Rachel Baiman Common Nation of Sorrow Signature Sounds
Aside from being a gifted multi-instrumentalist, songwriter and vocalist, Rachel Baiman’s unwavering commitment to addressing social issues and injustice is in little doubt. A co-founder of the musician-led organisation, Folks Fight Back, Baiman is Nashville based but was raised in Chicago by parents who both were political activists. Her 2017 album, SHAME, tackled thorny political issues head-on and featured in our favourite albums of that year. Her second full album, CYCLES, which followed in 2021, also addressed more personal matters of the heart.
This self-produced album was recorded in twelve days at The Tractor Shed in Nashville and was mixed by Tucker Martine (Rosanne Cash, My Morning Jacket, Aoife O’Donovan). It plays out as a ‘state of the nation’ in political terms, with particular emphasis on the economic oppression forced upon so many ordinary people in America. Baiman sets that scene with the opener SomeStrange Notion and airs her frustration and exasperation on Bad Debt. Optimism is seldom on the agenda, although the Gillian Welch-sounding Bitter, notwithstanding its lyrical content, is simply gorgeous. The banjo-led John Hartford cover, Self Made Man, is an endorsement of Baiman’s love of old school country and Lovers and Leavers is directed towards her bipolar disorder, a diagnosis which she only received in recent years. Annie, possibly autobiographical, is written from the perspective of a young girl trying to make sense of the adult world surrounding her.
Despite the dark overtones, and bruised and tender lyrics, Baiman has created an uplifting listening experience with COMMON NATION OF SORROW. While the album's quality owes much to the intimate vocals of Baiman and harmonies from Erin Rae, the standard of musicianship from the assembled players is equally splendid. An artist always questioning while on her creative quest and never one to reinvent herself, this record is a worthy companion to her previous recordings and a highly recommended listen.
Review by Declan Culliton
Dom Flemons Traveling Wildfire Smithsonian Folkways
Chicago-based musician and historian Dom Flemons’ latest recording, which runs for a healthy fifty-six minutes, is a fifteen-track album of both original songs and reconstructions of traditional folk songs. The Grammy award-winning artist describes the collection as ‘a statement of my personal travel experiences…. and stories can travel from generation to generation bringing important lessons from the past into the present and the future.’
Together with vocals, the majority of the instrumentation (acoustic guitar, banjo, drums, percussion, electric bass, electric guitar and quills) was performed by Flemons. Contributions are also credited to mandolinist, Sam Bush, and former Pogues accordion and piano player, James Fearnley. Ted Hutt, previously a member of Flogging Molly, and who worked at the controls on albums by Old Crow Medicine Show, Lucero and Violent Femmes, produced the album, which was recorded at Kingsize Soundlabs in Los Angeles.
Flemons’ work with Carolina Chocolate Drops was a refreshing venture into the traditional musical history of yesteryear embracing folk, country, western and blues genres and he continues that application on TRAVELLING WILDFIRE. Opening with a waltz, Slow Dance With You, and closing with the lively instrumental, Songster Revival, there is nothing approaching a filler in between. Impressive covers of Dylan’s tribute to Woody Guthrie, Guess I’m Doing Fine and the Jimmie Strothers’ penned We Are Almost Down To The Shore are included. Every bit as fetching are self-written westerns, Nobody Wrote It Down and Dark Beauty.
There has been a noticeable resurgence in Western culture in album releases in recent times and this gem is a continuation of that welcome development. A leading light in this regard, Flemons’ 2018 album DOM FLEMONS PRESENTS BLACK COWBOYS was another signpost to his commitment to this genre. Romantic without being overly sentimental and political without being high-handed, this release addresses its author's personal journey, together with that of his forefathers, elegantly and noteworthily.
Review by Declan Culliton
The Scarlet Goodbye Hope’s Eternal Angel Dust
The pedigree of Minneapolis band The Scarlet Goodbye is most impressive, combining the talents of Daniel Murphy (Golden Smog, Soul Asylum) and singer songwriter/ producer Jeff Arundel, whose back catalogue includes five previous albums dating back to his debut record COMPASS from 1993.
Following a ten-year absence from recording (‘In 2012 I sold all the guitars and amps, now I’m busy buying them all back’), Murphy’s interest in making music was rekindled once more by a casual invitation into Arundel’s studio following a chance meeting in a local coffee shop. That meeting of minds and renewed enthusiasm on Murphy’s part soon morphed into the pair writing and recording the twelve tracks on HOPE’S ETERNAL. Similarly to the brainstorming that resulted in four exceptionally listenable albums by ‘supergroup’ Golden Smog, you could be forgiven in assuming that this recording was an archived album, recorded in the late 60s, but only seeing the light of day now. The duo gathered together a host of Minneapolis’ finest players in Ben Peterson (drums), Patrick Nelson (bass), Michael Nelson (percussion, keyboards) and Pat Fredrick (violin) to fashion this blend of breezy Brit power-pop and jangly American country rock.
The pick of the crop are the instantly catchy and sweet-sounding Angel Dust and Sandy, the latter recalling Fountains of Wayne at their sharpest. It’s not all fun-filled stock either. The dark and brooding The Ballad Of Julie Ann and the album’s swansong Minor Things, which addresses dementia, both tackle thorny matters sensitively. A cover of Husker Du’s Celebrated Summer is also included, but unlike the manic original version, the inclusion is less chaotic and unrestrained.
Despite The Scarlet Goodbye being christened ‘the most unlikely mash-up in Minnesota music history’, HOPE’S ETERNAL is loaded with positive energy, and hooks galore, and is a lovely listening experience.
Review by Declan Culliton
Bennett Wilson Poole I Saw A Star Behind Your Eyes, Don’t Let It Die Away BWP/SRD
A meeting of minds between three artists with somewhat dissimilar backgrounds, the self-titled album from Bennett Wilson Poole, released nearly five years ago, resulted in the band winning the 2019 UK Artist of The Year Award at the AMAUK’s. Deemed a diversion and a one-off at that time, such was the acclaim of that album that Tony Poole (Starry Eyed & Laughing) Danny Wilson (Grand Drive, Danny & The Champions of The World) and Robin Bennett’s (Dreaming Spires) thoughts turned to a further musical adventure along similar lines.
Covid and illness among the ranks delayed the release of this ten-track album by a couple of years. The end product, while deviating somewhat from the more West Coast vibe of the debut album, recreates the classic three-piece harmonies, sublime guitar playing, and razor-sharp rhythm section, the latter courtesy of Fin Kenny (drums) and Joe Bennett (bass), which worked so well on their first project.
While not entirely abandoning their West Coast influences - echoes of CSN&Y are to the fore on the gorgeous Help Me See My Way - dynamics closer to home dominate, in particular 60s Brit-pop. In a manner similar to Starry Eyed & Laughing unapologetically following in the footsteps of their principal mentors The Byrds, the album plays out like a ‘thumbs up’ to the bands and artists closest to their hearts. With the master craftsman and godfather of the band, Tony Poole, at the controls, the production is faultless with emphasis on the shared vocals and harmonies.
They name-check their American heroes - Andy Warhol, Kerouac, Grateful Dead, Aretha Franklin, Walt Whitman and Bobby Kennedy - against the backdrop of the Trump-era with I Wanna Love You (But I Can’t Right Now). Tie-Dye T-Shirt, with its slick Who-like intro, takes a pertinent dig at the ghastly TV makeover shows and cleverly includes a one-off refrain borrowed from Love Affair’s Everlasting Love (‘open up your eyes, open up your eyes’). The melodic Yvonne tips its hat in mid-60s Lennon/McCartney direction and Heart Songs has a matching classic vintage pop undertone.
Harking to past eras but with a modern spin and a fitting heir to its predecessor, I SAW A STAR BEHIND YOUR EYES, DON’T LET IT DIE AWAY has the capacity to set your pulse racing in places and provide tender and reflective moments elsewhere. Doffing their collective hats in the direction of best-loved artists and eras, and unashamedly nostalgic, the album is classic jukebox fare from a bygone time.
Review by Declan Culliton
John Calvin Abney Tourist Black Mesa
When the world decided to stay home when the pandemic hit, John Calvin Abney did the complete opposite. His lease was up in California (and the wildfires were raging) so he decided to go on a road trip through the US, staying with friends or in hotels, through Nevada, Texas and his native Oklahoma, and that trip fuelled the songs on his latest album. Aptly named TOURIST, he recorded the album solo in his portable studio (whatever that means), and sent the songs to John Moreland, who produced it remotely, while also adding percussion, bass and backing vocals. The result is a pop leaning, folky affair filled with melodic hooks, and layers of dreamy vocals, creating a shimmering soundscape.
Holy Golden West is one of the standout songs - influenced by his Californian environment, Abney’s lyrics are keenly observed, with descriptions of nature, but then ominously ‘ashes fall like snow from cigarette skies’, an obvious metaphor for the wildfires. It’s a personal cry for help and a seeking of safety, the ache in his breathy vocals almost drowned by the layers of soft percussion, piano, bass, chimes and harmony vocals. Watch Me Go (Back In Time) is another tale of unravelling and vulnerability, while By Your Leave uses acoustic guitars and swirly synths to good effect in this slow paced evocation of silence, sunset and moonlight.
Abney somehow manages to play a myriad of instruments on this record, from guitars to synths to Wurlitzer and more, presumably not all were stashed in his vehicle for the journey!
Worth checking out - it’s a grower.
Review by Eilís Boland
Kelley Smith Moon Child Self Release
Sometimes, just sometimes, a record comes along and stops you in your tracks. That is what happened when I first listened to this debut 5-track EP from Kelley Smith. Unusually, Smith only began to write songs in the past couple of years, while approaching her 40th birthday. A Minnesota native, who plays several instruments, she has been busy with life, including rearing four children. She freely admits that she has social anxiety, and has recently discovered her voice through songwriting.
The title track takes the form of a conversation between a couple, where one is a dreamer and one the steadying tether. There’s a pull, over and back between the ‘moon child’ and ‘her anchor, her stay’, ‘Moon child, the night is for dreamers like us/So I’ll be the tether to your wanderlust’. Swathed in gently fingerpicked acoustic guitar, supported by claw hammer banjo, and a hint of slide guitar, it’s also our introduction to Smith’s most distinctive vocal tone - somewhere between Iris deMent and Gillian Welch. Marriage is a taking stock in a long established relationship, ‘seems we close our eyes and wake up old’, where staleness has crept in, ‘did we almost lose each other/in the arms of one another’? But where there’s love, there’s hope, ‘find some patience and some kindness, too/melt the ice that grew in me, and you’.
Smith credits her Toronto based producer, Joel Schwartz, for ensuring that she managed to realise her dream of making a record, something she thought unattainable. His production here is sublime, allowing her vocals and lyrics to take centre stage. He adds resonator guitar, along with a soupçon of mandolin, banjo, electric guitar or piano, exactly when needed, barely there yet so effective.
Dust is one of the most powerful songs exploring grief that I have ever heard. Poignant, yet full of celebration of the love that existed in life, and still remains. ‘Seems like yesterday your hand was warming mine/And now you’ve slipped though my fingers…’ In Tea and Whiskey, there’s a longing for the early days, the carefree days of youth and early love, and a whimsical journey of escape to the moon. Clearly autobiographical, in the exquisite I’ll Let Go she takes a leap of faith, into the unknown, ‘take me now, to the end of the road/beyond what I think I know’.
I, for one, am glad that Kelley Smith took that leap of faith and I can’t wait to hear where the road will lead her next.
Review by Eilís Boland
Peach and Quiet Beautiful Thing Self Release
This album is a follow up to a 2021 debut, Just Beyond the Shine, which was recorded during the pandemic and released to very positive reviews. The partnership of Heather Read and Jonny Miller join together as the creative centre of the music and the twelve songs are very much based around the topic of relationships in all their different forms.
As a couple, their talents and commitment shine through and their songs of love and life certainly leave a positive impression. Their romance is celebrated in the opening song and album title Beautiful Thing and their life on the shores of Pender Island, off Canada's west coast, sounds idyllic.
This sense of joy as a duo is also celebrated in songs like That Is For Sure and When You’re Gone, both of which speak of a shared devotion and a love united. However, there are plenty of dark turns on the road and the search for happiness and this duo mix it up quite a bit on other songs, with Pockets Empty visiting the topic of domestic abuse and Oklahoma or Arkansas highlighting the urge to just get away, buy a motor cycle and drive out towards new beginnings.
The theme of missing someone and the lonely feelings of separation are captured in other songs like Just Before the Dawn, This Time and Save Me Tonight. The dual message of desire and longing is captured nicely on the bluesy groove of Horse and Saddle with the superb pedal steel and keyboard infusions adding great dynamic to the playing. Heather Read features on four songs and her arresting vocal is a highlight; Jonny Miller provides lead vocal on the other songs and together, their harmony vocals dove-tail sweetly together.
The musicianship is quite superb throughout with the dual guitar playing of Read and Miller perfectly complimented by producer and guitar maestro Steve Dawson. He brings the magic dust to so many of the albums that he produces, with just the right amount of what is needed on the overall feel and groove of every track. Chris Gestrin plays keyboards on the project and his inclusion is a change from the first album which works really well, adding nice colour and warmth to the songs. The rhythm section of Jeremy Holmes on bass and Gary Craig on drums features again and provides the foundation for the other players to enhance the arrangements. A really tight band sound with great moments of guitar and keyboard embellishment.
Behind the Sun is the longest track here and a real joy with the guitar playing channelling the energy of a Neil Young work-out. A song that has a brooding quality and great imagery around the dark spectre of dishonesty and secrecy. Take a well-earned bow to all concerned. A very enjoyable album with much to recommend it.
Review by Paul McGee
Steve Dawson Eyes Closed, Dreaming Black Hen
This release completes a hat-trick of albums, referred to as the “pandemic trilogy” by Steve Dawson and all released within the last twelve months. Gone, Long Gone appeared in March last year and it created the blueprint for what has turned out to be a thrilling and productive time in Dawson’s career. Phantom Thread followed in August last and was an instrumental album with eleven songs of timeless quality played by a select group of players that just merged seamlessly into a cohesive whole. The quality of playing across the three albums has been of the highest level and the featured musicians compliment Dawson so perfectly in the beautiful playing.
Alberta songwriter Matt Patershuk has worked with Dawson over past years and five albums appeared as a result of their collaboration. The duo have developed a song-writing partnership over the course of this album trilogy and four of the tracks featured here are a strong example of success achieved in their shared talents.
Dawson also covers songs from Ian Tyson (Long Time To Get Old), Bobby Charles (Small Town Talk), Cowboy Jack Clement (Guess Things Happen That Way), and John Hartford (Let Him Go Mama). There are two interpretations of traditional songs, House Carpenter and Singin’ the Blues, both of which highlight the scope of inventive playing by the trusted musicians that Steve has called upon from past projects. Regular studio stalwarts Gary Craig and Jeremy Holmes provide the always inventive rhythm section with Chris Gestrin contributing on all manner of keyboards. They are augmented on various tracks by the drumming and percussive skills of Jay Bellerose (five tracks), with Fats Kaplin and Tim O’Brien guesting on mandolin. Vocals are ably handled by Dawson himself and Alison Russell guests on three songs, as does Dawson’s daughter Casey. Kevin McKendree adds organ and piano on one track and Keri Latimer appears as guest vocalist on two songs. The horn section of Jerry Cook (baritone sax), Dominic Conway (tenor sax) and Malcolm Aiken (trumpet) make a great impression on Small Town Talk and also returning are the excellent Ben Plotnick (violin, viola) and Kaitlyn Raitz (cello) on the standout Hemmingway.
Mentioning all these players is important in the context that four separate locations were used in bringing the overall sound together. Various recordings were captured in Los Angeles, Nashville, Toronto and Vancouver on a remote basis and it is a huge tribute to Dawson that he makes the disparate parts blend so easily together. The production is vibrant and filled with great moments where you just want to hit the repeat button and experience the brilliance one more time. There are two instrumental tracks, Waikiki Stonewall Rag and Singin’ the Blues, both of which perfectly illustrate the immense talent of Dawson across a range of guitars, proving beyond all doubt that he is indeed the king of the strings, no matter what form they may take! A vital record and one that breaks through all the confines of musical constraints.
Review by Paul McGee
One Adam One Where Do I Begin Die Trying
This release marks a welcome return to Adam Reichmann, once band leader of Nadine, alt-country darlings of the late 90s who released four albums on an excellent run, before breaking up to pursue other interests. Only five songs feature on this EP and the running time of eighteen minutes just leaves the listener wanting more. Reichmann is a fine writer and has such a haunting vocal style to match his languid delivery. The title song speaks of a confused state and trying to make sense of the surrounding world. Feelings of isolation come through in the words and a sense of longing for days gone past.
Living Between the Lines is a gentle, soothing lullaby that speaks of ‘counting dollars and days’ as a way of getting through the daily routine and ‘bottles full of wasted time, pretending that it’s fine.’ The sweet vocals of Stephanie Stewart add greatly to the sense of acceptance and getting on with living.
The song arrangements are beautifully structured with swathes of melody wrapping the vocals and heightening the performances. Hollywood Ending is one of those songs that stays in the memory as something that is infinitely hummable. Again, the wistful vocal style and the easy groove and chorus leaves you feeling fully invested. Cold Murmurs has an up-tempo beat with the harmony vocals complimenting the rhythmic drive of the song. The production builds to a great crescendo and we are asked to come ‘out of the shadows and into the light.’
The final song Platte River looks at memories of Nebraska and days spent trying to decide whether a relationship was worth a lasting commitment. Name checking Pink Floyd, Vonnegut and Salvador Dali captures the heady joys of youth ‘painting the landscape of a young man’s mind’. The song has memories tinged with regret at what gets left behind. The guitar break is nicely judged and the melody frames the realisation in the words that ‘I just wasn’t ready for love to be true, Sweet Alisha whatever happened to you.’
St. Louis, Missouri remains the home of Reichmann and his original Nadine band mate Todd Schnitzer produced this project in addition to co-writing all of the songs. I can’t wait for the second instalment.
Review by Paul McGee
Rachel Baiman, Dom Flemons, The Scarlet Goodbye, Bennett Wilson Poole, John Calvin Abney, Kelley Smith, Peach & Quiet, Steve Dawson, and One Adam One.