Thursday
Aug172017

Reviews by Paul McGee

Hat Check Girl Two Sides to Every Story Gallway Bay

This release is described as a collection of ten songs, written in pairs, collected in five chapters, with interludes and an epilogue. Each pair is written from both a female and male perspective and each pair seems unrelated to the next … This is contemplative and reflective and set in an atmosphere of simple arrangements and understated musicianship. Contemporary Folk music taken to a new level.

The first chapter deals with a brother & sister relationship and the yearning that comes from loss. He drives away looking for a new beginning and she rues the day that ‘time stood still’ – hints of a fatality on this journey taken.

Chapter two debates beauty as its own currency in the world. He looks at external beauty as a ticket to open any door versus her reality that ‘not hiding behind the beauty I wore as a disguise’ is true freedom, as she seeks to discover her internal self and the simple beauty visible in all of nature – ‘beauty is free’.

Chapter three is a study on the price of fame ... The search for approval and ego-driven greed. Balanced against this is the nostalgia of being drawn to a life on the Big Screen in emulation of childhood heroes; innocence turned sour. A relationship formed in the glare of relentless media attention and star attraction.

Chapter Four sees the end of a relationship where forbidden fruit attracts and lures one party to look for something more. Cheating with your lovers’ best friend and living to regret the mistake.

Chapter five is a lament where one partner is stuck in a relationship with a drunk and resigned to her fate. ‘What I liked best about loving a drunk, was the lonely part of the day’. He responds with the lines ‘Someone like me will find some dignity when my thirst begins to fade’. It’s broken and fragile; it’s a challenge and a gift to be opened and explored for whatever meaning you may find.

Peter Gallway and Annie Gallup have been painting challenging, complex and unique musical vistas for many years now and their song-writing craft just gets better and better as they hone down to the true essence of their creative muse.

They share vocals and instrumentation and are joined by Jerry Marotta (Peter Gabriel, Indigo Girls, Elvis Costello), on drums and percussion. This is their sixth release and a clever concept. Perhaps I have missed a key link between the chapters but that doesn’t really matter as each of the five stories stands quite well on its own. 

Bill & Joel Plaskett Solidarity Pheromone

The album is a father and son creation and the eleven tracks chosen make for a powerful collection of both original and traditional songs. Joel Plaskett is a multiple JUNO Award winning songwriter based in Halifax, Canada and he has visited a number of genres, from blues and folk to hard rock, country, and pop across a career that has seen the release of an impressive body of work spanning his varied projects.

This outing reflects the individual journey and personal politics of both Joel and his father Bill; cited as his earliest musical influence. Socially aware songs like We Have Fed You For 1000 Years and Jim Jones, sit alongside protest songs like Blank Cheque and Solidarity.

Songs of hope, The New California, take a place next to No Sight Compares, a celebration of this Universe, and there is a reflective look at the past with On Down The River. All played in an intimate setting on guitars, bouzouki, mandola, bass Wurlitzer and (very occasional) drums. An excellent idea and a fine release.

Lynne Hanson Uneven Ground Song Shop

This is the fifth album from Canadian artist Lynn Hanson who has been recording music since 2006. The 13 tracks on this release include 7 co-writes with Linda McRae Lynn Miles (who produced 2 previous releases), Mark Elliot and MJ Dandeneau.

The remaining 6 songs were written by Lynne herself and there is a nice equilibrium between collaborative and solitary writing that dovetails nicely together across the project.

Carry Me Home starts the record with a serious groove, drum shuffles, bottle neck guitar and some jazzy piano runs. It is a spin on being left behind by a lover and in this case it is a call to the grim reaper to "lay me down, next to my love." Swallow Me Up is similar in theme but speaks of giving up on life when you can find no meaning to the big questions.

Counting Heartbeats and Dead Weight deal with living with disappointment and the hurt of loneliness, frustrated love and the restless yearning for something more. On Swallow Me, Hanson hits a new stride with a nasty groove that has echoes of a Bonnie Raitt work-out; a song of hurt and resignation. Devil Said So follows in a similar vein with a tussle between doing the proper thing and striking out for a wild time. Her word weary view is summed up on Stronger where she muses that "it’s living with the pain that shapes and makes us stronger" – the good guys don’t always win in this reality check.

The studio musicians do justice to these dark songs and play with plenty of understated energy. The tension in the arrangements is held perfectly by the rueful vocal delivery of Hanson in what can only be described as a work of some real highs; even when dealing with so many lows.

Jesse Waldman Mansion Full of Ghosts Self Release

This debut release boasts 16 tracks which is quite a statement in itself. Clocking in at over one hour of listening time, there is a serious amount of music to be digested here. An easy playing style does help and when you couple this with gentle Folk arrangements and a sweet vocal then the time does seem well spent.

The studio musicians are all very accomplished and adopt a ‘less is more’ approach to the music, leaving plenty of space for the songs to breathe. Living in Vancouver, Waldman has based the songs here around an exploration of the city's duality, the backdrop of beauty mirrored against its’ dark underbelly. Lonesome City, Raincity Blues and Another Lost Soul reference one image of the city while the lightness of love songs like Hummingbird, The Rest Of My Days, Ashes and Small Talk hold a guarded optimism.

Hope In Shadows is countered against songs of broken lives such as Lorraine, Other Side Of Town or Hard Livin’; while the excellent Good Company is very strong on advice to another about how to live well. Wild Balloon is a reflection for a lover who has moved on and Keep A Light On In The Dark reminds us to give thanks for the simple pleasures in each day.

Beth Southwell and Megan Alford sing beautifully on various tracks to compliment the melodies and Marc L’Esperance plays an array of instruments, sings and co-produces with impressive style and great perspective. Waldman has a keen eye for arrangements and displays an astute writing talent. A really impressive debut and highly recommended.

Kenny White Long List Of Priors MVP/CRS

The latest collection of original songs from Kenny White really hits the spot here. There is gravitas in these grooves and the effortless melodies and rhythm conjured up by Duke Levine on guitars, Shawn Pelton on drums, and Marty Ballou on bass are subtle and seductive.

As on his past recordings, there is a guest list of real quality with invites to the likes of David Crosby, Peter Wolf, Larry Campbell, Amy Helm, Ada Dyer and Catherine Russell to share the studio magic, alongside his sterling band.  Add horns and a string quartet across seven of the tracks here and the impressive arrangements take off into a place of quiet reflection and easy grooves.

White is a seasoned wordsmith and uses his lyrical gifts to great effect. The beautiful Another Bell Unanswered is a love song to unrequited relationships that just don’t get the timing right. Equally, The Other Shore is a love song to a deceased partner and the pain of separation; ‘soon the car will come and take you; and I will have to let you go’… Heart-breaking and beautifully delivered.

Lights Over Broadway is a slow jazz tribute to the past and the splendour of another era while Charleston brings the atrocity of the 2015 mass-shooting front and centre when an attack happened on one of the United States' oldest black churches, which has long been the site for community organization around civil rights. Ada Dyer duets on vocals and the song is both angry and uplifting with the lines ‘now each and every bullet hole shall be filled with grace and sealed with love’. Amen.

A Road Less Travelled is another look at love and the sadness felt when ‘only one can feel the distance’. Cyberspace tears down our reliance for online communications and vapid opinions based on social fluff and superficiality; "Contagious insanity, as goes the human touch, so goes humanity." Such terrific words and this song is stuffed with wry observation and sage wisdom. Long List Of Priors is a refreshingly original and multi-layered recording. Highly recommended.

Chris Murphy Hard Bargain Teahouse

On his website, Chris Murphy describes himself as a violinist, composer and band leader. In addition, he is an innovator and a music teacher, a revered violinist, mandolinist and guitarist who has released 13 albums of original music in many styles including rock, bluegrass, swing, electronic, classical, blues, Irish and ethnic music.

So, here we have a Live record to add to the already ballooning reputation and why not; when you can play with the dexterity and lyricism that Chris Murphy unleashes here, then it is an obvious step to take. Recorded solo and live in Boise, Idaho in a small theatre, the 10 tracks fly by in a storm of rhythm, aided by his amplified foot stomp and creative violin runs that lift the various tunes into the sweet spot reserved for special nights of live and vibrant music.

There are no real stand-out tunes among the 10 new & original songs unveiled as the entire set stands in testament to the talent of this artist. Atmospheric and exciting, it must have been a joy to be present in the room on what we are told was a rainy night – don’t know if this adds anything but the audience were certainly warmed up and shouting for more by evening’s end.

Thursday
Aug102017

Reviews by Declan Culliton

 

Jason Wilber Reaction Time Wilber Tone

Jason Wilber is best known as John Prine’s trusted side kick and guitarist of the past two decades which often overshadows his impressive solo musical output. Reaction Time is his tenth album despite spending much of the past twenty years on the road touring with Prine or in the studio recording with him and the many collaborators that have featured on Prine’s albums over the years.

It’s also Wilber’s first full studio album of self-penned songs in eight years, following his covers album Echoes (2016) and Live And Otherwise Volume recorded seven years ago.

When considering Wilber’s music I’m reminded of both Rodney Crowell and Nick Lowe for a number of reasons. His output, and no more so than here, is a blend of both these artists mixing Americana with British Roots and Soul music to perfection. Equally similar to Lowe and to a lesser degree Crowell, his back catalogue includes many top-notch albums that should have and probably would have been better recognised had he concentrated on a solo career without the diversions as a band member and session player. His 1998 debut album Lost In Your Hometown was Americana before the term was conceived and Behind The Midway released two years later was equally impressive. 

The title and opening track of Reaction Time sets the benchmark for what is to follow, a slick breezy guitar intro, pounding drums and controlled vocals combining to give the song an early REM feel. Love Me Now heads down a slightly funkier path, Jealousy and Envy kicks in with a Rolling Stones’ Miss You riff, perfectly paced and infectious. Something Somewhere and Shame On You bring to mind much of what his fellow Nashville resident Jason Isbell is writing these days, both artists possibly inspired to some degree by John Prine, the latter song a flowing piece of music that connects on first listen. I’d Love Another Saturday Night, is the liveliest song on the album and possibly a good choice for "the single". It’s a topic that has been written about by endless of musicians over the decades yet Wilber’s effort sounds refreshingly crisp and original. Heaven, the most traditional country track on the album finds Iris DeMent adding harmony vocals and Allie Summers on violin. A gorgeous song conjuring up heavenly scenes and images of old farm houses, dusty paths, country cooking and simple living, it closes the album in style.

As can be expected the playing is elegant and faultless throughout with Wilber joined by bass player Glenn Myers, percussionists Ben Lumsdaine and Devon Ashley, Chris Erbacher adds pedal steel.

This latest album is another welcomed diversion from the day job by Wilber and one that will undoubtedly continue to be revisited by me in the coming months. 

Rachel Baiman Shame Freedirt

When considering current female singer songwriters who also excel as fiddle and banjo players the names Gillian Welch, Rhiannon Giddens, Abigail Washburn, Alison Brown and more recently Kaia Kater immediately spring to mind. Well it’s time to add Rachel Baiman to the list and near the top at that. The 27-year-old Nashville resident and multi-instrumentalist has most certainly hit the ground running with her debut solo album Shame.

Baiman  is a member of 10 String Symphony, a duo with Christian Sedelmyer, both five string banjo players whose 2015 album Weight Of The World featured on NPR’s listings of newest and most promising voices in Americana on it’s release. For her debut solo album Baiman engaged Andrew Marlin of Mandolin Orange as producer resulting in a less stripped down and fuller sound than that of 10 String Symphony. It hardly needs noting that the quality of the playing is dazzling, from Baimans banjo and fiddle to the guitar and keyboard input by singer songwriter and session player Josh Oliver and bass player by Marlin. 

Raised in Chicago, both her parents were political activists, her father a radical economist and her mother a social worker, she is the co-founder of Folk Fights Back, a political organisation who perform benefit concerts and events in response to the current political administration in the States. Not surprisingly a number of the tracks visit and question social issues, religion, politics, racism, inequality and abusive relationships. 

Getting straight down to business by questioning religion on the opener and title track Baiman probes "Well old white men write books about faith and healing love, And old white men look happily onto others from above, In the name of sweet religion they would lay their claims on me, And ask me to be grateful for triumphant jubilee." Acknowledging both the joy and responsibility of love and relationships Something To Lose simply drifts along with Baimans banjo perfectly placed in the background. 

Echoes of Gillian Welch surface particularly on I Could Have Been Your Lover Too and Wicked Spell, written by Michael Bowman alongside eight self-written songs by Baiman. Fittingly the other song covered on the album is Never Tire Of The Road written by Andy Irvine, chronicling the struggles of the underprivileged and left behind. 

The greatest accolade I can suggest in respect of Shame is that much of the material is everything you would hope for in a Gillian Welch album and praise hardly comes higher than that. 

Carter Sampson Queen Of Oklahoma and Other Songs CRS

Carter Sampson’s 2016 album Wilder Side was hailed as one of the finest releases of that year at Lonesome Highway and her performances at The Kilkenny Roots Festival earlier this year confirmed her status as yet another outstanding artist that had remained under our radar despite having released four previous albums.

It’s also fair to say that despite Wilder Side deservedly receiving rave reviews in Europe her back catalogue equals the high standard of that album as evidenced by Queen Of Oklahoma and Other Songs which gathers material from all four earlier albums. Released to coincide with her European tour earlier this year its sixty minutes feature fourteen tracks in total.

Mockingbird Song, released in 2011, is represented by five tracks including the zappy opener Be My Wildwood Flower followed by her signature tune Queen Of Oklahoma. Jesse James, Sanctuary and Better Ways also feature from this album which truthfully should take pride of place in any serious collectors’ catalogue. Much fuller, rockier, rousing and less country than Wilder Side, think Kathleen Edwards and you’re on the right page.

I Am Yours and Wild Bird are included from her acoustic EP Thirty Three recorded in 2014, both delightfully melodic country folk.  A fuller version of Wild Bird features on Wilder Side. Six tracks are presented from Good For The Meantime, released in 2009, the aching love song Let’s Get Back and the snappy Payne County Line are particularly impressive. Annie is the only inclusion from her debut acoustic album Fly Over The Moon recorded in 2004.

The album is a welcomed roadmap of Sampson’s career as a young songwriter to the present day. Weaving seamlessly between folk and country it’s indicative of a self-assured and extremely talented artist who without doubt will have lots more to offer going forward.

Chris Jamison Mindless Heart Self Release

The cover of Mindless Heart features a non-descript hand drawn red heart depicting I Love You which, not being familiar with Jamison’s previous albums, drew expectations of an acoustic based album of love songs and the like. However, this assumption transpired to be miles off the mark. Currently based in Ashville North Carolina, this the sixth studio album recorded by the Texan and it’s a cracker. A splendid mixture of country, soul and blues across eleven tracks it features an impeccable group of Texan players who joined Jamison at Whiteroom Studios in Austin Texas for the recording which was co-produced by Jamison and Sebastian Cure.

The title track showcases Jamison’s exquisite vocal, intoxicatingly soulful on a track that is thankfully uncluttered, a feature that repeats on All In Good Time and Lovers Lane both also benefiting from a less is more approach. Wanderin’ adds some funk bordering on reggae to the mix and Blue Cadillac laments the passing of Hank Williams.

The pedal steel guitar playing by Simon Page on Wanderin’ and Blue Highway manages to exquisitely enhance Jamison’s self-assured vocal delivery. Deadstring Brothers and Israel Nash spring to mind as references on both tracks whereas on some of the lighter moments on the album comparisons could be made with Josh Rouse.

Prinz Grizzley Come On In Shedmusic

Honky Tonk, pedal steel guitar and country waltzes are not exactly what you might expect from an Austrian artist but Prinz Grizzley, the brainchild of Chris Comper, manages to combine all three as if they were in his bloodstream in his debut album Come On In

Comper made a considerable impression with his live shows to packed houses at The Kilkenny Roots Festival early this year and Come On In (to be released in Europe this September) is further testimony that Americana and Country Music of the highest quality exists and survives beyond the U.S.A.

Comper formed the Indie Rock band Golden Reef in 2001, recorded two mini-albums and four full albums but despite positive recognition in the Austrian music press they failed to light a fire. A further diversion saw Comper form Grizzley & The Kids who released an album titled Temporizer in 2014, aimed more at the commercial pop market. 

However this album recorded between November 2015 and February 2016, finally found Comper hitting his sweet spot, writing and performing music from the heart, eleven self-composed and cohesive songs that work remarkably well together.

There’s so much to love about the album, not least the absolutely stunning Walls, the standout track on the album. Think Ryan Adam’s Jacksonville City Nights period, gorgeous layers of vocal, harmonies, searing guitar and wicked pedal steel combining to create a sound that you do not want to end. Tell Me Why, a stripped back heartbreaker closes the album, a lament to love slipping away, melodic country folk, its recipe out of the Neil Young cookbook.

The opening track Wide Open Country sets the scene for much of what is to follow, harmonica joined within twenty seconds by weeping pedal steel and Comper’s vocals dipping and soaring between chorus and verse. I May Be Late is no nonsense honky tonk featuring the standards – bars, wasted relationship, and unrequited love- all brought to life by lashings of twangy guitar and pedal steel.

Produced by Comper and Oliver Varga at Green Hill Studios in Rohrbach Austria, Come On is a joy from start to finish, nothing new or ground breaking, simply good lived in music that hits the spot from an unexpected source. High praise also for the wonderful no frills yet striking artwork and packaging. Well worth checking out.

Front Country Other Love Songs Organic

Front Country made quite an impression on the writer when they performed a rousing set at The Station Inn in Nashville last September on the opening night of The Americana Music Association Festival. The quality of the playing, energy, vocal harmonies and full on performance brought the house down, even though they played the graveyard shift from 12am to 1am after a long day of music and festivities. Difficult to categorise, contemporary Bluegrass or more accurately Soulgrass might best describe their sound, a direction that many young bands have travelled to get a foot in the door of an extremely crowded market. What raises Front Country above the parapet is the input of lead singer Melody Walker whose gutsy soulful vocals take centre stage much like that of Brittany Howard as part of Alabama Shakes. On receiving the album I wondered how the high quality of their live act would transfer to my living room via the studio and it’s fair to say that it does capture their dynamics particularly well.

Brought together as a professional outfit having won open mic contests at both The Rockygrass and Telluride Festival in Colorados  the band consist of Adam Roszkiewicz  ( mandolin, banjo, vocals), Jacob Groopman (guitar, mandolin, vocals), Jeremy Darrow (bass), Leif Karlstrom ( five string violin) and Melody Walker (vocals, guitar and percussion).

Of the twelve tracks on the album eight are written by Walker, two instrumentals composed by Roszkiewicz with the two remaining songs being covers of David Olney’s Millionaire, a song they felt compelled to include given the political climate when the album was being recorded and The Carter Family’s Storms Are On The Ocean. The playing from start to finish is flawless, particularly on the instrumentals T.H.A.T.S and Sometimes It Does where Karlstrom’s violin work simply soars above Roszkiewicz‘s clever banjo picking. Good Side is performed a Capella with Roszkiewicz and Groopman resplendently accompanying Walker opening vocals.

Front Country have managed to cherry pick old timey and  soul with a dusting of FM rock to present a body of work that is sure to appeal to a wide audience and deservedly so. 

Friday
Jul282017

Reviews by Paul McGee

Brigitte DeMeyer & Will Kimbrough Mockingbird Soul BDM

This is one impressive record, filled with plenty of soulful playing and singing. Add in a strong country blues feel and you are getting close to the signpost that says ‘Stop Here’.

Twelve tracks across 43 minutes that touch the heart and the head in equal measure. The yearning at leaving runs through, Everything and I Can Hear Your Voice – one song about a reunion yet to happen; the other about the passing of a parent and the lessons left behind. The title track is a wonderful example of passionate delivery and subtle playing while the giddy groove of Running Round recalls endless summer days of being young and free.

The trio of Brigitte on ukulele/vocals; Chris Donohue on upright bass and Will Kimbrough on guitars/harmonica/vocals produce songs that are a real joy and flow together into a complete and full experience, laced with superb playing.

Bonnie Raitt (The Juke) and Patty Griffin (Rainy Day) come to mind in the influences but it would be trite to compare Brigitte to such enduring artists. Suffice to say that she has her own strut going on … A cover version of October Song (Incredible String Band) is an inspired choice and shows off the playing talents of these musicians. The lines; "I used to search for happiness, And I used to follow pleasure, But I found a door behind my mind." And that’s the greatest treasure’ seem to sum up the career that this artist has navigated. DeMeyer has six previous albums and this self-produced collection shows a real maturity in both her vision and writing, delivering a work that carries real depth. The playing and harmony vocals are compelling throughout and there is not a weak track here. A must-buy and already on my list of favourites for the year.

John Statz The Fire Sermon Why River

Originally from Wisconsin, this singer/singer-songwriter delivers his seventh solo release since 2006 and the debut appearance of Dusk Came Slow. This record was produced by Megan Burtt who also contributes as a musician across the ten tracks included here. There is a sense of laid back playing in the song arrangements and echoes of Tom Petty in the delivery.

We Never Talked is a stand-out with some fine electric guitar lines by Julian Peterson and Independence Pass talks of a former lover who has moved on and a look back at the relationship that was doomed to fail. The melodies are radio friendly and drift towards a contemporary sound. Red Rose Motel rocks out and is a co-write with Peter Mulvey. Tell Yourself The Truth has a funky rhythm while Two Weeks brings the tempo down to a slow groove and a satisfactory conclusion.

Russell Joslin Hey Mathematician 2+2

Four releases since 2007 for this English songwriter who has written all 14 songs on this latest album. Russell Joslin also sings and plays guitars, electric bass and modular synth. The entire project runs for over an hour, which requires dedicated listening, and perhaps he could have trimmed some of the excess in order to tighten the album as a whole. The sound varies from rock to folk and there is certainly an angry artist in the lyrics on some of the numbers.

He is joined on harmony vocals by Sarah McCaig for 7 songs and cello is provided on 2 songs by Anna Scott with violin by Georgina Leach on another 4 songs. Double bass on 3 songs by Kurt Barnes and drums played by Jacob Wheeler on 6 songs. Outside of these varied and telling contributions, it is very much the Joslin show as he shows his dexterity on guitar with songs like Billy’s Funeral, Shipwreck and Early Woman.

The quiet frustration of Shackles is replaced by the righteous anger of If I Die A Tory and We Are 40 Now, a song that hits out at the lack of social change and the lost activism of younger days. The hidden track Pittsburg It Is brings everything to a close with a gentle guitar strum and another fine harmony vocal by Sarah McCaig.  

Susan Kane Mostly Fine Self Release

This is a release that dates back to June 2016 but only found its way to our door very recently. More’s the pity, as had it arrived last year, it would have figured in the ‘best of’ listings. Proof indeed, if it were needed, that timing is everything…

There are ten tracks featured across almost forty minutes of songs that really inspire. This is sweet country music with superb playing and arrangements that both move and stir the soul. Produced by Jeff Eyrich, who plays Bass on all tracks, the understated dynamic among the musicians allows plenty of space for the melodies to work their magic. The use of violin, cello and viola on certain songs augments the organic flow of accordion, dobro, mandolin & lap steel.

There are three covers that sit nicely into the whole project; two from the Grateful Dead (Brown Eyed Women and Comes A Time) and a song by Rob Marsberger (A Man Of Much Merit) that references a letter written by a dying son to his Father.

 All other songs are written by Susan, including two co-writes, and her ability to look at life with both humorous (Worn Out Lines / Slip On Shoes) and sensitive (Crying Babies/Away/Jacksonville) perspective, goes to highlight an artist of some depth. 

Cary Morin Cradle to the Grave Self Release

Acoustic Blues played in a very impressive style by Crown Indian Cary Morin. The eleven tracks are all performed by Cary with just his acoustic guitar and incorporate a finger-picking style that suggests some jazz influences (Back On The Train/Lay Baby Lay).

A cover of Princes’ Nothing Compares To You, shows a more commercial side, but it is tracks like Dawn’s Early Light, Trust and Ghost Dog that stay in the memory and highlight the unique talents and soulful voice of this accomplished guitarist and artist.

He has won the Colorado Blues Challenge Solo Championship and was also nominated for Aboriginal Entertainer of the Year and Best Blues CD in the Aboriginal People's Choice Music Awards.

Elaine Mahon Reach for the Stars Self Release

Folk artist Elaine Mahon plays acoustic guitar and sings in a beautifully clear voice that grounds the 14 songs here. They span 50 minutes of concentrated listening and her message is one of positive energy in the universe and how blessed we are to be part of this magical mystery. With an academic background in extragalactic astronomy, this performer has penned songs of hope, joy and thanks for all the possibility that life puts in our path. Shine, You Are Not Alone, Reach For The Stars, Look Up and Lean Into Love, give a flavour of the message in the words. There is real optimism and purpose to her writing and collaborations on three tracks make the acoustic feel of this release all the more inclusive. Earnest songs and performed from the heart.

Amelia White Home Sweet Hotel White Wolf

These ten songs touch on the tired and weary life of a travelling artist and the isolation is captured perfectly in the opening track, Dangerous Angel, a song that smoulders with the dangers of loneliness on the road and the temptations of desire.

A life on the road, with the freedom to travel an explore new experiences, is the initial draw to many a young musician but on the other side of that coin lies the years clocked up to a less romantic reality and the lyric "I call up to say I miss you, it's been a long and lonely highway."

This is an artist who has received increased interest in the music press as her career has grown. A life of nomadic wandering is captured on Leaving In My Blood, pushing the protagonist further on that Lonesome Highway … "You said I'm like a riddle riding in the wind - singing my song for strangers in every town I'm in ..."

The slow burn of the title track highlights her song-writing talent, which is very evident with sublime mood pieces and arrangements that reveal more and more on repeated plays. This lady has lived the life of a touring musician and Road Not Taken may not be autobiographical but it certainly feels that way - "She heard him knocking at the door, but it's just a memory and nothing more."

The studio band play with an understated sense of the songs and the presence of Sergio Webb (guitars), Stuart Mathis (guitars), Paul Gordon (Keys), Molly Thomas (Fiddle) and a strong backline of Marco Giovino (drums/producer) and Ron Eoff (Bass) really compliment the arrangements. A recommended release for lovers of Country music with a dark thread. 

David Starr The Head and Heart Cedaredge

This 6-song EP is arranged and produced by John Oates (Hall & Oates), who also shares acoustic guitar and vocal duties with David Starr. A Colorado based singer/songwriter, David Starr has released much fine music in the past which showcases his skills as a multi-instrumentalist and vocalist. This project features seasoned musicians with Dan Dugmore on lap steel, Pedal steel and mandolin; Tom Bukovac on electric guitars; Nat Smith on cello; Steve Mackey on bass and Greg Morrow on drums.

The experience across 23 short minutes is a real joy as the gentle arrangements and understated playing give plenty of room for the expressive vocals of Starr to really stand out. A cover version of California Dreamin’ (Mamas & Papas) seems a strange choice but it sits nicely into the overall feel of these songs which reflect upon the personal and the cold reality of living.

The title track speaks to the pull & tug between logic and emotion – ‘where does the longing end and the true love start’. Songs of frustrated passion (Dancing With My Pride) and burning desire (I’ve Come For You/Waiting in the Dark) mix with dreams dashed on the rocks (California Dreamin’) to produce a release of some quality and a strong statement from this excellent artist.

Sunday
Jul232017

Reviews by Eilis Boland

Furnace Mountain Shadow Of Plenty Self Release

An absolute joy from start to finish, this sixth album from well established Virginian old time string band Furnace Mountain cements their reputation as one of the foremost exponents of the music, bar none.

Superbly produced by their own Danny Nicely, who also plays mandolin and guitar throughout, the vocal duties are ably shared by the other three members. 

Rooted in the traditional Appalachian folk tradition, the timeless quality of the music is exemplified by the title track, Shadow Of Plenty. The pure harmony vocals of Morgan Morrison and Aimee Curl evoke the vision of a pastoral idyll, but by the end of the song, one is left with a foreboding that the bounteous façade is overhung by a dark cloud.

David Van Deventer ain’t called Fiddlin’ Dave for nothing – he’s a demon on his instrument! He also writes much of the music and sometimes the lyrics. His vocal style and indeed his playing is reminiscent of the late fiddle maestro John Hartford – particularly evident on his songs Ramblin’ Jack and The Last Song. The ironically named Inchworm Set showcases the skills of the whole band, where Dave’s fiddling interweaves with bouzouki (unusually) and mandolin, backed up by bass, and all at breakneck speed.

While most of the album relies on original material, there are a few covers, the most memorable of which is the oft-covered love song, Ewan McColl’s First Time Ever I Saw Your Face. Here Aimee and Morgan blend their voices in a delicate near-perfect rendition of this beautiful song- a version I would like to think Peggy Seeger herself would approve of.

The sleeve is beautifully illustrated and there’s no need for a lyric sheet here - the well honed vocals are true and clear.

Red Herring Here To Distract You Self Release

This is the third offering (and second studio recording) from the Dutch folk roots string band, who are regulars on the folk club and festival scene in mainland Europe. The standard of musicianship throughout this self-produced recording is superb, and each of the four band members is an accomplished multi-instrumentalist. Their influences are wide – there are obvious bluegrass, folk, jazz and celtic elements to many of their songs and instrumentals.

The fiddle chops of Joram Peeters and his versatility of tune writing is showcased in the instrumental set of three tunes Pigs Upon A Ninja. It moves from a Scandinavian influenced tune into a gypsy jazz number, and then, in the uplifting final funky tune, one is deliciously blasted by the uileann pipes (yes, you heard me correctly) of guest Michael Boere. 

The Beaten Track was co-written by Arthur Deighton in the aftermath of the loss of his sister, and he sings it sensitively, with sweet banjo contributed by guest Floris De Vries.

Dougie MacLean’s ballad on the pain of emigration, Garden Valley (familiar to Irish audiences from the singing of Cara Dillon) is still topical and the lead vocals are taken by bassist Loes van Schaijk, with Floris de Vries on dobro.

Loes also writes and sings the opening song, No Hearts Won – its beautiful tune is a winner, but as on many of the songs here, it is let down by clumsy lyrics. Joram Peeters’ talent in composing tunes is again overshadowed by the lyrics in the sublime country blues of A Loved Man’s Lonely Blues, and the less said about the attempt at humour in his Rather Die Alone, the better!

Joram redeems himself  though on the delightful jazz-inflected instrumental WhatsApp Doc which he cowrote with Arthur Deighton, featuring both of them on duelling mandolins and more tasty banjo from Floris De Vries. There are also covers of two bluegrass standards – Uphill Climb from the pen of Chris Jones and Don Reno’s Barefoot Nellie.

This release is accompanied by a beautifully produced booklet, with notes on each track and quirky, attractive artwork. An interesting album, though probably not for the bluegrass purist. The services of an independent producer could help to iron out the blips next time around.

Martin Harley & Daniel Kimbro Static In The Wires Del Mundo 

From the opening chords of this album, one is thrown straight into the country blues of the Deep South … but the surprise is that Martin Harley is an Englishman! He has previously fallen under my radar– but I am very pleased to make his acquaintance now.

A phenomenal guitarist, particularly an exponent of lap slide, Martin is also a talented songwriter with a strong distinctive voice. Martin’s musical compadre may be familiar to you already – Daniel Kimbro has been the bass player with the Jerry Douglas Band for the past four years. A Tennessean with a bluegrass background, Daniel has collaborated with many well regarded fellow Americana musicians, and just recently played on the Transatlantic Sessions first American tour.

Although regarded as a bassist, Daniel also contributes piano and guitar here, as well as coproducing with Martin Harley on this Nashville studio recording. The two have been friends and collaborators since they were introduced by mutual friend Sam Lewis a few years ago, and this is their second recording together.

In a recording of superb songs, it’s almost impossible to highlight one above the others. Gold is a particularly delicious slice of sultry down home folky blues, that of a contented man who has found the peace he’s been searching for.

There are jazz and soul inflections throughout, and Daniel’s sometime boss, Flux himself, guests on dobro on Feet Don’t Fail Me. The lyrics are never clichéd – themes range from escaping from ‘one horse towns’ and ‘mean old cities’, and thankfully there aren’t many broken hearts to contend with.

This is a match made in heaven, with Martin Harley’s guitar work and songwriting matched by the musical innovation of Daniel Kimbro. Not to be missed.

Cormac O Caoimh Shiny Silvery Things Self Release

Corkman Cormac O Caoimh releases his fourth album, well produced and recorded in his native city, with a host of local musicians aiding and abetting. All twelve songs are originals, with O Caoimh taking the lead vocals, and Aoife Regan contributing backing vocals on all songs.

Almost all of the songs have a predominantly 80s pop rock feel – think Paul Heaton/Prefab Sprout meets Paddy McAloon, but without the latter’s cynical insight, perhaps. There’s lots of melodic guitar work from O Caoimh, and pleasant piano and keyboard contributions from Cormac O’Connor.

Deviation from the 80s sound is really only hinted at in a few of the songs – In The Hollow Of An Old Oak surprises with it’s swamp rock feel; there’s a welcome funky bass backbeat and saxophone let loose in A Parked Car; and the title track itself strays into jazz pop territory.

The lyrics stand up well on their own. At times cryptic, any of them could be read aloud as works of spoken word. The cover is complemented with photos of – yes, shiny silvery things.

 

Friday
Jul142017

Reviews by Declan Culliton

David Corley Zero Moon Wolfe Island

Less than three years ago David Corley was virtually unknown in the music world. Zero Moon is his second full album following a whirlwind two-year period which saw his debut album Available Light make a considerable industry impact, particularly in Europe, and a tour that almost ended tragically when a heart attack on stage in Groningen, Netherlands resulted in a long period of hospitalisation and subsequent recuperation. While recovering Corley recorded the seven-track mini album Lights Out, much of the material a reflection on his near-death experience. Having not entered a recording studio until he reached his early fifties Zero Moon is a continuation of the creative purple patch that Corley is currently enjoying.

Much of his latest album is bleak, desolate, searching and questioning, and all the better for it. The striking artwork (created by Kevin and Cynthia Kehoe) is monochromatic and stark, as are the barely legible hand-written lyrics by Corley himself, the only hint of colour featuring in the track listing and emblem on the rear cover. Equally dark, cold and edgy are many of the lyrics that feature on the eleven tracks.

I often wonder if the classic Rolling Stones album Exile On Main Street were to be released today which of the numerous sub-categories would it be pigeon holed in, alt-country/Americana/indie rock or possibly country rock. Back in the day it was simply a ‘rock’ album, no more no less. David Corley’s music, for me, fits hand in glove into that simple one word categorisation and particularly on this new album. 

It’s a long player in the true sense, you’ll need to set aside the best part of an hour to play it start to finish and three of the tracks (Zero Moon, Desert Moon and Burning Chrome), each one memorable, contribute to about a third of the album.

Recorded at The Post Office Studio, Wolfe Island, Ontario and produced by Corley’s right-hand man Hugh Christopher Brown, the sound throughout is beautifully loose, flowing and sounding very much like a live recording.  The aforementioned Zero Moon and Desert Mission (inspired by Cormac Mc McCarthy’s novel Blood Meridian) thankfully were not edited to the too often customary four minutes but instead were allowed to drift, ebb and flow giving the impression that things were going so well in the studio that the only direction was – keep on playing and see where we end up. His studio band are the same musicians that featured on Available Light and Lights Out. Chris Brown playing keyboards as well as production duties, Gregor Beresford (Barenaked Ladies, Suzanne Jarvie) on drums and Tony Scherr (Norah Jones, B.B.King, Al Di Meola, Ani DiFranco) playing bass. Sarah McDermott and Kate Fenner contribute backing vocals. Notwithstanding the quality of the musicians employed the most potent instrument is Corley’s voice, broken, whiskey torn, raspy and growling, perfectly suited to the subject matter that often concerns dark and painful landscapes. As with his previous recordings we are given a glimpse of Corley’s personal life, trials, suffering, frustration and distress. A door opened momentarily but never left open for too long, leaving the listener with only a brief opportunity to observe the contents.  His lyrics continue to be beautifully abstract at times "Then pirates arrive, knives in their teeth, and dancing girls are filling the streets"(Zero Moon). "Mean beings wring their hands and hang their heads in darkness while our imagination founders on the rocks"(Vision Pilgrim). Whirl recalls his recent health issues in no uncertain terms "I’ll just whirl and hope that the wind don’t die, just in case – you know who to notify, my next of kin."

Down With The Universe which featured on Lights Out is given a second outing and Take Me Down Some and Splendid Now both echo early 70’s Stones. A Lifetime Of Mornings tips its hat in the direction of Leonard Cohen, delivered semi-spoken.

Given the stature  of Corley’s output on this album and his previous work, one is left wondering where his industry standing would be had his career kicked off a few decades ago, though possibly it was the life and near death experiences that were the catalyst, inspiration and motivation for the wonderful body of work he has delivered in the past few years.

An album of the year contender for this writer, hands down.

Emily Barker Sweet Kind of Blue Self Release

Having developed a quite British sound from her work with The Red Halo Band spanning nine years  and with over fifty unrecorded songs of varying  styles already in the slow burner, Australian born Emily Barker decided to experiment with a change of producer for her next project. While recording The Applewood Road (2016) album in Nashville -with Amy Speace and Amber Rubarth- she struck gold when a recommendation by sound engineer Chris Mara resulted in an introduction to Matt Ross-Sprang. Having produced a couple of the finest albums released in the past two years in Margo Price’s Midwest Farmers Daughter and Jason Isbell’s Something More, together with having worked at Sun Studios for eleven years, Ross-Sprang could not have been a better pair of ears to consider Barker's war chest of material.

On hearing a selection of Barkers songs Ross-Sprang wisely identified a core soul and blues tread in many of them and recommended Barker went on a musical diet of Ann Peebles, Dan Penn, music to her ears having grown up as a lover of Aretha Franklin and all things soul.

Never one to do things in half measures, fast forward to June of that year and Barker found herself at the hallowed ground of Sam Phillips Recording Service in Memphis surrounded by the tightest bunch of local session players you could imagine in David Cousar on guitar (Al Green), Rick Steff on keyboards (Lucero, Dexy Midnight Runners), Dave Smith on bass (Norah Jones, John Mayall) and Steve Potts on drums (Neil Young). Susan Marshall and Barker herself were on hand to contribute backing vocals. Recorded and mixed in seven days the resulting album is a collection of ten songs soaked in emotion and melody that work wonderfully together ranging from hard boiled soul and blues but also leaving plenty of room for the melodic ballads that Barker has a particular gift for penning.

Three of the songs included are co-writes with UK singer-songwriter Boo Hewerdine, the heart wrenching and quite beautiful ballad – a tribute to Sister Rosetta Tharpe - Sister Goodbye, the equally moving Over My Shoulder and the upbeat Motown sounding More!, featuring saxophone and trumpet by Jim Spake and Marc Franklin.  No.5 Hurricane, co-written with Eric Palmqwist sees Barker visiting a style closer to her previous work with The Red Halo Band, an achingly gorgeous new love/old love song. 

 A hugely talented and focused artist, never standing on her laurels and always stretching her musical parameters, Sweet Kind of Blue is indeed a triumph and a delightful diversion for Barker.

John Murry A Short History Of Decay TV 

Much as I dislike rolling out the ‘difficult second album’ cliché, it could hardly hold more relevance than A Short History Of Decay, the sophomore album by John Murry. His debut The Graceless Age was considered by many in the industry as a masterpiece, a road map detailing a lifetime of emotional, physical and mental turmoil. Autism, mental health issues, institutionalism, rejection and drug addiction all contributed to an album that appeared to play out as cold turkey, exorcism and closure. 

Murry’s state of mind and health seemed to be in a good place and even if sales of The Graceless Age did not necessarily provide a retirement fund it presented him with a touring platform, a regular though possibly cult following, the confidence, motivation and platform to further his career.  His well-documented loathing at the prospect of residing in California resulted in a relocation to Kilkenny, where he was welcomed with open arms by the art appreciative community, and he appeared to be in a good place mentally, physically and emotionally. 

However, stability was short lived and over a few turbulent years further challenges presented themselves including the sudden death of Murry’s mentor and guiding light Tim Mooney, who had produced the previous album, and an acrimonious marriage break-up, both of which threatened to re-open scars barely healed and seriously challenge the vulnerable artist. Left without a regular touring band, no record label and limited income Murry continued to his perform raw, emotional live gigs sometimes with guest musicians, more often solo. He released the EP John Murry Is Dead in 2016 but the prospect of a second full album seemed to be drifting away.  

An encounter with Michael Timmons of Cowboy Junkies fame followed, (Murry opened for them at a show in Glasgow), a friendship developed and Timmons greatly encouraged Murry to consider recreating, in the studio, the raw passion, emotion and honesty that pours from every inch of his body during his live performances. After a few false starts a recording session lasting five days was lined up at Timmon’s studio in Toronto with Peter Timmons (brother of Michael) on drums, Josh Finlayson (Lee Harvey Osmond) on bass and Cait O’ Riordan contributing backing vocals and most likely also moral support - having performed on stage previously with Murry. All guitar and keyboards were handled by Murry with Timmons, always the master of atmosphere, providing the structure, guidance and most importantly the discipline necessary to get the album down over the short period with the emphasis always on Murry’s vocal and his parables. The sound is more often than not paired to the bone, toned down, forthright and at times delightfully shambolic. Gone are the layering, multi instrumentation and sound effects that adorned The Graceless Age, Timmons simply and cleverly provided Murry with a blank canvas to express himself and set about creating an unobtrusive musical backdrop that never gets in the way of the vocals.

Most importantly Murry, with more than a helping hand from Timmons, did not attempt to create The Graceless Age Act 2, what would be the point and ironically the only track on the album that might have fitted snuggly on his debut is a remodelling of the Afghan Whigs What Jail Is Like.

The album is named after a book title by French philosopher Emil Cioran and the tracks One Day (You’ll Die) and Countess Lola’s Blues (All In This Together) both consider mortality - a subject which Murry appears enthralled by – though it’s difficult to decipher whether irony outpoints rancour, which can sometimes the case with Murry’s song writing.

"All I Do Is Fix Whatever I Broke the Day Before" admits Murry on Under A Darker Moon, testament to his chaotic behaviour. It’s a driving song with layered, echoed vocals and screeching guitars with more than a nod in the direction of Velvet Underground. As with much of the album it takes on another dimension when heard on headphones where the production and mix really hit home. Defacing Sunday Bulletins is equally turbulent, fuzzy guitar glancing over the shoulder of Finlayson’s thumping bass lines. 

In many ways it should be celebrated that this release has seen the light of day given Murry’s wayfaring existence. A slow burner without doubt and one that even the most astute ear may require a number of visits to get fully on board but a more than laudable successor to The Graceless Age. Highly recommended. 

Sophia Marshall Bye Bye Self Release

Due for release in late August Bye Bye follows Sophia Marshall’s five track EP The Paper Thin, released in 2015 and is further testimony to the vocal and song writing talents of the former member of boy/girl duet The HaveNots.

Marshall’s industry internship has included support act to Peter Bruntnell, Frazey Ford, Tift Merritt, Be Good Tanya’s, The Sadies and Sam Outlaw and it’s not difficult to identify certain influences gathered along that journey, most particularly in her capacity to fashion uncomplicated compositions using the basic tools, simple language and abundant hooks. 

Boasting a beautifully unadulterated and natural voice, which sounds all the better for Marshall’s tendency, unlike many UK Americana artists, not to adopt a West Coast accent but to use her own natural pronunciation to full effect. 

The album brings to mind the work of fellow UK artist Thea Gilmore in many ways, mixing powerful hard edged catchy songs like the title track and Losing You (co-written with Liam Dullaghan) with the more acoustic Sarah’s Room and surreal Beauty Sleep.

Catch Me shifts in the direction of Jesse Sykes with lots of twang and boldness, Hey Al, Woah! (great title!) is equally edgy while the atmospheric two-minute closer Drunken Sailor is delivered vocals only with Marshall given a helping hand by Jay Hardy (Hardy Band) and some cleverly plotted over dubbed vocals.

While titles such as Bye Bye, Losing You and Missing Pieces suggest looming despair and hardship, the subjects are dealt with in a positive, upbeat and assured manner suggesting an artist that is marching forward ready to embrace anything that comes her way. Most impressive and perhaps a door opener for Miss Marshall.

Suzanne Jarvie One Take Only Dirt Road

I have to admit arriving a bit late to the party when it comes to Suzanne Jarvie. She played Ireland in September 2016 in support of her album Spiral Road album but I was abroad at the time and did not get to see her show. Having been really impressed by her performance in Kilkenny recently supporting David Corley, I welcomed the opportunity to review her mini album One Take Only released in 2016 as a stop gap between her debut album and it’s successor In The Clear, due to be completed later this year.

Jarvie is yet another impressive female singer songwriter to emerge from Canada in recent years following the path taken by Sarah Harmer, Oh Susanna and Lindi Ortega. Born in Honk Kong and raised in Toronto, a lawyer by profession and the mother of four children, music was primarily a hobby for her from a very young age. However, a near tragic accident whereby one of her sons fell down a spiral staircase and his subsequent recovery was the trigger for her debut album Spiral Road. The album made a favourable impression particularly in Europe where it reached No.7 in the Euro/Americana charts.

This mini-album includes six tracks in total, two originals and four cover versions. Produced by Hugh Christopher Brown, Jarvie is joined by her daughter Sara Jarvie Clark on backing vocals and violin on Believing, a track which featured on the TV series Nashville. The covers versions included are Dylan’s Senor, Sweet Carolina from Ryan Adams and Hills of Home written by Ralph Stanley. However, it’s the two original songs that shine most brightly, the stripped to the bones opener You Shall Not Pass  and closer Shadow of the Sultan both of which feature  angelic vocals that above all seem to be delivered by an artists that actually loves what she is doing.

Jean Shephard Country Music: Pure and Simple HumpHead

Jean Shepard, who passed away in September 2016, was a member of the Grand Ole Opry for sixty years and one of the most iconic female honky tonk singers in the history of country music. Often overshadowed by artists such as Kitty Wells and Loretta Lynn she made her debut in the country music charts as a teenager in 1953 with A Dear John Letter. Released as a duet with Ferlin Husky it charted at No.1 in the country charts and remained there for six weeks. Totally uncompromising, Shephard was an unapologetic champion of traditional country music, a principal that in many ways may have limited her career opportunities at certain times. Uniquely and unlike the majority of female country singers, she launched her career as a solo artist whereas her peers generally performed as family groups, band members or duets. For ever a risk taker many of her early releases were quite daring for the times with titles such as Then He Touched Me, Many Happy Hangovers To You, Don’t Fall In Love With A Married Man and My Arms Stay Open Late. Her debut album Songs Of A Love Affair, considered to be the first concept country album to be recorded, was released in 1956 when she was only 23 years old. The album featured some of the industry’s finest including Buck Owens, Tommy Collins, Bill Woods and Clarence Lee and consisted of twelve original songs with Shepard having an input into the song writing.

Shepard signed to Capital Records in 1952 and this double album collects no fewer than fifty songs released on that label between 1964 and 1978. Interestingly the tracking is not in any chronological order kicking off with A Real Good Women (1968) and closing with I’ll Take The Dog (1966). The real winner is the consistency of her incredible voice throughout and her staunch insistence in ‘keeping it country’ and avoiding any pop crossover regardless of the pressures from Music Row.  Shepard survived many industry and personal difficulties, most particularly the tragic death of her husband Hawkshaw Hawkins, who perished in the plane crash that also claimed the life of Patsy Cline yet she continued to perform until twelve months prior to her death from Parkinson’s Disease.

 This delightful collection of songs is an absolute vindication of Shepard’s insistence of keeping country music simple, pure, and unadulterated and far outshines the majority  the hybrid product currently masquerading as country on Country Music Radio.   

Erin McLendon Making It Up As We Go Self Release

Ticking all the boxes for what passes today as radio friendly pop country this is the second release from Music City resident Erin Mc Lendon following her 2015 recording Fire & Wine which was nominated as an album of the year by IMEA (International Music and Entertainment Association). 

Originally hailing from Durham North Carolina, Mc Lendon graduated with A Bachelor of Music degree in Commercial Voice, a qualification that involved particular emphasis on the business side of the music industry. Her musical inspirations include a diverse range of artists from The Beatles to Tina Turner in the more popular genre but also soul queen Aretha Franklin and country icons Brad Paisley and Reba McEntire.

Opener When God Made a Woman is particularly radio friendly, densely layered, lots of hooks and a gospel like closing chorus. Don’t Believe My Eyes Anymore takes a swipe at the insincerity of dating sites and Honolulu Love is a stripped back ukulele lead song dealing with young love.

The title track suggests a random care free artist taking things as they come. However, the album gives the impression of an artist with her finger firmly on the pulse and more than aware of her market and the type of product that opens doors. McLendon is one of so many young female artists that are products of the America’s Got Talent formula sound but to her credit Making It Up As We Go has the songs, the sound and the self assured vocal delivery to position her ahead of a lot of her contemporaries.

Jeffrey Halford and The Healers Lo Fi Dreams Floating

The title of the album is a reflection on Jeffrey Halford’s efforts to make a recording with a particularly warm sound reminiscent of some of the classic recordings of the 1950’s and 60’s. Co-produced by Adam Rossi and Halford and using vintage equipment including Sears Silvertone, Danelectro and Harmony guitars, the album without doubt does succeed in nailing the intended stripped-down sound. 

Texas-born but spending much of his childhood in various parts of California, Halfords childhood was never conventional as his nomadic parents moved from location to location, sometimes by choice and other times by necessity. Heavy exposure to classic AM Radio and artists such as The Doors, Marvin Gaye and Howlin’ Wolf sowed the seeds for a musical career that kicked off by playing street corners in San Francisco, forming rockabilly band The Snappers and for the past two and a half decades touring and recording with his current outfit The Healers.

Lo Fi Dreams is his eight release and represents everything roots music stands for, mixing blues, country, soul, rock and roll and most particularly attitude in abundance.

Elvis Shot The Television is a funky recollection of a bored and wired Elvis misbehaving, opener Two Jacksons is a slick, smooth tale of an encounter with an attractive sales assistant. Halford lets loose and cranks it up a notch or two on Bird of Youth before slowing things down with the atmospheric and amusing Sweet Annette which recollects a visit to a remote diner.