Veronica Witkin’s resilience and tenacity have allowed her to climb back up a mountain most cannot climb once. The first album I ever reviewed for a site was ‘Glitter City’ by the Glam Skanks. If you have not ever heard the album, seek it out along with ‘Things I Might’ve Said’ when you get done reading. The Glam Skanks at that time were pure magic. They had a singer (Ali Cat) who could command a room just by being in it. The chemistry was extremely tight, even if their drummer situation made Spinal Tap look like a band that could keep a drummer. They toured with Adam Ant and had an absolutely incredible album that is one of my all-time favourites. The band would go through some changes before the next album was released, which was a good album, but not at the same level. The Glam Skanks would eventually go their separate ways, with Witkin looking for what comes next. Soul searching, perseverance, and strength have allowed her to pick up the pieces and rebuild her musical approach. ‘Things I Might’ve Said’ serves as a new introduction with Witkin not just playing guitars but singing and shifting her musical direction while remaining in a 70’s frame of mind. While a few of these songs have been released over the past few years, she has also excluded some previously released songs from the album.

She kicks off the album with the power-pop stylings of ‘Last Years Ashes.’ Her voice has some grittiness to it that makes it feel rougher than the Raspberries, but still poppy. One of the early songs released from the album ‘1973’ paints a picture lyrically and draws musically from the same year. Witkin’s voice is working perfectly with the approach. There needs to be more avenues for these kinds of songs and music to be heard, as I believe there is a huge audience out there who have no idea this exists. She uses her guitar brilliantly within the song. The song has more rock to it than the first song. She does a great job establishing a wide variety of musical approaches across the album, with ‘A Way Back to Myself’ dipping into an acoustic rock feeling that has Led Zeppelin elements. Her vocals showcase the work she has put into developing as a singer. She maintains some rasp and adds power to it. The guitar solo hits hard and establishes another high point on the album. Lyrically, these songs seem to draw inspiration from Witkin’s journey from the demise of the Glam Skanks to her phoenix-like rising here.

Furthering her musical scope, ‘I Hate My Brain’ delivers some straight-ahead rock n roll with some much-appreciated hand claps included. Her guitar work again is very impressive as she delivers the goods without overshadowing the song itself. From the first moment I heard ‘You’re So Cinematic,’ it has reminded me of early Alice Cooper. It has a dark, dreamy feel with some excellent guitar licks. Her ability to play guitar, I have never questioned, and the solo here provides proof. Vocally, though, she has done a great job employing different styles and approaches. Her vocals here are smoother and sound powerful. She closes out the first half of the album with the rocking ‘Hard to be Happy’, which features a chorus that pops out of the speakers. If you told me Witkin time-travelled here from the early 70’s, I would not be surprised, as she delivers these songs with a genuineness that jumps out of the speakers.

The flipside or back half of most albums do not begin with an ‘Intro.’ The very brief instrumental reminds me a bit of the circus, but it works well as an introduction to the glamtastic ‘Don’t Call It a Cult.’ If you remember the amazing ‘Velvet Goldmine’ soundtrack from many years ago, this song would fit perfectly on it. She has channelled her inner Bowie on this one, and I love the guitar work. The backing vocals are sublime, and I love the lyrics. ‘Chromatic Aberrations’ spreads out the musical landscape again with some tasty guitars on a spaced-out beat. Instrumentals can be hit and miss for me, but this one is definitely a hit with a lot of personality.

 ‘Conversations in My Head’ brings us back into the power-pop spectrum with another strong hook-filled chorus. Lyrically, this song will likely connect with most of us as she has channelled into something most of us do. The cleverly titled ‘Drowning in the Gene Pool’ turns up the fun musically with some piano added into the mix to join the party. The guitars pop in the mix, as do the hand claps. This feels like something Sass Jordan could have done back in the ‘Racine’ days.  All good things must end, and Witkin brings the curtains down with ‘These Days.’ What struck me most when I first heard the album is she chose the finale to showcase her vocals, more than her guitar. The confidence leaps out of the speakers as she sings about trying to fit into the world. This can be an anthem for any of us who have experienced moments where we don’t fit into what is happening or feel out of place.

The Glam Skanks drew a lot of influence from the 70’s but took it in a different direction. Witkin has shown an evolution in who she is and what she represents. This album feels like a piece of her soul. She came very close to having her rock n roll dreams come true and has established a solo career with this album that puts her heading in that direction again. The musical approach isn’t revolutionary in terms of forging a new genre. This musical approach is based on writing and performing great songs wrapped in authenticity.

‘Things I Might’ve Said’ is available now. Buy Here

Facebook

Website

Author: Gerald Stansbury