Monday
Mar272017

Reviews by Stephen Rapid

Chilli Willi and The Red Hot Peppers Real Sharp Proper/Last Music

This compilation brings together pretty much everything recorded by Chilli Willi who, essentially, started out life as the duo of Martin Stone and Phil Lithman. The former had a long musical career in bands such as Savoy Brown Blues Band, The Action and Might Baby among many others before becoming a dealer in rare books. Lothian nicknamed ”Snakefinge” had played with Stone in Junior’s Blues Band before moving to San Francisco. On his return he reunited with Stone to form Chilli Willi and play country oriented rock music. Both are now deceased as is their icon graphic designer Barney Bubbles. This compilation is dedicated to all three. Bubbles’s work is featured throughout the package and was one of the reasons I sought them out when they were originally released. 

The first CD in this two disc set opens with the songs originally released as Kings Of The Robot Rhythm. A mix of original songs and a couple of traditional arrangements. Though remastered the overall sound quality is a little thin but none-the-less quite entertaining. For the recording of that album Stone and Lithman were joined by Bob Andrews, Nick Lowe and Billy Rankin from Brinsley Schwarz along with a couple of other London-based players. It is a more acoustic sounding affair with some strong harmonies from the duo. Friday Song was an unreleased single and nit a bad one too. It is reminiscent at times of The Byrds, Flying Burrito Brothers and the more country side of Moby Grape and seems to kick the sound up a notch or two with some good steel and guitar interplay. Their ethos may be summed up, to a degree, by the first song of a series of demos that come up next - Goodbye Nashville (Hello Camden Town). These tracks would make any current band feel happy with their content. Truck Driven’ Girl has banjo, fiddle. What you hear is that these guys can certainly play. Another highlights include Jesse Winchester’s Midnight Bus and a rockin’ version of Choo-Choo Ch’ Boogie. A song that also turns up on the second disc.

That disc starts with the eleven tracks that made up the band’s second album Bongos Over Balham and a slight shift in direction that encompasses some swing ands blues along side the more countrified numbers. The band had now solidified with a rhythm section of Pete Thomas (later of the Attractions) and Paul “Bassman”Riley along with P.C. Bailey and guest Bob Andrews who both added sax and other instruments. Mike Nesmith sideman 'Red' Rhodes also guested on pedal steel guitar. Again the playing singing and self-written songs are all engaging and enjoyable. Highlights include Desert Island Woman, All In A Dream and newer versions of song from the demos Midnight Bus and Truck Driving Woman. All of these were Lithman originals other than the aforementioned Choo-Choo Ch’ Boogie and Midnight Bus. The remainder of the album is taken up with some live tracks either from gigs or radio sessions. The final two tracks were final demo recordings of cover sings. These round out a package that is interesting both musically and in visual terms and for Paul “Bassman” Riley’s informative sleeve notes. Well done to Proper for reissuing this archival project of what was obviously a fun band to witness and remain to listen to. 

Bill Kirchin and Austin de Lone Transatlanticana Proper/Last

Anyone fortunate to catch Bill Kirchin live will be well of his prowess. Equally his albums make for a good listening experience that is full of memorable songs and playing. Nothing different here then for his collaboration with keyboardist Austin de Lone, an American who initially made his name playing with Eggs Over Easy on the burgeoning Pub Rock scene in London. The album was recorded in Austin and in London and it’s well up there with either’s best work. They work well together as they have in the past with either Kirchin or De Lone taking the lead vocal. But some fine guests abound such as Butch Hancock dueting on his own Oxblood. Gurf Morlix on electric guitar, Bobby Black on pedal steel and the rhythm sections of Paul “Bassman” Riley and David Carroll on bass and drummers Malcolm Mills and Rick Richards. Harmonies are added by Caroline de Lone and Louise Kirchin. 

The song are mostly covers including Blackie Farrell’s opener the amusing and arresting Hounds Of Bakersfield through to the blues of Charles E. Calhoun’s Losing Hand. Kirchin and de Lone have distinctive voices that work well in context. The former is, naturally steeped in the sound of Bakersfield while the later showed Kirchin is also adept at playing the blues. Throughout the duo cover a number of musical bases with ease and success. de Lone delivers a soulful and sensitive vocal on Warm And Tender Love. In the main the original songs are from de Lone while the rest are covers that suit the duo well including a version of Bob Dylan’s The Times They Are A Changing.

There is nothing ground breaking or monumental on the album, but that’s largely beside the point, as these are two musicians (and friends) who love to play music and are seasoned players who are putting there heart (and soul) into these songs. They perfectly delineate passion over posturing and the ease that such a long career making notable music brings to such a project. Both Bill Kirchin and Austin de Lone are comrades and old friends and Transatlanticana is a hands across ocean that shoes the true connections that music can make. Incidentally the UK version of the album has two additional tracks.

The Long Haul Beautiful Lies (10 Tales Of Temptation) Self Release

This UK band are Simon Sparrow and Francois De Ville who are the writers of these songs and who play guitar and pedal steel respectively. They are joined by Matt Windler and Dil Davis. A different set of players to those listed on the press release as can sometimes happen. They play traditionally minded songs that are enhanced by (Nashville based) Eamon McLoughlin’s production. He also adds fiddle, mandolin, cello and viola to the sounds and has brought in some fine guests in Lloyd Maines, John Jarvis and Chris Scruggs. The music was recorded in Brighton as well as Nashville and in Austin. Which gives the album some additional weight behind the duos songs. There are times when a little more grit in Sparrow’s voice would have been welcome but that shouldn’t distract from some solid songwriting and playing. Largely the sound falls into a smooth steel and string enhanced mood that is less honky-tonk overall than a song like the opening ode to the Austin club The Continental might suggest. Though another of De Ville’s songs is also more in the dance floor vein. His Beautiful Lies is also a good song.

Sparrow songs seem take a more melancholic direction that rewards some repeated play. Songs like Waiting And Wishing, Blind and You’re Still Here all have a sense of regret that is matched by the the music and you can see why McLoughlin wanted the steel and strings to form a central part of the song’s core. They provide the right sense of existential heartbreak that is part country, part universal songwriter. The Long haul are another example of how the UK country scene has moved away from jukebox style covers to something far more rewarding and  important to the development of a strong sense of individual identity. Having said that it is unlikely that this band will achieve the kind of recognition that The Shires or Ward Thomas have gained. However the songs here could and the album is a showcase for the songwriting of Sparrow and De Ville as well as McLoughlin’s sympathetic production.

Lil’ Lost Lou Self-Titled Bully Records

Another hands across the ocean production with Lil’ Lost Lou recording parts of the album in the UK and in Nashville. There she got producer Billy Livsey involved and she co-produced the album with Livsey and Sean Kelly (who handled the UK end of things). In Welcome to 1979 Studios they got a bunch of players like Dave Roe, Russ Phal, Stuart Mathis and Livsey himself lending their talents to the recording. The music is a vibrant mix of some rockabilly, country, rock ’n’ roll and punk ingredients. Psyche (an old family name?) wrote all the songs on the album that is focused around her edgy vocals and sassy, untameable attitude. 

The sound of the album is not as trenchant rockabilly as some others have been in the past which, in the end, makes for a more varied result that utilises the various skills on offer to good effect. Grounding it all is the rhythm section of drummer Justin Amaral and bassist Roe - who himself knows a little about attitude having played with a who’s who of interesting singers from Johnny Cash to Dwight Yoakum. Yet Psyche can also manage to keep things sparse yet edgy on a song like Ride A Train with simple stripped back instrumentation and voices. Elsewhere songs like I Kissed Your Man (Jolene), which has the air of an answer song about it. It is a harmonica filled gutsy tale of lust and need. Ramblin’ Woman with is the tale of an unsettled “other” woman who need to keep moving on and making her own way and own rules.

The album is divided into a Side A and a Side B Though there is no immediate difference sound wise between the two. He Put A Hook In Me (Bones, Feathers, Black Book, Rabit Foot) is another songs that has a voodoo rhythm and some midnite mayhem in a song that features some strident female backing vocals to harden its sense of want. More reflective is Red Is The Colour Of My Shame a restrained redemptive rating of ones internal demons that is largely some steel and acoustic guitar behind a telling vocal. Things get hotter again for Brown Boots that quotes from other boots related paeans to getting things done right. The closing song is entitled Song For Bob Dylan and is indeed just that. Questioning to the way that in her mind his words were written about her and for her. “Did you read my mind in a dream sometime” she asks. The song builds from voice and acoustic guitar to a full band finish that acts as a fitting end to this interesting and insurgent artist.

Nathan Bell Love>Fear (48 Hours In Traitorland) Stone Barn

The role of the protest folk-singer seems have gained an even greater relevance in recent (darker) times. Echoing a time when the guitar and harmonica wielding story-teller and oracle of truth was front and centre. Now they work on the fringes. What you see is what you get here with this album. Bell with guitar and harmonica and a bunch of songs that tell it as he sees it. Songs of the working man, the working woman and of lost souls. 

In these songs ordinary people are given a voice by Bell. It is a voice that has some portent and potency. One that is set against his simple but effective guitar playing. Raise Your Fist, is as it sounds, a call to action to make yourself know. It is dedicated to the athletes at the 1968 Olympics who gave the black power salute. While Coal Black Water takes to task those coal companies who abused the land and the miners for profit. One Man Walking is about how an individual can face up to those things in life that he finds difficult to face but makes an individual stand against. Traitorland is a song that set some guidelines for living (and loving). Perhaps the immediate standout though is MIA (Bill In 1975), wherein the turns the acronym into a number of alternatives like Missing In America and Mad In America about a brother who after returning from the Vietnam War went to live in Montreal and lost contact with his family.

Bell stands alongside the likes of Joe Purdy as a man who follows the path laid down by Woody Guthrie and the stripped down harshness and hardness of Springsteen’s Nebraska. This is how Bell would sound live and in fact half the songs here are live recordings and full of life and light. This is a raw recording that follows previous albums like the studio recorded I Don’t Do This For Love, I Do This For Love which was released in 2016. This is a timely release that will hit home for many.

Drew Holcomb And The Neighbors Souvenir Magnolia

The latest release from Holcomb and his band offers some more big sounding music. Produced by Joe Pisapia and Ian Fitchuk in East Nashville it again covers Holcomb and the bands’ genre mixed roots style that is riven with hooks and melodies. Though it is Holcomb’s voice that is front and centre here (it has the kind of timbre that would be familiar to David Gray fans) it is largely a full band effort with the members contributing both to the music and to the writing of the songs. This makes for a cohesive and complete album that has a strong organic feel from a group of musicians who have played a lot of dates together and have that ease with each other that shows in the music.

The writing credit are shared between Holcomb and band members Rich Brinsfield and Nathan Dugger in various combinations. Yet it is Holcomb’s name over the door and he ultimately has the responsibility for the overall direction of positive, passionate and at times fragile and figurative outcome. Souvenir is Holcomb’s tenth release and so he has been working to this point for a long time. And one wonders how much longer before he can achieve the kind of recognition that Nathaniel Ratcliffe and the Night Sweats have gained in recent times.

California an upbeat ode to that State, a place to return to from far away, is as bright as you would expect. While Fight For Love explores the disparate nature of a relationship that requires the titular effort to make it work. Keyboard player and guitarist Dagger’s The Yellow Rose Of Santa Fe has pedal steel to bolster it’s country feel. It is about meeting a woman who is a quiet force of nature, a slow shuffle about time and place. It looks wistfully about what might have been though from a place of positivity with what is. Postcard Memories is another song that considers home and wanted to be there with someone you love and need. It is a restrained ballad that is subtle and effective. The album ends with Wild World that is stripped back to guitar and voice until the piano and bass comes in to give the song a further depth. The song continues the theme of love s redemption that we all try to find our pace in a wild world where love is all that we have got to give away. A souvenir for romantics everywhere.

Euferzine Where Did The Time Go Little Crab Creek

Essentially this is a project of Denise Reagan working with producers Jeff Taylor and John Mock. Both are integral to the music with both performing multi-instrumental duties on Reagan’s co-written songs that sound timeless and traditional. Often with a strong celtic connection and featuring tin whistle, bodhrán, uileann pipes and fiddle. Through the double bass is a prominent and grounding element and in the hands of players like Byron House and Dennis Crouch you would expect no less. Elsewhere musicians of the calibre of Shad Cobb, Thomm Jutz, Kenny Malone, Glen Duncan and Wanda Vick join Taylor and Mock and others in creating an ethereal bedrock for the ethereal and evocative vocals of Reagan and other like Deana Berry, Sierra Hull, Justin Moses and John Thompson on backing vocals.

This is a double CD of some 20 tracks that are solidly rooted in the past and in heritage. Euferzine is the name of Reagan’s grandmother who grew up in the Appalachians in a place with no electricity or running water. Reagan lost her at the age of 13 but had a song impression of the saddest person she have ever encountered. So it is no surprise that this music is imbued with a sense of melancholy and deal, largely, with her family’s 400 year history.

The album runs as an overarching concept that brings together different style of music that have, equally, a simplicity and acoustic energy that finds the songs connecting together as a tangible whole. There is a companion book that goes with this which would doubtless given a greater emphasis to the songs and the soldiers, hunters, preachers, patriots - the men and women who people these songs. Songs that encompass the genealogy of the place and the old-time, front porch, bluegrass. folk, jazz and celtic musical tributaries that contribute to this river of song - one that is worth emerging yourself in.

Carrie Elkin The Penny Collector Self Released

A strong, often beautiful album from Carrie Elkin that has a strongly poetic nature that is bolstered by a strong musical setting that is perfectly attuned to the lyrical content. Themes include loss as her father passed away recently and love as she also recently gave birth to a daughter. That cycle of life that is central to music that has substance and sincerity. The album title is a dedication to her father who collected pennies all his life. 

 The album was produced by Neilson Hubbard and marks her return to solo work after working with Sam Baker and with her husband Danny Schmidt. There are stylistic elements of folk and Ambient Americana at play. The production manages to mix the moments that need to be heard with an undeniable power that picks the music up at the points it need to. the instruments can sweep and soar and also be subdued as the song requires. This give Elkin expressionistic voice the freedom it needs to for a strong emotional empathy perhaps mirrored in titles like Albatross and Lamp Of The Body.

Alongside Neilson playing drums are studio stalwarts Will Kimbrough and Eamon McLoughlin and backing vocalists Danny Schmidt, Robby Hecht and Ryan Culwell. The album was recorded in Nashville although she resides in Austin. This perhaps allows for a certain distance and distillation. Here Elkin’s voice is full of merciful strength and grace. There is power and equally a telling intimacy that brings the songs their heartbreak and joy. This is Elkin’s sixth solo album and easily ranks with her best recordings and arguably her finest to date. One that is indeed collectible.

Tuesday
Mar142017

Reviews by Declan Culliton

 

Rhiannon Giddens Freedom Highway Nonesuch

It’s both poignant and indeed disturbing that Freedom Highway, the title of Rhiannon Giddens second solo album, was inspired by the Staple Sisters song of the same name, recorded over fifty years ago and motivated by the Civil Rights movement in Alabama at that time. The album was originally to be named At The Purchaser's Option but the prevailing political tensions and developments during the writing process made her reconsider the title.

Giddens debut solo album Tomorrow Is My Turn was released in 2015. Produced by T.Bone Burnett, it featured, in the main, interpretations of material previously written or performed by artists ranging from American blues singer Geeshie Wiley to country legend Dolly Parton together with a quite spectacular rendition of the traditional American folk song Waterboy. Only one song, the closing track Angel City, was penned by Giddens.  While never concerned with concentrating on a particular style the album deservedly received glowing reviews, in the main earned by Gidden’s stunning vocal delivery throughout. 

Freedom Highway on the other hand proves to be a more fiercely personal project, unfolding in documentary style and giving the often faceless and anonymous the opportunity to articulate their struggles, pain, helplessness and abuse. Many of the songs are taken from the female’s perspective, a recurring theme is the mother child relationship with the album visiting the casual and cruel manner by which that relationship was shattered both in former times and indeed to the present day. The inner sleeve of the album features a newspaper cutting from 1797 advertising the sale of a young female slave with the inclusion of her nine-month baby At the Purchasers Option. This proved to be the inspiration and motivation for the opening track of the same name."You can take my body, you can take my bones, you can take my blood but not my soul."

It plays out as an album that Giddens was always going to record and on her own terms.  Her previous solo album and recordings with The Carolina Chocolate Drops were produced by T. Bone Burnett, Joe Henry and Buddy Millar. This time around Giddens avoids the possibility of a more polished and over produced recording by taking control herself in the co-production with multi-instrumentalist Dirk Powell. Produced at Powell’s studio in Breaux Bridge Louisiana, the majority of the songs were recorded in a pre-civil war wooden structure and captures a timeless ambiance. 

The Angels Laid Him Away, a cover of the Mississippi John Hurt original, is stripped back to feature vocal and acoustic guitar and dwells on a mother’s loss at the death of her son. Better Get It Right The First Time, full on country soul, visits similar territory but in the present times, questioning the shooting of a young black man and featuring an unexpected yet entirely compelling rap by Giddens nephew Justin Harrington. Julia, tells the tale of an exchange between a slave girl and her mistress as Union soldiers arrive at their plantation, the mistress pleading with the defiant young slave to dutifully safeguard the family’s trunk of gold. "Mistress, O Mistress, that trunk of gold Is what you got when my children you sold."

Birmingham Sunday, written by Richard Farina and immortalised by Joan Baez, is delivered vocally almost trance like as if Giddens is reliving every last word. Opening with Dirk Powell’s slow piano intro and closing with the addition of an accompanying choir it moved me to the point that I found myself playing it on repeat a number of times prior to continuing with the rest of the album.

Giddens interpretation is at odds with the Staple Singers version on the closing track Freedom Highway. Favouring a less pacey delivery and introducing horns and handclaps, it may stray somewhat from the more gospel sound of the original but lyrically delivers the same message that it did back in the mid 60’s.

Giddens has been in receipt of numerous awards and nominations over the years including a Grammy Award in 2011 with the album Genuine Negro Jig. A late comer to song writing she can justifiably be as proud with this album as any other career highlight to date. 

Kaurna Cronin Southern Loss Self Release

Kaurna Cronin was voted Folk Alliance Australia’s Artist of The Year in 2015 following the release of his last album Glass Fool that year. Southern Loss follows twelve months later and is further recognition of the growing body of talent in the Americana/ Folk genre coming out of Australia in recent years. Artists such as Kaurna Cronin, Emma Swift, Ruby Boots, CW Stoneking and Beth Brown have the ability to follow in the footsteps of fellow Australian's Kasey Chambers, Shane Nicholson and Anne McCue by establishing themselves in a market that is highly competitive.

The album consists of ten tracks written and produced by Cronin and recorded at Mixmasters Studio in Adelaide with the mixing and mastering carried out by Mick Worley. Musicians featured on the album are Cronin’s touring band members Tom Kneebone ( guitar/vocals), Kiah Gossner (Bass) together with session players David Resce ( Drums), Aaron Nash ( Organ/Grand Piano and )Julian Ferraretto ( Strings).Tara Mc Henry, Laura Knowles and Delia Obst all contribute additional vocal harmonies.

The material ranges from the country rocking opener Passion Parade with an addictive laid back riff and harmonies to the gorgeous love ballad Never Get You Off My Mind and the dreamlike 5019. The song writing is strong, solid with tales of love, loss, regret and reflection. Cronin’s high pitched and sometimes fragile vocal is the winner throughout, quite often complemented by well-timed harmonies. 

The Looking Lead Me To The Water Rhizome Man

The Looking is in essence New York City based singer songwriter and producer Todd Carter. His previous album Songs For a Traveler, released in 2013, explored the American songbook from the 19th Century up the 1950’s covering standards such as Black Is The Colour, Old Man River, Blue River and Long Black Veil. Lead Me To the Water. Carter’s inspiration for this current album was the songbooks of the Country music legends Merle Haggard, Ray Price and Townes Van Zandt, whose work he immersed himself. 

Between the recordings of each album Carter produced recordings by Argentinian Bernardo Palombo and French artist Leopold.

Carter, who received degrees in Religion and Philosophy at Indiana University most certainly has an open mind in respect of his musical influences. Together with his research of the great American songbook for his previous album he also cites Syd Barrett, The Circle Jerks, Husker Vu and The Smiths as artists that were very much on his radar. As a result the listener won’t make an immediate connection individually with the music of Haggard, Price or Van Zandt on first spin of the album though further plays expose their influences.

The title track and open track draws the listener straight away thanks in no small measure to some dreamy pedal steel playing by Gerald Menke. The Well, which follows, is a fuller and rockier affair with a killer guitar riff and backing vocals compliments of Sasha Dobson who plays regularly with Nora Jones. Not Your Friend and Where Did You Go have a mid-70’s West Coast Jackson Browne feel, You And Me recalls the sound of Josh Rouse. Burning Doves bookends the album very much in a similar style that the title track opened it, a gentle country rock sound aided once more by Menke’s lovely pedal steel.

The album was produced by Carter and Bill Finizio with all songs written by Carter with the exception of You and Me co-written with Finizio and Where Did You Go which was written with Tim Curtis–Verderosa. It credits thirteen musicians other than Carter and Finizio and is most certainly the work of an artist that has the talent and achieves a sound that could make a major industry breakthrough.

Erika Kulnys Rise Up Self Release

The possessor of a quite extraordinary voice, Rise Up, the seventh studio album by Kulnys, finds the Nova Scotia resident in fine form reflecting on matters worldly as well as closer to home.

The album’s twelve tracks, all penned by Kulnys, are both personal ( Love Me In The Morning, Carolina, Love’s Not Wasted) and political (Rise Up, Roaring For A Revolution), the common bond being the quality of the story telling and that heart stirring  vocal that dips and soars effortlessly throughout.

The aforementioned Roaring For A Revolution, the cream of the crop, bears a healthy relation to Anais Mitchell in style and indeed delivery. Kulnys powerful and soaring vocal is the winner here without doubt, bringing the poignant lyrics and melody to life.

The title track speaks for the repressed and downtrodden "Rise up, Now is the hour Rise up, Take back your power, Rise up, We will not wait, We rise up today."

Equally comfortable singing the blues on I’m On Fire or folk ballads such as Angel On The Road and Honeysuckle the album as a whole reinforces the versatility and rounded talent of an artist well worth checking out. 

Callie Hopper Out of the Shadows Callie Hopper Music 

This is the second album release by the 20-year-old Nashville resident Callie Hopper. As the title would suggest the album features open hearted material  and is a large step forward from her debut album Notes On Love And Such,  which she recorded as a sixteen-year-old. It also reveals the song writing talent of a young lady mature well beyond her years. The material is credited as co-written with producer Ryan Speakman and Chad Alexander, with the exception of Stay which is credited to Hopper alone.

The music in general is quite mainstream, possibly closer to the pop end of the market rather than that wide umbrella we classify as Americana and it’s probably the correct market for her to target. 

Created over a two-year period it is commendable that much of the album was primarily written when Hopper was a teenager and it’s understandable that many of the songs deal with relationships and vulnerability (Stay, So Much, Hold On, This Songs Not For You).

The title and opening track, however, is a wonderful coming of age song with the writer prepared to bare her soul while agonising over how her stories and honesty might be perceived. "If I open up my heart to you, if I show you what’s inside, will you listen to my words, will you feel what I wrote."

Notwithstanding Hoppers ability to pen strong material she also possesses a delightful voice and engaged a strong band of musicians to bring the songs to life including co-writers Alexander on guitars and piano and Speakman on drums percussion and organ. Chad Alexander also shares vocals on Fire and Ice.

Possessing the song writing ability, a gorgeous vocal ability and style, Hopper is more than than well situated to enjoy a successful career and is in the right place both musically and geographically to be noticed and nurtured.  Whether her journey continues down a mainstream route or takes a slight diversion in a more countrified direction will be interesting.

One to watch without doubt.

Jemima James At Longview Farm/When You Get Old Team Love Records

An extraordinary project and album in many ways.  Jemima James, now 65 years old, wrote At Longview Farm in 1979 and it has taken 38 years for it to see the light of day, being finally released by Team Love Records. But the story does not end there as the album has been released as a double which also features When You Get Old ( 65’s not old anymore Jemima!), her recent 2015 recording. James’s life story is intriguing, having dropped out of art school in the early 70’s, she relocated to New York and was employed by Famous Music as a songwriter. The great grandchild of the most famous American  philosopher William James (brother of the author Henry James),  her career  has seen her employed as a writer, performer, cook, pre-school teacher and carer. Her early life also found her working for three years at Long View Farm, cleaning, cooking, milking cows and also serving food to a range of artists including J.Geils Band, Tim Curry, Arlo Guthrie and The Rolling Stones.

She and Michael Mason are also parents to Willy and Sam Mason, both accomplished artists in their own right, both understandably feature on When You Get Old.

What makes the intriguing story complete is  the quality of both albums. Notwithstanding the musical excellence, the packaging, liner notes and photography are delightful. The cover on the earlier album features James with the classic 70’s singer looks, wild hair and sweet impish smile. When You Get Old depicts James in more recent times, still in possession of the impish smile!

It was during her three year stay at Long View Farm that she recorded At Longview Farm. Two tracks in on my first listen had me reaching for the liner notes in full expectation that the track Havana Cigar is a Townes Van Zandt song that had somehow escaped me over the years. The standout track on the album, It is in fact written by James, as are all the other tracks on the album and is of a standard that compares with Van Zandt’s finest. Not trailing far behind in the quality stakes are One More Rodeo, Jackson County and Esperate. The album is most definitely of its time, folk music soaked in country, assured playing throughout and delivered beautifully by James. The work of Linda Ronstadt and Guy Clark come to mind.

When You Get Old was recorded at Old Soul Studio in Catskill, New York in October 2015 and unlike her earlier album includes four well selected cover versions, If I Could Only Fly by Blaze Foley, Tennessee Blues by Bobby Charles, Gillian Welch’s One and Only and If It’s The End written by her son Willy Mason. She also revisits the earlier album with versions of Sensible Shoes and Easy Come Easy Go featuring in the thirteen tracks. The vocals remain as sweet and disciplined as her earlier album with the playing equally accomplished.

Listening to At Longview Farm one has to wonder how many quality recordings are packed away in attics, garages and recording studios that for a variety of reasons never found their way on to the record store shelves and a subtle reminder of the thin line between commercial success and oblivion. 

Various Artists Five Years of Country to Country C2C (2013-2017) Hump Head Records

The Country to Country Festival was first staged in 2013, bringing a wide range of artists annually to London, Glasgow and Dublin. It takes place over a weekend and includes acts that represent traditional country, modern country, crossover pop country, bluegrass and rock music.

In celebration of the continuing success of the festival Hump Head Records have released this double album featuring many of the acts that have appeared at the various venues over the past five years.

Impressively packaged and including a glossy forty-page booklet, the album features forty tracks in total across quite a wide musical range catering for all tastes. Full on rockers Brantley Gilbert (One Hell Of An Amen) and Eric Church (Springsteen) sit side by side with more classic country honky tonkers Dwight Yoakam (Take Hold Of My Hand) and Marty Stuart (Time Don’t Wait). Legendary Nashville household names Reba Mc Entire (Consider Me Gone) and Lee Ann Womack (Last Call) are complimented by their neighbours and a new generation of female singer songwriters in Ashley Monroe (If The Devil Don’t Want Me) and Brandy Clark (Girl Next Door). UK duo’s The Shires (State Lines) and Ward Thomas (Guilty Flowers) represent acts closer to home that have benefitted greatly by the exposure they have been given by appearing at the festival. Multi award winner Chris Stapleton (Tennessee Whiskey) introduces a slice of country blues in to the mix. More modern country is featured with the inclusion of Brad Paisley (The Mona Lisa) and Jennifer Nettles (That Girl). Female singer songwriter Miranda Lambert (Little Wagon), with the capability to excel in all the foregoing strands of country music is also represented.

 The purists may argue that the material is not entirely representative of country music in the true sense (which it does not claim to do, in fairness), but without doubt one of achievements of C2C has been to introduce a younger UK and Irish age group in considerable numbers to country music, both recorded and live, as well as the ‘older grey hairs’ who would traditionally be considered the target audience. 

It’s inevitable that not all tracks on the album will be to everyone’s liking. However, it does present what the music industry considers to represent country music today and with the depth of artists featured should include music to suit most country listeners taste.

Michael Howard Gasoline Dream Self Release

Alaskan born and reared Michael Howard, similar to so many other singer songwriters, had an early career playing punk music prior to settling back in to a career as a folk singer songwriter. Maybe the remoteness of residing in the rural setting of the Last Frontier with its long dark winters made a mark in terms of self-survival as Gasoline Dreams, though primarily folk and some protest songs, also retains the DIY dimension with a number of the tracks being recorded entirely live by Howard. The album was recorded at Tiny Telephone Studios in San Francisco with production and engineering duties carried out by Jacob Winik (Magnetic Fields, Samantha Crain).

In the main it is very much a stripped to the bone affair with the emphasis most definably on the written word and the stories within. Vocal and acoustic guitar dominate  with minimal additional instrumentation courtesy of Kevin Worrell on bass and keys, Andrew Maguire adds percussion.

The songs are heartfelt and personal, written and delivered by an artist with an obvious deep social conscious and a passion for storytelling. With Howard’s distinctive almost spoken vocal the album  may take a few listens to grab you but songs such as opener Meet Me at the Front Line, Hog Butcher Hog Butcher and  the title and closing track are representative of an album that is a Sunday morning rather than a Saturday night listen.

Sunday
Mar052017

Reviews by Stephen Rapid

Marty Stuart & His Fabulous Superlatives Way Out West Superlatone/Humphead

The latest album from this collective is further example of the quartet’s prowess in bringing some hardcore country music to the masses. For Marty, this is a life-long commitment. Way Out West, as the title indicates, is loosely themed with tales of a temporal nature together with the various  temptations and travels in the American West. The album opens with the ambient Desert Prayer (Part 1) which features the voice and drum of Lakota native Everette Helper. That sets the mood for the band instrumental Mojave, one of several on the album. Buddy Mize and Dallas Frazier co-write Lost On The Desert which follows, a simple tale of being adrift in the sun-drenched heat with devilish distractions. It was originally recorded by Johnny Cash and a song that Stuaret remembered when this project was in production. The title track follows. It is a slow paced cautionary tale of a pharmaceutical enhanced entrance into some of the wide-open spaces, in every sense. It is also the story of Big Bill Chisum and a Johnny Cash prison concert.

The Fabulous Superlatives on this occasion welcome bassist and steel guitar player Chris Scruggs to their midst although the former holder of that role Paul Martin, who adds bass and harmony vocals to a couple of songs. Otherwise Stuart is accompanied by his usual top notch team of Kenny Vaughn on guitar and Harry Stinson on drums and vocals. Another factor in the success of the album is producer (and Heartbreaker) Mike Campbell who brings, at times, a broader palate to the sound that not only has elements of his regular musical employment but also of that time in the early 90s when elements of British beat blended neatly with some Bakersfield twang. This is perhaps best exemplified by Whole Lotta Highway (With A Million Miles To Go) a Stuart-penned song of the trucker’s life. Campbell is also a player, adding guitar to the arrangement.

The instrumentals include El Fantasma Del Toro, Quicksand and Torpedo. All are effective in adding to the flavour of the album’s theme and sit as bullet points between the vocal led songs. Air Mail Special is given an up-tempo electric guitar picking workout from Stuart and Vaughn. It is a song written by Charlie Christian, Benny Goodman and James B. Mundy which was later something of a bluegrass standard. Here it is given a vibrant country music makeover that shows the versatility of both the song and the band. On Please Don’t Say Goodbye they use a string arrangement by Kirstin Wilkinson that sees the string quartet playing a role that might otherwise have been taken by pedal steel. It adds much to the songs overall mood of hoping against hope. The second version of Desert Prayer is a brief atmospheric unaccompanied vocal choral that leads into Wait For The Morning, a song that is imbued with hope and promise. The album closes with a reprise of the title song where the string quartet is again used to add a filmic quality. 

In the end a thoroughly satisfying and varied album from a band that lives up to its name. It is one of Stuart’s best and certainly a direction we don’t hear too often in these days of rap, rock and EDM influenced pop country we hear so much today. Marty Stuart & His Fabulous Superlatives can take a bow for, again, pointing the music in the right direction and doing so in style.

Will T. Massey 30 Years In The Rearview Route 61

A Texas-born roots artist who released his first album proper back in 1991 on MCA. It had offered the world a new talent and was co-produced by Roy Bittan but failed to gain commercial success. Previously he had self-released a cassette albums. Following a period of illness, he got back on track and has subsequently released several albums of which this compilation is an overview of later releases with three tracks taken from the pre-MCA period.

It opens with A Summertime Graveyard recorded in 2016 and which features Massey’s voice and piano accompaniment. It is a good introduction to the slightly world weary but engaging voice and to a credible songwriter. The original version was on the MCA debut as was You Take The Town. The following three tracks were produced by Lloyd Maines and have a loose, relaxed feel that features some fine playing and memorable songs in Mr Johnson’s Store and Long Distance Love. The latter a country ballad sung with Tish Hinojosa.

From Letters In The Wind, an album produced by Stephen Foster, come three tracks including the title track.  Massey has some notable players on the recordings including Will and Charlie Sexton, Bukka Allen and Lloyd Maines. Peace Train is a soft focused plea for hope.

Wayward Lady was released in 2008 and features two tracks here. Massey produced it himself and Rosie Flores, Mike Meadows and Marvin Dynkuis are among the players. The sound is a gentler and more folkish.

The songs from 2016’s The Weathering include Meadows and Maines and finds Massey coming to terms with the cards that life has dealt him. He is a storyteller in the tradition of many of the notables from Texas through the years.

In the Wind is just Massey and Maines on a demo from The Weathering sessions and has a world weariness that is perfectly underlined by the guitar and pedal steel behind his cracked voice. The final three tracks are taken from the cassettes he released in 1987 and 1988. They featured friends from school and fellow local musicians. They are noticeably a little more lo-fi than the preceeding tracks and show his country roots and his obvious potential. They round out a career overview that has not been an easy one in terms of recognition or reward. But one that has produced some songs that deserve to be out in the open. Will T. Massey’s music has drawn from his own life and from that of others and produced a body of work that he can turn to as a testament to the positivity of music.

Matt Hannah Dreamland Gamine

Influenced by the likes of Steve Earle, Townes van Zandt and Lucinda Williams, Hannah has just released his second album. While there are elements of the aforementioned artists (as well as others) it should be judged on its own merits. This Minneapolis based singer/songwriter has his band around him as he dispenses his folk/roots music with a solid, satisfying demeanour. All the songs are written by Hannah and are supported by the players who use bass, drums, guitar, keyboards and pedal steel. Matt Patrick who plays guitar and keyboards on the album also produced with a warm and generous sound. His overall ethos may be summed up by the lines from Banks Of The Mississippi: “We came here from New York City, worn out feeling bad, these were some of the worst years, and the best I ever had.” His reflections cover the good and the bad.

Many of the songs are taken at a slower pace but on occasion they kick the beat up and are driven with a harder energy on such songs as Set Free and Gone. There is an overall feeling to the album that sits well together as a set of songs that move with ease around each other. The assembled players all get behind the mood of each lyric to highlight its essence. Often understated the music retains the essential nature of guitar and voice yet adds much to the overall presence in a way that is effective and enjoyable. Hannah songs are melodic and memorable and Dreamland highlights a talent that, in his own space and time, may be under recognised but is never-the-less worthy of greater attention.

Bill Scorzari Through These Waves Self Release

A voice for the ages that has been left to rust and crack in all the right places. One of those voices that is full of resonance and raspy righteousness, if not of great range; so more Kristofferson than Caruso then. Yet it is a voice utterly perfect here. Scorzari’s songs are often about seeking a kindred soul and in that finding solace. There is a poetic grace that makes them worth listening to and reading. In Holy Man, he writes “I questioned the wrong, I questioned the right … I got no answers to my questions, why?” Despite this, Scorzari songs look towards the light and navigate the waves that are sent his way.

This is an album full of atmosphere and allocation. Scorzari has, with producer Jonah Tolchin, assembled a select crew of seasoned players who bring much to the recording without ever taking centre stage away from the song itself. To name a few of those involved may be a disservice but those who will be familiar to many include Joachim Cooder, Will Kimbrough, Chris Scruggs, Laur Joamets, Eamon McLoughlin and Kim Richey. Alongside Scorzari and Tolchin there are 14 players listed in the credits. All bring something important to the process and make an album that has depth and diversity.

There are 12 songs here, all recorded in a thirteen-day period, in the Bomb Shelter studio in Nashville. They were written over a period of a few years but represent a writer who is crafting songs worthy of exploration both lyrically and in musical terms. There have been comparisons to Sam Baker and that is understandable yet Scorzari is as unique in his telling of tales. There is a sense of profoundness in the way these songs unfold in a compelling and truthful way. Scorzari has made previous albums but this release finds him at the top of his game. However, there is also the sense that there is more to come and that Through These Waves finds him discovering his sense of purpose and need.

Miss Tess Baby, We All Know Rights

A feisty singer and accomplished songwriter who performs original songs that straddle various aspects of Americana. A Maryland native now located in Nashville she and her band The Talkbacks have built up a strong reputation for their live shows. In the studio, she has with co-producers Dan Knobler and Thomas Bryan Eaton put together a selection of players to bring these songs to life. Utilising keyboards, guitar, fiddle, pedal steel, upright bass and drums, as required to suit the needs of the individual songs, she has made the best album of her career to date.

Miss Tess possess a sultry and silver-tongued voice that swings and sashays across these country, blues, jazzy and rockabilly sounds. As timeless as a well-stocked jukebox but equally contemporary in outlook. There seems nothing contrived about her love for these classic forms that she uses as the basis for her fiery songs. The eleven songs are all written or co-written by Tess and include the sax savaged I Can’t Help Myself that should have graced a 50s-teenage rampage movie. Equally invigorating and upfront is Shotgun Wedding with its pointed urgency and unequivocal message. However, as Do You Want My Love proves, she can be subtle and sensual as much as she can enliven and energise.

Throughout, the players get in some telling licks that both highlight their individual skills as well as giving the songs that added zest. Miss Tess is part of a wave of women who are exploring roots music but doing so under their own terms and in their own way. Baby, We All Know lets you know that Miss Tess understands and delivers on a promise of an authentic take on a musical heritage that lives and breathes and continues to get people up on their feet as well as listening. There’s not a track here that feels out of place and that shows that Miss Tess loves what she does. You should too.

Manitoba Hal Live In Ghent Hal’s Kitchen

Some may feel that a double CD of 24 tracks recorded live and featuring just voice and guitar might be a little too much. However, be that as it may, and it largely depends on just how much you enjoy the big voice of Manitoba Hal and his acoustic guitar (or ukulele) skills. Hal Brolund (for it is he) has numerous other albums to his credit prior to this live set. He has a baritone voice that is totally suited to these songs that range from classic blues songs by names like Robert Johnson, Bukka White and Mississippi John Hurt or later exponents like Bo Diddley, to the theme of the Wire; Way Down In The Hole and the closing show version of B.B. King’s The Thrill Is Gone.

The authors of the songs are uncredited but there are a mix of classics and originals. There’s Baby Please Don’t Go, St. James Infirmary, Ain’t No Grave and Evangeline Blues, sitting alongside more humourous outings like Taste Likes Chicken. There are songs like Turn Out The Lights which he dedicates to all those in love in the audience. All highlight Brolund’s big personality and obvious love of performing live. He also has the chops to entertain and hold the audience and tells some tales between songs that are all part of the show and who he is.

Some of the songs run over the five-minute length and are best exemplified by a strong version of the music voodoo of Ellas McDaniel’s Who Do You Love. Over the course of the evening Manitoba Hal entertains this live audience and while it’s an obvious souvenir for anyone who attended the event it stands up well as an example of his skill and talent in its own right. For lovers of the blues (and more) by a man who himself loves the blues.

Tuesday
Feb282017

Reviews By Paul McGee

 

Chris Murphy The Tinker’s Dream Teahouse

What do you get when you mix some Reels, a few Jigs, a couple of traditional airs and a waltz? Well, you get a damn fine example of what is commonly called World Music or indeed, Roots Music. The strong well of Irish traditional themes is a central influence throughout, but the array of instruments used outside of this strict idiom makes for a collection that celebrates all types of indigenous, native music.

From the giddy opening of Connemara Ponies, which comes bursting out of the speakers, to the more reflective Union of the Seven Brothers; the 12 tracks included here spin off in different directions like a flock of birds looking for the open sky.  Guitars mix with mandolin & fiddle; bodhran & Bass duel with uilleann pipes & accordion, while flutes, whistles and violin vie with piano and violin to make a joyous sound and lift the spirits ever higher.

The celebratory nature of this music is perfectly captured in the production and arrangements. recorded in Los Angeles and produced by Chris Murphy and Joshua Cutsinger, the sound is very liquid in feel and reflects the wealth of experience gained over the years by Chris in absorbing the eclectic sounds of all kinds of traditional music.

It is impossible to keep still when this music is playing and it is the perfect party CD. Wicklow is a great dance tune as is Cape Horn with the guitar, fiddle and whistle interplay. Small Wonder has a refrain that stays with you, while Thistlewood Bridge will have you skipping around the floor.

Throughout, the dextrous playing of Chris Murphy is a delight and the overall sense of fun and living for the moment makes this an essential purchase for lovers of all things traditional.

My Politic Anchor Self Release

Well now, this is impressive. Sounds like everything that new Country music should embrace; a lot of the old with a healthy sprinkling of the new.

My Politic is an indie/americana trio hailing from Nashville, Tennessee. Originally formed in 2007, this troupe deliver a nine-song set of laid-back, melodic songs that just keep getting better on repeated plays.

Tight harmonies, interesting lyrics and a musical identity that brings to mind the best of Americana/Roots musical artists, I have no doubt that this release will be figuring in my favourites of the year.

Nick Pankey and Kaston Guffey recorded their first album in 2008 and over the next five years they released a further four albums. A move to Nashville in 2013 led to meeting their newest member Wilson Conroy, who has added further colours to their sound.

This is the sixth album and the song-writing is of the highest order with reflective musings on the human condition (God Vs Evolution), youthful hope (Before It’s Too Late), Love in all its complex forms (Ways of Love and Heartless), drug addiction (Nobody to Blame), marital breakdown (The Truth), temptation and human failings (Ain’t No Saint) and the need for a solid base in life (Anchor). This is highly recommended.

Little Diamonds New Orleans Bound Self Release

Luks LeBlanc has a classic country delivery and his vocal is reminiscent of a young Bob Dylan meets Randy Travis. The 12 tracks on this CD are well produced and recorded with plenty of variety in the arrangements. According to media research, Little Diamonds is a combination of Cajun, folk, Americana, Appalachian rockabilly, gospel, and Dixie-land, however to my ears it is simply acoustic folk.

LeBlanc is a self-taught musician, who plays multiple instruments and has just released this second album. On the cover, he is seen hitching towards New Orleans and on the inside, he is pictured in a bar with some bikini-girls in a cosy huddle – hardly the image of ‘having arrived’; or perhaps his sights are just set very low…?

In any event, the music is very good, despite the off-putting album sleeve. The easy song arrangements feature LeBlanc on guitar, piano, harmonica & and banjo. He is joined by lap steel, saxophone, violin, drums and bass on various tracks and he is definitely a talent to watch over the coming years.

Too Early Gone and Duluth Grandma are fine examples of the song-writing talent on display and Drive Away highlights his easy guitar proficiency and style. Understated and peppered with simple sentiment; a song collection that will bring rewards to those who like music that quietly grows on the senses.

Runaway Horse Beautiful Blue Self Release      

This EP of 5 songs marks the debut of Mari Tirsa and her band, Runaway Horse. Daniel Barrett produces and also plays guitar, bass, percussion and backing vocals. Rick Richards plays drums.

Holy Water speaks about not giving up and standing on your own ground, on your own terms. The Well is a reminder that the reserves we have can always be called upon, whatever the adversity faced. Once reflects on the spiritual journey that results in the realisation that ‘everything is in me’. Beautiful Blue is soothing and Arrive considers whether we have already been given all the gifts that we need for a fulfilled existence.

A fine collection of songs that are light in touch and gentle on the mind as we seek to find the personal treasure within.

Backtrack Blues Band Way Back Home Harpo 

The Backtrack Blues Band hails from the Tampa Bay region of Florida and has been performing original blues music since 1980. They have performed with many blues legends over their career and this album was selected as one of the world's top 50 blues albums for 2016.

Think early Chicago blues and you have a good idea of what is on offer with Sonny Charles on harmonica and vocals, Kid Royal on lead guitar and vocals, Little Johnny Walter on rhythm guitar, Joe Bencomo on drums, and Stick Davis on bass.

If Paul Butterfield got together with Fabulous Thunderbirds, then you have some idea of the musical storm created here. It is heady stuff with impressive performances throughout. It may not be the country blues of the original rural folks who created the genre but it certainly swings with a New Orleans vibe on Shoot My Rooster and some mean and dirty licks on Your Funeral, My Trial by Sonny Boy Williamson - great song title and the title of a Nick Cave album.

There really isn’t a weak track on this collection of 10 stellar workouts and there is no doubt that this is a band to see live and just boogie the night away. Sonny Charles writes 6 of the songs here and the cover of Baby Please Don’t Go, is a real treat.

Proceedings are brought to a close with Help Me Just This Time, which really sums up this band who are more than a sum of its’ parts with all members playing with a loose abandon that just rocks the blues.

Jude Johnstone A Woman’s Work BoJak

What a consummate artist this lady is…

Across a career littered with plaudits for her song-writing talents and her regular supply of hit songs for other artists, her body of work has gone largely unnoticed by the general listening public. Perhaps this will be the release to push that tipping point?

Never Leave Amsterdam reflects on a love affair abroad that cannot survive the need to return to a child at home. The title song, with sublime cello and piano, speaks of the price of love and the embers of a failed relationship. People Holding Hands could be a Randy Newman classic with a diatribe from the protagonist against the fuzzy logic of love’s desire, complete with jazz-tinged trumpet. The Woman Before Me is a song that served Trisha Yearwood very well some years back and Jude sings it with an understated sadness that really brings out the true meaning of the lyric.

Little Boy Blue is just a gorgeous example of the talent on display here; a song that touches on the need in all of us to find comfort in the wake of personal vulnerability in a relationship. What Do I Do Now speaks of the vulnerability we all expose ourselves to in trying to be honest in our search for happiness. Road To Rathfriland is a song that reflects on love lost and the need to endure. I’ll Cry Tomorrow is a song about a fractured relationship that points to a new tomorrow and Turn Me Into Water is a Gospel/Soul lament for a resigned feeling of lost trust. The album ends with Before You, which is a beautiful affirmation of love in all its’ ragged glory.

This lady is one of the great songwriters and is deserving of every attention that can be directed to her door. A must buy for any record collection.

Wednesday
Feb222017

Reviews by Declan Culliton

Tom Baxendale In The City a Short Time Ago Backwater

Tom Baxendale is a Sheffield based singer songwriter, former front man of UK Americana band Rainy Day Club and lead guitarist with The Payroll Union. In The City a Short Time Ago is his debut solo album and it is a solo effort in every sense of the word with all the material written, performed and produced by him and recorded in his home studio.

Before even playing the album you get a sense of what’s to come with the dark, blurry album artwork and song titles such as All My Nightmares, Leave Me Be, Better Than You and Red Rag. Whether a reflection of Bexendale’s state of mind at the time or the artist creating and capturing a particular atmosphere, it’s fair to say that the album succeeds. Probably best described as psychedelic folk, comparisons to both Kurt Vile and Vic Chestnut come to mind, though Baxendale vocals are strained at times.

Opening with the lively All My Nightmares and closing with the wistful and introspective Every Dream the mood on the album swings from the somewhat countrified Honey and the reflective and positive An Old Hand to the driving Stranglers-like vibe of Straight Face.

In The City a Short Time Ago is a body of work that does take a few listens to penetrate but is well worth the time invested. Wonderfully atmospheric, achingly painful at times and the work of a very talented young song writer.

Riddle & The Stars New Coastline Self Release

Riddle & The Stars are a three piece band made up of Australian Ben Riddle and Californians Bobbo and Tracy Byrnes. Whereas their debut album This Is Happening was recorded in California during a three week visit by Riddle, New Coastline, the bands second album, was created by way of Skype communications between Australia and America and songs being exchanged and developed over the internet.

Nine of the ten tracks included on the album were collectively written by them with John Prine’s Mexican Home also featuring. Their sound is quite laid back Americana probably best described as landing somewhere between The Jayhawks and Crowded House. Particularly impressive are the vocal harmonies throughout with all three contributing. 

Standout tracks are the catchy opener Running Back To You, the country tinged When We Ride with Tracy Byrnes taking the lead vocal and the closing track When The Weight is Gone.

Eliza Mary Doyle It Ain’t What It Seems Self Release

Eliza Mary Doyle is a distinguished banjo player and vocalist from Saskatchewan whose fifteen-year career to date has seen her work with a variety of acts as a professional session player together with sharing the stage as a member of bands such as Swift Current and The Cracker Cats.

It Ain’t What It Seems features eleven tracks in total, ten penned by Doyle together with Anne Louise Genest’s Wish I Felt This Good Without The Whisky.

Doyle has recounted  how an extended stay in Nashville, following her car giving up on her, led to playing local bars and encountering various musicians in the Music City and was a motivator in the release of the album. 

Abandoning much of the good time feel of her previous work It Ain’t What It Seems has a more reflective and personal theme to it with the writer visiting dark places suggesting regret and world weariness in equal quantities, topics often to be found in traditional bluegrass. 

The album certainly succeeds in achieving an old time ageless feel with Doyle’s fragile vocal and banjo picking the winners. Opener Nothing to Lose kicks the album off in fine style, Doyle’s picking complimented by searing pedal steel. Say Darlin’ Say is achingly stripped back to the bare bone featuring only vocal, banjo and harmony. Wish I Felt This Good Without The Whisky is the most upbeat offering fleshed out by some slick fiddle playing alongside Doyle’s standout banjo playing.

Accompanying Doyle’s banjo, acoustic guitar and dobro on the album are Paula Mc Guigan on upright bass, Lucas Geotz on pedal steel and drums, Liza Holder on acoustic guitar and Dustin Olmsted on electric and acoustic guitar.

Deni Bonet Bright Shiny Object Zip 

NYC resident Deni Bonet is a classically trained violinist with a CV that any artist would be proud of having performed over the years with household names such as R.E.M., Warren Zevon, Cyndi Lauper and Sarah Mc Lachlan. She has also toured in her own right  in support of Patti Smith, The Tubes, Marshall Crenshaw and Robyn Hitchcock.

A singer songwriter as well as a violin virtuoso, she originally performed as a member of the NPR radio show Mountain Stage before moving on to pursue her solo career.

Bright Shiny Objects is a brave departure from her previous albums with Bonet favouring an all instrumental recording unlike her earlier career work. Being a sucker for electric violin I was immediately struck by both the sheer power, atmosphere and indeed stunning instrumentation created over the thirteen tracks on the album.  A few tracks into the album and I was reminded of artists such as Eddie Jobson in full flow in his Roxy Music days, Steve Wickham with his Waterboys hat on and more recently Lillie Mae’s appearances with Jack White.

Difficult to categorise without doubt but none the less effective for all that, the listener is treated to the uplifting and stormy Red Dog, the delightfully dreamy Magic Wand, which lives up to its title and the jazzy Nuages which conjures up scenes of sunny Parisian afternoons, martinis and untipped Gitanes. The aptly named BBC2 could have been plucked from The Old Grey Whistle Test archives on the same TV channel in the mid 70’s. 

Its thirteen tracks (eleven co-writes together with the cover songs Edgar Winters' Frankenstein and Nuages written by Django Reinhardt) effortlessly swing from rock to  folk, power pop and jazz capturing the imagination and drawing you in from the opening track Light This Candle to the extent that the absence of vocals goes unnoticed and in many ways is welcomed.

Produced by Paul Bevan (John Wesley Harding, The Soft Boys, Morheeba, Hardcore Nation) Bright Shiny Objects is refreshing, melodic, timeless and highly recommended indeed.

Courtney Chambers Tales of The Aftermath Royal Daughter 

With understandable comparisons to Stevie Nicks Tales of The Aftermath is the Californian’s latest release eight years after her last album Bigger and Brighter. She founded her own independent record label, Royal Daughter, in 2001 and Tales Of The Aftermath is her fourth album appearing on the label. Together with her work as a singer, songwriter and guitarist she is also a member of the Heart tribute band Dog 'N' Butterfly and is guitarist and backing vocalist in country band Jasmine Fields.

Despite the comparison with Stevie Nicks, possibly suggesting an AOR recording, Chambers is not afraid to leave her comfort zone with  both the opening track Fool In Me and Young Lovers being delivered vocally with classic  phrasing and discipline more akin to Amy Winehouse. Love And Music is instantly catchy with a thumping bass line, very radio friendly and the beautiful ballad Heart of This Man recalls Tori Amos at her most melodic. The Bitter End rocks out with a divine driving drum and rhythm guitar beat up front and the album closes with the stripped back ballad Winter.

Produced (wonderfully it has to be said) and mixed by Sean Hoffman (American Music Club, Bedroom Walls), vocals and lead guitar are handled by Chambers with guitars, keys, bass and percussion performed by Hoffman. The line-up is completed by drummers Joey Galvan and George Sluppick

Caroline Reese & The Drifting Fifth Tenderfoot Self Release

Tenderfoot is the debut album by Caroline Reese and The Drifting Fifth and follows two solo releases Indian River (2010) and Slow Code (2013) by the young Pennsylvanian singer-songwriter and musician. Recorded at The Headroom Philadelphia, the album is produced by Reese and her guitarist Mark Watter and was mixed by Matt Poirier at Miner Street Recordings in Philadelphia, the studio chosen in recent years for recordings by accomplished alternative artists including Sharon Van Etten, Kurt Vile, The War on Drugs, Strand of Oaks, Marissa Nadler and Joan Osborne. 

Formed in 2013, Reese and Drifting Fifth have supported Grammy Winner Chris Stapleton and Brandy Carlile on tour and Reese in her solo career has opened for John Hiatt, Cord Lund, The Secret Sisters and Ray Wylie Hubbard. Tenderfoot features Reese on vocals, rhythm guitar, banjo and keyboards. Mark Watter plays guitars, Karl Germanovick plays bass and John Macko adds drums.

Comparisons could be made with Lydia Loveless’s latest offering Real, closer to alt-rock than alt-country, a direction which quite a number of artists including Lera Lynn, Elizabeth Cook and Hurrah For The Riff Raff appear to be heading.

It kicks off and is bookended by two laid back acoustic songs, the opener Unlocked featuring vocal, acoustic guitar and harmonica and the final track I Can’t Love You. However, much of the album is more up-tempo including Airshow of which Reese says "the lyrics were inspired by a World War 11 re-enactment that takes place in my hometown each year and a Rainer Maria Rilke quote that I heard songwriter Ray Wylie Hubbard quote to his audience." New Tricks and the first single to be released from the album Snake Eyes maintain a similar driving pace. Angel Fire is stripped back with Reese on banjo and acoustic guitar combined with an aching vocal delivery. Beast, co-written with Watter, is possibly the stand out track, beginning with a great twangy melody but changing direction mid-stream to a more grungy finale compliments of some super fuzzy guitar work.

The eleven tracks most certainly showcase Reese’s crafty song writing ability, mixing honesty, helplessness and an attempt to understand and accept the unpredictability of relationships. It’s a fine offering that hopefully won’t be ignored, well worth checking out

Glenn Alexander Glenn Alexander & Shadowland Rainbow’s Revenge

Composer, guitarist, saxophonist and singer Glenn Alexander has been recording since the mid 80’s and has enjoyed a career that found the Kansas resident  performing or recording with Bruce Springsteen, Levon Helm, Elvis Costello, Southside Johnny & The Asbury Dukes and Tom Scott to name a few. 

Born in small town Maize Kansas to humble beginnings, Alexander was the first member of his family to graduate or indeed attend college. He earned the first ever guitar scholarship offered by Wichita State College and within three years had received a BA and as a result of his mentor taking a sabbatical, was promoted to the role of full time professor, managing the guitar department and tutoring thirty guitar majors. A relocation to New York with aspirations of making the big time followed, as did the subsequent  abject poverty as the stardom did not quite materialise. A teaching career in New York proceeded together with touring as a band member with various artists, solo performances and recording whether as a session player, collaborating or indeed his own projects. The one consistent feature is the exceptional guitar playing whether it be jazz, blues or soul orientated.

Shadowland is a project that features Alexander on guitar and vocals with a stunning backing band of Oria (backing vocals), Greg Novick (bass), Tom Seguso (drums) and a horn section of Chris Anderson, John Isley and Neal Pawley. Shadowland is in fact the name of a roadhouse in Wichita Kansas that claims to have staged the first electric guitar appearance in 1932.

The result is a blues drenched soul album, driven by Alexanders stunning guitar work and raspy vocals with blazing horns, thumping bass and drums a plenty.

Come Back Baby and Blues For You and Me could be lifted from the Van Morrison songbook and though Alexander rocks out The Odds Are Good the benchmark is most definitely Van the Man and Southside Johnny and The Asbury Dukes (Southside Johnny in fact contributes blue harp on Get A Life). 

All in all a rousing and upbeat blues drenched package, I expect they would de spectacular in a live setting!

Doghouse Roses Lost Is Not Losing Yellowroom 

Doghouse Roses are Glasgow duo Paul Tasker and Iona Mac Donald. Lost Is Not Losing is their third release and recalls the UK folk sound of the 60’s with Mac Donald’s haunting vocal and Tasker’s accomplished guitar playing drawing obvious comparisons to the work of artists such as Sandy Denny and Bert Jansch. 

The eleven tracks on the album include four written by Mac Donald, six by Tasker and one co-write by Tasker and Sara Reith. Recorded at La Chunky Towers Glasgow, the album does indeed bring to mind the work of Denny and Jansch but could also be compared, particularly in the song writing, with the work of our own Mary Coughlan. 

The opening track Pour sets the tone for what is to follow in the main with Mac Donald’s honeyed vocal telling the tale of love gone wrong and over indulgence on the bottle. Feed The Monster follows a similar path and is one of a number of politically motivated songs on the album. Similarly Weather The Storm, though more up-tempo in delivery, follows a similar ethical theme with a plea and for an inclusive and caring society. Fairground tells the story of an ageing prostitute and the album closes on a high note with Days of Grass And Sun, possibly the strongest track on the album, bright, breezy and summery. The album was mixed and mastered by Slovenian Dejan Lapanja who also contributes lead guitar on Diesel Engine.

With the combination of Mac Donald’s gifted vocals, flawless guitar work by Tasker and a collection of well-structured songs Lost Is Not Losing is well worth checking out.