it. Drive, conviction and a uniquely haunting voice are what separates him from the rest”
- Gary Reynolds
•“He’s got great stage presence…..I can see him creating a real buzz”
- Dan Cowan, Owner/Booker of The Tractor Tavern
• Shecky's Guide
Josh Buckley’s not your average finger pickin’ weather-worn white boy with a guitar. He’s an urban sidewalk poet unencumbered by pretense or trendy hipster cynicism.
- Anthony Fisher
January is an addictive CD. It is textbook rock ’n’ roll with the added dimension of soulful organ and prominent bright piano. I’ve played this four times already. The song structure on “Lisa Jack” sounds very Rolling Stones-ish. It’s three-chord rock with some organ and piano. The vocals sound like The Black Crowes. It’s more like Steve Marriott. No. It IS more like the Black Crowes. It’s American sounding, not British. The third song, “Tag,” starts with piano and vocals. Sounds like The Band. [John, all the while, is playing his Gibson SG, unplugged, along to this CD] “Stranger’s Song” has a very Bono-ish vocal quality, very plaintive and lonely, like some early U2 song. You can hear all the musical parts distinctly. And “Another Dying Day” is totally the blues. [John counts the 12 bars and verifies.] Yeah. This CD has a ’70s California/Eagles/Leon Russell thing happening. Maybe a little Texas, too. “Show Me the Green” sounds a lot like John Lennon on “Twist and Shout.” I really like this CD except for one thing... The vocals need to be up front. Exactly. I should be able to understand every word with music like this, and I don’t. But overall, this is a fantastic CD.
-Robin Umbley/John Hess
• Northeast Performer Magazine
The Gilded Splinters' debut release resounds with contemporary Americana sounds, tinged with classic rock stylings. Its catchy hooks laced with glimmering production by JP Bowersock (The Strokes, Ryan Adams) make the record easily digestible and definitively inoffensive. Comparisons to alternative pop act Train (remember that irritating Drops of Jupiter song from the '90s?) are, unfortunately, inevitable, as January possesses a similar sense of smoothed over pop grit and a vocalist with a nearly identical affect. Frontman Josh Buckley gives the occasional Mick Jagger growl during his musings over tortured women and grief-stricken lives to give the songs their strongest feelings of authenticity.
Each track employs swooping melodies accompanied by tinny guitar twang and straight-ahead pop rock drum beats. Like many acts in this radio-friendly genre, Buckley's vocals maintain a palatable composure while hinting at deep, emotional strife below the surface. But just a hint. In general, Buckley sticks to a safer sound that remains family-friendly enough for Grammy performances and teen soap operas.
The standout single, "Lisa Jack," serves as a solid album opener with its raw, electric blues shuffle. The piano work on "Show Me the Green" flirts with rockabilly antics, but seems unconfident, straying too far from the band's comfortable alt-country niche.
After the first four tracks, however, the album starts to fade into the same repetitive song structuring and predictable changes. The Gilded Splinters' songwriting is competent and shows fleeting moments of potential; overall, however, the band doesn't take nearly enough risks to hold the listener's attention for 50 minutes. Seven out of the 10 songs here clock in at over four and half minutes and all seven of those could be tightened up considerably. (Self-released)
• The Boston Herald
‘Living’ is good in Buckley country
“Remember ‘Solid Gold’?” Josh Buckley asked me between chomping boneless Buffalo wings at the Pour House, a Boston watering hole that merits a mention in his song “Furious Ink.” Of course I remembered “Solid Gold,” but I hesitated to admit my love for glittery dance shows.
“I saw Mick Jagger on that (show) when I was 4 or 5 years old and said, ‘I wanna be him,’ ” Buckley confided. “At that moment I saw my mom’s heart break. I saw her crumble in fear.”
These days, Buckley’s mama is smiling about his musical career. She even marches up onstage, with his 4-year-old nephew in tow, to request the more upbeat songs in his melancholy repertoire.
“My music sounds like redemption,” Buckley said. “I sit and write songs about whatever I’m going through - about change or not changing, or a girl. Whenever I write, it’s always a spiritual connection to a higher power. It takes me to a place where nothing matters. I know that’s cliche, but it’s true.”
Buckley shows off an original country/folk style and striking high voice on his debut full-length CD, “Living Man’s Blues,” which is rounded out by a band adding bluesy piano and upright bass.
No, he’s not pretending to be from Mississippi. Instead, his accent sways between the Acton-raised boy he is and an alter ego that screams tortured Southern countryman.
“Country music is what I’m most intrinsically connected to - they tell it how it is,” said Buckley, who also takes cues from the Rolling Stones, Simon and Garfunkel, and Elvis. Although he’s one of few country acts thriving in Boston’s pop- and rock-saturated scene, he said his next full-length album will be harder, with rock roots.
“There’s so many ways to say something, and I figure, why not try ’em all? You can turn a slow song into a punk sound, or take a punk song and make it a samba or something.”
Just to clarify, there’s no samba or salsa in his future, but he has been listening to the Beatles, the Beach Boys and the Clash.
And while he still wants to reach Jagger status, he also dreams of playing the Grand Ole Opry.
“I don’t care if I have to break in,” he declared. “I’ll play at the Opry someday. That’s when I’ll know I’ve made it.”
- Kerry Purcell / Music (July 2006)
• The Boston Globe
"Reasons to like Josh Buckley:He sings love songs with a twang. He plays Americana tunes with an indie rock feel. He likes his girlfriend enough to keep her picture on his website."
- Sidekick (June 2006)
• Metronome Magazine
Singer-songwriter-guitarist Josh Buckley displays a carnival-like quality to his songs, and whether intentional or not, that's what's depicted in the liner artwork as well.....a photograph of a
carnival like the ones you see in supermarket parking lots and empty, small-town fields. His music is lively and upbeat as he portrays a childlike innocence to his lyrics and delivery. Keyboardist Phil Aiken, electric bassist Brian Runck, stand up bassist Joe Wisink, and pedal steeler Mike Castellana along with Dana Colley on sax, John Marcato on drums, Dave Wesson on harmonica and Andy Butler and The Broken Bottle Singers on backing vocals, all help to build the pieces of Buckley’s compositions making for a solid effort. Cool songs include the album's title track, "Living man's Blues," the bouncing "Life Among the Ruins," and poignant workingman's cry "Get Off My Back (and get on with your job)."
- Douglas Sloan (June 2006)
• The Boston Metro
“Josh Buckley plays the type of rootin’ tootin’ songs that might get him signed soon.”
• WERS Boston
“These 12 tracks convey a new take on American roots music. Buckley’s soul permeates through songs about women, life, and just trying to get by, anyway you can.”
- Dave Poehler
• Electrokitty Recording
“When Josh first came into my studio I knew he had it. Drive, conviction and a uniquely haunting voice are what separates him from the rest”
- Gary Reynolds
•“He’s got great stage presence…..I can see him creating a real buzz”
- Dan Cowan, Owner/Booker of The Tractor Tavern
• Shecky's Guide
Josh Buckley’s not your average finger pickin’ weather-worn white boy with a guitar. He’s an urban sidewalk poet unencumbered by pretense or trendy hipster cynicism.
- Anthony Fisher