Entries in Karen Jonas (3)

Tuesday
May222018

Reviews by Stephen Rapid

 

Sarah Shook & The Disarmers Years Bloodshot

The second album from this tight and tenacious combo follows time spent touring and playing in front of audiences across the US. There is some real meat here with all parts of the equation adding up to something that counts. The band serve the songs and it all feels right. The guitar and steel give that roots edge but the overall sound is capable of a number of twists and turns that fail to pigeon-hole them into a single category. However, there is no doubting that this fits the overall loose Americana tag. 

Shook is the author of the 10 songs and she has a voice that is central to their truth. Songs that deal with a variety of emotions and moods that are signalled, to a degree, by their titles. New Ways To Fail, The Bottle Never Lets Me Down, Damned If I Do, Dammed If I Don’t and Heartaches In Hell are all songs that have at their heart an emotional and intentional reaction to situations that feel like her take on the reality of living and coping in these straightened times. Hard times, heart breaks and hard drinking are all explored with a mix of toughness and vulnerability. She can also take and understand an opposite viewpoint, like in The Bottle Never Lets Me Down where she sings the song from the male perspective.

With some of her more high profile major label contemporaries, like Kacey Musgraves for instance, making moves to a broader pop platform it is refreshing to hear Shook and her band explore the possibilities of their music without abandoning the underlying sense of country, alternative or otherwise, that is the bedrock of her two albums to date. Whether she expands on that in any way is up to Shook but for now she and her core band which features exhilarating exchanges between guitarist Eric Peterson and steel guitarist Phil Sullivan and bassist Aaron Oliva make music that is for these times. 

Karen Jonas Butter Self Release 

There is a sense of maturity about this new album from Karen Jonas. She is a mother as well as a working musician and so that has to mean that she doesn’t have a great deal of time to mess around and on her latest album she looks at her life and delivers a set of songs that reflect her life and loves. This means a smooth mix of twang and torch. A subtle blend of country, folk as well as a touch of soul and jazz tinged moments. 

The title song relates to a love of baking in her kitchen and the associations that butter has with her family, her upbringing and also the family she is raising currently.It’s about being at home with family as much as being at home with her music. There are also references to the circus of life in songs like the directly titled   as well as in Mr Wonka. Elsewhere she walks, reluctantly, down Yellow Brick Road (“paved with fool’s gold”), Butter is an allegory for the good things and Jonas alludes to that with the track’s big band feel. Then thereare the tales of heartbreak and woe that often are the subject of country aligned albums.

The album was co-produced by long term associates who worked on the last two albums, guitarists Tim Bray and Jeff Covert, in a studio in hometown Fredericksburg in Virginia. It features a full, warm sound that includes pedal steel, fiddle, keyboards and brass, alongside a strong rhythm section and some versatile guitar contributions. Often, they recorded in late night sessions after the kids were tucked up which gives the album a sense of comfort and ease with unforced late night attributions. There is a timeless feel throughout that has both class and sass. All three of Jonas’ albums are worthy of attention and the combined talents of all those involved have produced a set of recordings that are as real and tasty as butter on a good bread.

Sean Burns and Lost Country Music For Taverns, Bars and Honky Tonks Self Release

This Winnipeg artist has released a number of albums under his own name alone. This one has the appendage of Lost Country - a set of musicians who have joined in the recording to deliver a set of songs that live up to the album title. Music that indeed would fit any of the venues mentioned. Small, intimate, loud and looking to be entertained. And entertain they do from the train whistle sound of the cut-a-rug opener, Have You seen That Train. The band - Joanna Miller on drums, bassist Bernie Thiessen and guitarist Grant Siemens - are joined by a couple of superlative players in the fabulous Chris Scruggs on steel guitar and Harry Stinson on harmony vocals as well as (for one track) harmonica player Big Dave McLean.

What makes the album work especially well is the diverse nature of the songs. The second track Farewell Parties (which might be located more in atavern than arowdy bar) is a sad, slow tale of a break-up when his woman is setting up the event before he has actually gone. Then there’s the mid-tempo My Old Self, a quavering vocal that tells of a man who doesn’t really want to get back to his bar-fly self anymore. Throughout, Burns vocal delivery is spot on and able to take the rough with the smooth, the lost with the found. Burns penned a half dozen of the songs but choose some good songs that fit the bill from other writers such as Wade Mosher’s Don’t Let The Highway Get You Lost, a song about keeping focus and avoiding distractions. Big Freightliner is a song written by fellow honky-tonker Andrew Neville. Dan Russell’s Sturdy Woman should also please Band fans too. Another stand out is Don’t Play With Fire a cautionary tale co-written by Burns and Sara Bleackley with some great Harry Stinson harmonies. The final song here, I Wish Things Were Different, is another ballad that is full of regret and remorse.

As with all the songs, the band and guests have a ball and the playing is perfect for the music with Scruggs steel adding a welcome diversity that takes the music upwards and onwards. Though the core band are well capable of delivering in a live setting I would imagine (and with the YouTube live clips to back it up). Sean Burns joins the growing number of under the radar independent artists who clearly love to listen to and play classic country; albeit from their own point of view with original songs and well chosen covers. Top notch music for all occasions - if those occasions demand a cool band building a head of steam on some hot songs.

Ashley McBryde Girl Going Nowhere Atlantic

This girl from Arkansas plays guitar and writes songs. Ashley McBryde rhastwo previous self released albums and won the Country Showdown talent show before signing with Atlantic records and releasing her major label debut album Girl Going Nowhere. That this album was produced by Jay Joyce made me fear for something more bombastic with strong crossover leanings so it’s good to report that this is a more subtle and restrained production and very much in sync with the songs. McBryde is a part of the trend towards female songwriters who write for their times and contemporaries. The end results though are good storytelling songs that should always be at the heart of what is labelled country music.

A Little Dive Bar In Dahlonega, the first single from the album is an example of her craft and was named one of the best songs of 2017. There are many other here that show her skill at taking the elements of her upbringing, as well as observations of those she sees around her, as the focus and subjects of her writing. The title track and opening song is a realisation that while a person can be dubbed going nowhere, this can in fact be doing pretty good. Radioland tells of the influence that that medium had on her and her family. American Scandal is a passionate declaration of the need for love. As is often the case these days McBryde has co-written these songs for the most part with a selection of different co-writersbut whatever the source, they are well written and engaging. The one solo write is a straight and honest consideration of the things that are good and bad about a close relationship. That song, Andy (I Can’t Live Without You), will resonate with many as being based in a no-bullshit reality (as is much of the material here). Material that is memorable and full of a definite female power.

The lyrics are all worth listening to and it’s a shame that the label didn’t see fit to include them in the package to make that easier. Another factor in the success of the album is McBryde using her band on the album; a group of players who have lived with these songs and understand them. Joyce’s production, as mentioned, helps to achieve a balanced and dynamic sound that moves from slower ballads to out and out rockers like El Dorado. Out in front of all this is McBryde’s striking vocal delivery that is full of heart and soul. Ashley McBryde’s major label debut is one of an artist who is going places and one well worth joining her on

Ashley Monroe Sparrow Warner Brothers 

For this new album Monroe has taken a step in a different direction than I had expected. Her performance at Dublin C2C in 2016was a stand-out of more traditionally minded country music (closer to the real thing than much of what has performed under that banner). For this album Monroe has worked with the very much in demand Dave Cobb. They recorded the album in the Historic Studio A in Nashville and have used the environment to create what they may have considered to be a contemporary take on the string-laden countrypolitan made famous by Chet Atkins (often in that very studio). It is an interesting if not quite fulfilling venture. One that artist and producer are no doubt happy with but one that somehow fails to ignite despite some quality song writing.

Monroe is still a distinctive and twang-inflected singer who is commanding on these co-written songs. It has highlights like She Wakes Me Up (Rescue Me) and the opening Orphan, the heartbreak of Paying Attention or the affection of Daddy Told You. But the overall sound seems to fall between different stools; neither pop nor traditional country, without really firmly establishing itself in its own right. There is no steel guitar for instance which might’ve helped to somehow make a link to her previous work. Rather, it is strings with an accompanying rhythm section, keyboards and Cobb’s own guitar contributions.Individually the songs are good enough but overall the similar mood and arrangements tends to negate the strength of the intention.

As part of the Pistol Annie’s Monroe achieved some recognition but her solo career seems not to have taken off as expected and for a writer and singer of her undoubted talent that is a shame. There are circumstances for that to a degree, especially in the way country radio underplays the role of female artists. So, in the end, Sparrow tries hard but doesn’t quite succeed on its own terms but that doesn’t mean writing off Ashely Monroe. What will be interesting, outside of this release, will be how she performthese songs in a live setting alongside the music of the previous albums. For now, it is worth listening to Sparrow yourselves and making your own minds up as to how it flies.

Ross Cooper I Rode The Wild Horses Self Release

Perhaps the best known of the real cowboy singer/songwriters is Chris Ledoux. Others include Ian Tyson and Wylie Gustafson and you can add to that list, Ross Cooper, a former professional bareback rider who had to quit the rodeo circuit when he sustained a knee injury. Now he concentrates on music and has just released this brand new album. The title track makes reference to that career though many of the other songs are more about the trialsand tribulations of everyday life. Me Only, Damn Love, Living’s Hard, Loving’s Easy and Heart Attacks are all explorations of day to day existence. Equally the album has a hard-edge sound that is hardly traditional honky-tonk. Often it hits the edge of hard riff-laden rock. But then some of Ledoux’s music did as well.

The album was produced and mixed by Eric Masse in Nashville. He and Copper assembled a sturdy set of players including Steelism’s Jeremy Fetzer and Eddy Dunlap on pedal steel. Another name that may be familiar to many is Erin Rae on backing vocals. These join the 11 named musicians who contribute their talents to the recordings on what is an enjoyable album that has enough roots Americana to make it of interest to all those who enjoy the more adventurous side of things.

Fellow artist Paul Cauthen co-wrote Old Crow Whiskey & A Cornbread Moon with Cooper and it is one of the more traditionally orientated songs here. Andrew Combs, another artist who may be known to our readers, is a co-writer of Lady Of The Highway along with Jordan Leaning. It celebrates those ladies who add some comfort for those travelling the well worn highways. Cooper has a versatile voice that can handle the slower material along with the up-tempo rockers. It is the kind of album that may well appeal to Ryan Bingham fans and those who like their roots music to have a less traditional bias.

Cooper had a hand in writing all the 12 tracks here and he is following his muse in music and looking for the same thrill that bareback horse riding undoubtably gave him. I imagine that in a live setting with a receptive audience that he might get close. On record he has made an album that grows with listening and signals a singer/songwriter who has the experience of a lifestyle first hand that others only imagine (his song Cowboys & Indians touches on that very subject). An experience that should translate into a portfolio of believable songs as he gets further into his music career. As his song says he is Another Mile on that path.

Romantica Outlaws Self Release

A couple of years agoBen Kyle released a self-titled album that was one of my albums of the year. He also released a fine duets album with Carrie Rodriquez. Since then he has been putting out albums under his previous band name, Romantica. This new album is a mixture of all these elements. The opening track features Rodriquez on backing vocals and the final track is a version of one of the standout tracks from his solo album. This live rendition of The Dark features Ryan Adams. 

Key to Romantica’s gentle, reflective sound is pedal steel guitar. On one of the tracks he features two different steel players. The songs are originals with the exception of two covers - Something from George Harrison and the other is his take on Hallelujah. Now I have to admit, though I love the song, I’m a bit hallelujahed out at this stage having heard so many versions - some good, some bad -  this one however has meaning for Kyle and fits the mood of the album fine. But given the standard of his songs like Do Go Gently, Love In Winter or Listen To Your Soul he may not need to add outside material other than that the songs has a special meaning for him in context of the overall album.

Kyle has recently been through a serious and debilitating illness (Lyme Disease) and couldn’t function in the way he wanted and was unable to communicate or make music. A distressing situation for anyone to face and doubly so for someone who often communicated through words and music. This release then is very welcome. Kyle is still dealing with the illness and its ramifications but has found a way and the words to deal with that.

Without knowing this, these tracks still offer and deliver much. They are called forgotten songs. Songs from an earlier time that have been outsiders, outlaws. Now they may offer some insight. I haven’t heard all the previous Romantica albums but would recommend them (as would my colleague Paul who reviewed the last album). The band name may be slightly incongruous given what he has been going through but is perfectly suited to this music. Wishing you well Ben.

Lloyd Green & Jee Dee Maness Journey To The Beginning Coastal Bend

This album is (largely) instrumental revisit to the Byrds seminal Sweethearts Of The Rodeo album by the two steel guitarists who played on different parts of the album; Green in Nashville and Maness in LA. Anyone who loves the sound of steel guitar will enjoy the joint playing of these two masters of the instrument. There is a rhythm section of Dennis Crouch and John Gardner and they are joined by Russ Pahl (guitars), Sam Bush (mandolin and fiddle) and others including Al Perkins, Sally Van Meter, Earl Poole Ball and Skip Edwards. An array of talent in other words. John Macy was in the producer’s chair.

The songs will be well known to anyone who knows the original album and include I Am A Pilgrim, Hickory Wind, The Christian Life as well as a song that was recorded at the time but not included. One Hundred Years From Now gets an outing here. It is a niche album perhaps but also a tribute to an instrument that was once fundamental to country music and to an album that many regard as one of the foundation stones of country-rock.

The final track is a reprise of You Ain’t Going Nowhere which features the vocals of Jim Lauderdale, Herb Peterson, Richie Furay and Jeff Hanna all trading verses. it makes a fitting end to the otherwise vocal-less album. Steel guitar lovers worldwide should take notice as well as those who appreciate the many talents involved in putting this tribute together.

 

Tuesday
Jan312017

Reviews By Stephen Rapid

 

Jim Lauderdale This Changes Everything Sky Crunch

Not noted for lengthy periods between releases Jim Lauderdale is nothing if not prolific. As an independent artist, he can release records when he wants to. This has on occasion led to the comment that a tighter rein on the output may make for a stronger album. However, This Changes Everything dispels that theory to a large degree. Rather it is the context that Lauderdale places his songs that make them more appealing to some sections than to others. Which is why those who favour his more overtly traditional country outings have taken to this Texas recorded album.

Produced by Tommy Detamore - a musician steeped in the traditional aspects of Texas country - it also features a selection of Austin’s finest players, from Detamore himself, alongside such respected players as Bobby Flores, Hank Singer, Floyd Domino, Tom Lewis, Kevin Smith and others. Singers like Sunny Sweeny, Brennen Leigh and Noel McKay all add background vocals. These are a set of Lauderdale penned co-writes with the likes Frank Dycus, Bruce Robison, Odie Blackmon and Hayes Carll. Add to that that Mr. Lauderdale is in top vocal form here. The end result over time will be seen as one of his very finest releases.

Some of the songs featured here have had previous incarnations. George Strait recorded We Really Shouldn’t Be Doing This while All The Rage In Paris which was cut by The Derailers in their heyday. But, Lauderdale makes these songs his own here and they are enriched by the talented players and the Texas environment they have been recorded in. The pedal steel, Telecaster twang and fiddle are well to the fore as one might expect with a Detamore production. And while, in strict commercial terms this is unlikely to change everything, it underlines the strengths and integrity that Jim Lauderdale brings to his musical output.  

Levi Cuss Night Thief Self Release

This album was originally released in 2014 but is being given a European release now to coincide with a tour. Cuss is a Canadian roots artist based in Alberta who, for this album, worked with fellow Canadian artist Steve Dawson as producer. They recorded this album in Henhouse Studio in Nashville with a rhythm section and a keyboard player. Dawson handled all the stringed instruments requirements. Using his inherent playing and production skills he is able bring depth and focus the songs such Pills where the sweet pedal steel enriches a song about a drugs and his girl who “liked her oxy better than she liked me.” There’s one cover, which is a Canned Heat style boogie-fried version of JJ Cale’s Bringing It Back.

Between those points Cuss uses his solidly lived-in voice and life experienced songs that have encompassed his personal battle with drink and drugs as well as incarceration. Cuss’ lyrics reflect this former lifestyle and the type of people who tend to inhabit the locations with a certain lowlife lassitude. Tecumseh is a dark story of those moments of a sudden bold rush that may lead to regretted violence … and possible matrimony - the title being the lady of his affections. There are eleven self-penned tales of those who have taken the less fortunate path in life. Some have made it, others not.

Levi Cuss wears a baseball cap and has a beard on the album cover so fits the current “look”for some of the the non-mainstream artists at the moment. But Cuss knows about hard work as he found employment as a manual labourer to put himself in the position to make and finance this album. It followed his one previous album and as this album was originally released in 2014 leaves him about due for a new one thoiugh he touring in the UK and Europe later in the year. He normally tours locally but these European dates should expose him to a wider audience who will appreciate his varied and vibrant hard folk, blues and roots music.

Karen Jonas Country Songs At The Helm

This second album from the very talented Ms Jonas arrived at the tail end of the year and escaped the best of lists but is well worthy of a place up there with the best. It is another example of an artist sticking to their guns (at this point) and playing their individual take on country songs at a time when a number of other of her contemporary artists have moved to a much broader palette of sounds. Jonas was born in Virginia, in Fredericksburg and recorded there with her own musicians. These players include Tim Bray on electric guitar, Jay Starling on lap steel and keyboards with Eddie Dickerson on fiddle over a solid rhythm section of bassist Jordan Medas and drummers Jack O’Dell and Jason Cizdiel. There is no production credit as it was recorded live in the studio, something that gives the sound a spontaneity and an undeniable energy if, in the long term, that doesn’t allow for some development of the overall sound.

Jonas has written all the songs and they show an understanding for the traditional themes of country music while putting a personal and perceptive viewpoint on relationships - good and bad. Add to this a voice that is redolent of your favourite country singers while being both passionate and poignant. Jonas is building from the experience of her excellent debut Oklahoma Lottery and the performances that followed its release. There are 10 songs here and not a bad one among them. They are solidly ‘country’ yet have a certain popish quality at times that makes them eminently listenable.

There are a number of slower songs like Why Don’t You Stay or The Garden which contrast with the big beat stance the Bakersfield (and Dwight Yoakam) referencing title song or the brush off of Keep Your Hands To Yourself or the twanging Ophelia. A song where guitarist Tim Bray shines. Country Songs shows the continuing promise of Karen Jonas - her song writing and singing and one can only hope that it creates a platform that will allow her a producer and more time in the studio next time out. But this album lives up to the promise of her debut release and places her alongside the likes of Zoe Muth and Eilen Jewell. Good company to be in. 

Adrian & Meredith More Than A Little Vertigo

This album reminded me of some of the earlier recordings of Paul Burch in the overall sound style. It is the duo’s first album together though Meredith Krygowski played with Adrian (Krygowski) on his 2014 release Roam. It is an amalgam of various roots styles that fits under the Americana banner. The album is ably produced by Mark Robertson (the upright bassist and producer for The Legendary Shack Shakers) who gives the recording a punkish patina while holding the songs together to give a cohesive overview. There is a little of the Shack-Shakers/Dirt Daubers in the mix too.

Alongside the duo are a set of players whose names will be familiar to many such as Paul Niehaus of Lambchop and Calexico fame. Then there’s Fats Kaplan on tenor banjo and JD Wilkes on harmonica with Robertson himself joining the rhythm section. Meredith is the band’s more than able fiddle player and Adrian its guitar player. The latter is also the main songwriter penning all the songs including one with Niehaus. The sole cover is the traditional Greasy Coat and Kitchen Girl. The album was cut live to tape and that approach is inherent in the overall feel of the engaging results.

The duo handle all their vocals mainly with Adrian taking the lead vocals but on some tracks Meredith is the lead, otherwise she provides duet and harmony vocals. The song Birthday Cakes opens with a solid drum beat before Adrian’s nasal vocal takes up the story and Meredith joins him over the solid beat with pedal steel and fiddle enhancing the sound that resonates in a number of ways that suggest the duo’s influences. Beat is a bedrock for many of the songs as illustrated by the floor stomp of More Than A Little. The use of a trombone allies it to an earlier time while sounding very contemporary in its context. Suffic it say that the Krygowski’s make a noise that is nourishing and more than a little natty.

The Grahams and Friends Live In The Studio Three Sirens

The husband and wife duo revisit the songs that they recorded for their previous album and for the film soundtrack Rattle The Hocks. That release came to Europe through the Sony Music Group but this one sees them independent again. Somemay be familiar with some the songs from other releases, such as the opening song Glory Bound, the title song from their previous album. The version here features the Watkins Family (including Sara and Sean Watkins). The hymn-like Lay Me Down comes from the soundtrack and is an outstanding vocal from Alyssa Graham, as is the version of Alejandro Escovedo’s Broken Bottle. The slower songs also include The Lonely Ones which features the Milk Carton Kids on harmony vocals or Tender Annabelle a duet with guest with John Fulbright and a strong vocal chorus. These stand out well alongside the up-tempo nature of the songs like Griggstown, Kansas City with New Orleans style brass. There is also a related cover (in terms of sound) of the classic City Of New Orleans. Mama opens with the voice of Douglas Graham before Alyssa accompanied by David Garza and Suzanna Choffel join in. Another strong emotional delivery and highlight from Alyssa is on the song Blow Wind Blow.

There are a host of musicians featured on the album who help differentiate the songs from the previous versions on the last album - though some are taken from the deluxe edition of Glory Bound. They include Luther and Cody Dickinson (the former was also director of the Rattle The Hocks movie), Alvin Youngblood Hart, The Norman Sisters, Mark Rubin and others. It is a shame that the duo is not getting the backing that they received when with a major label and this single CD has been released to tie in with some dates in the UK. However, if you didn’t pick up on them with Glory Bound then this collection of 14 songs will help fill a gap until the next album sees the light of day.  

Alt-Country in the UK.

Ags Connolly Nothin’ Unexpected At The Helm

This is the third release from Connolly and follows on from How About Now? and a limited edition album, whose title pretty much explains its content, Traditional - 12 Cowboy Songs. Born in Oxfordshire in England but could easily have been Oxford, Mississippi in that there is an authenticity to the music that largely negates its origin. The album was produced by Dean Owens himself a recording artist both solo and as a member of The Felsons, an Edinburgh based alt-country band from the mid to late 90’s. He is the perfect person to helm this project with an understanding of both traditional and contemporary country music.

Connolly has a voice that is well-suited to the self-written songs that detail the upside and downside of life and its often-complicated relationships. There’s is a sense of depth that feels well-worn and wearied, but hopeful. Something that is borne out by the captivating opener I Hope You’re Unhappy. From then on, the album is a consistent run through of Connelly’s tales of regret, reason and refuge. Louden Wainwright’s I Suppose is the only cover and it is a testament to Connelly that he makes it fit right in. There is a strong melancholy to songs like Fifteen Years and When The Loner Gets Lonely. Both are stripped back arrangements featuring just guitar and fiddle or guitar and accordion (the latter played by ace Mavericks sideman Michael Guerra) -a song that could have easily fit on the Cowboy Songs album. Mention should be made here of the other players involved who include London-born fiddler Eamon McLoughlin (formally of the Greencards and now a player on the Grand Ole Opry), the man on all stringed things - Stuart Nisbet, Kev McGuire on stand-up bass, Jim McDermott’s steady drumming and Andy May on piano. All of whom, along with Connelly and Owens, serve these songs well and deliver an album that stands up with the best - no matter where it may have been recorded; it is the heart involved that matters most.

Guerra’s contribution adds a ‘border’ feeling to many of the songs that is not dissimilar to the feel that UK expat Wes McGhee brought to his Texas influenced music through the years. Ads Connelly can be justifiably proud of the way he and the other players have brought his songs to life with such authenticity and assiduousness. Would that Connelly (or My Darling Clementine and many others for that matter) were getting the kind of exposure that The Shires are currently receiving. But in the end, it’s the music that matters and here it matters.

Daniel Meade Shooting Stars And Tiny Tears From The Top

The versatile and talented Scotsman is back with a new solo album that is pretty much the definition of solo. He is releasing the album on his own label and looking after every aspect of the project from the cover design, the manufacturing and the promo. That’s as well as writing, producing and playing everything on the album. Its genesis came from an idea to write each song in an hour and then record the song with four hours. A self set limitation to see what he could come up with. He also didn’t read the lyrics but improvised them as he recorded them. Some in first takes, others took a little longer, but each take was individual in terms of arrangement and lyrics. The theme was to take conversations with his girlfriend as his inspiration. Initially it was something he was just going to for her but he was happy with the outcome and decided to make it available on a wider scale. 

The album proves again that Meade is a distinctive singer and a songwriter who can write songs that have strong hooks as well as an all-round musical vision - as is witnessed on the album. Several of the songs are instantly likeable (to this writer) like Sometimes Falling, Sometimes Flying, Your Voice At Night, Throwing Pebbles (Round My Head) and Today Doesn’t Matter. There are heartfelt ballads and other more up-tempo songs that are played in a style not unfamiliar to Meade’s fans or of his previous recorded output. His early country, acoustic country blues, folk and old-time influences are all present. Given that it was recorded in his kitchen, there is a lo-fi quality which, however, suits the overall nature of the project.

Meade hopes to be back with a full Flying Mules album later in the year but this is a pretty good listen in the meantime. Daniel Meade deserves all the attention he can get for his commitment to his music and again confirms his position as one of the shining lights of UK roots music.

The Most Ugly Child Copper And Lace Self Release

This Nottingham based 6-piece band are fronted by the male/female vocal interplay of Daniel Wright and Stevie-Leigh Goodison. These are songs in the template set by many of the classic country male and female duet partnerships; offering mighty support are the remaining band members, including rhythm section Matt Cutler and Max Johnson, alongside Nicole J Terry on fiddle and Big Jim Widdop on pedal steel and dobro. They also bring in the Blidworth Brass Band as well as Daniel Meade, Lloyd Reid and Henry Slim from the Flying Mules. The end result is a solid take on country music as it was (and should be).

The writing is also strong with songs from Meade (What Might Have Been), Townes van Zandt (Lungs) sitting alongside the original  songs, mainly from Wright, with a couple by Goodison. The songs in the main are looking at the love and loss that relationships are fraught with. Songs Like Another Lesson In Pain, Today, You Said Goodbye and Long Gone Woman Blues all consider aspects of failure and a need to forget its effects. While other titles like Queen Of The Honky Tonk offer more of a ray of hope for the lonely, while the acoustic album-closer My Pony is perhaps metaphor for life. All this means a good variety in terms pace and style that makes for a very satisfying album.

This is undeniably country music with a contemporary edge and attitude. Rather being retro in outlook it takes in obvious favourites as well as more diverse influences to produce an album that is as well-packaged as it is played. They may be the ugliest child in the town but they come from pretty good stock.

The Lucky Strikes The Motion And The Moving On Harbour Song

This Essex-based band deliver a new album that rocks as much as it rolls with its roots and blues energies. The five-piece band employ fiddle, banjo and pedal steel as much as they do sax, keyboards and loud guitars. The steel laced Lilac And Soil is a downbeat ballad while  Michael is a a song about a friend going through band times. While Carry Me Lord is another tale of searching and seeking with a spiritual context and that allows the dobro and voices to deliver its message. Gone, Gone is a gentle reflection of another man who slowly drifted away that has a folk feel that is reflective way to close the album. There is a sense of looking for meaning - for motion and moving on in fact. The authorship of the songs is not listed on the sleeve but I assume that they are all original songs by the band’s singers Boulter and David Giles. Songs that need time to reveal themselves to the listener.

The band’s main singer and writer Matthew Boulter also release albums under the MC Boulter name but here he meshes with his bandmates to produce a sound that has been likened to the Waterboys, Tom Waits and Crazy Horse. A pretty disparate bunch to be sure, which just goes to show how The Lucky Strikes are going to mean different things to different listeners and how their sound touches a number of bases while remaining a consistent entity. The Lucky Strikes are following where the individual songs take them. This may mean that some listeners will lose interest in the way the band have chosen to deliver their songs. Others will be happy to go on the journey with the band and find for themselves what it has to offer. Something which is individual, interesting and a little intense.

Sunday
May112014

Karen Jonas ‘Oklahoma Lottery’ - Self-Release

A number of things hit you straight off with this album. First, Jonas can really sing. Second, she has written some great songs. Third, she is supported by a subtle and solidly inventive band.

Often when you listen to an album the lyrics tend to wash over you at first,  but here you pay attention from track one. Suicide Sal takes on the Bonnie and Clyde saga and shows how Jonas can weave a story using elements of a true story. The song’s title comes from one of Bonnie Parker’s prison poems. The title track is another song rooted in historical fact as well as fiction. Inspired by  John Steinbeck’s The Grapes Of Wrath, it deals with the hardship of dustbowl migration. The singer inhabits these songs as though she’s carrying the thoughts, indeed even wearing the clothes of the characters.Jonas can even kick up a couple of notches as she does with Money which is a song that muses on what money can actually provide.

The songs never tip over into anything that loses control. The tight and talented band includes Tim Bray’s evocative guitar over the sterling rhythm section of Claude Arthur and Brian Barbe. Jay Sterling added the textures of lap steel and piano, while Jonas herself plays acoustic guitar throughout. The album was recorded by Jeff Covert in Fredericksburg, Virginia and shows again that some vital music is coming from places outside those associated with this style of music.

The ten songs all bear repeated plays and reveal their many layers. Jonas’ vocal is full of personality, hints of pain and of passion that can be both sultry and spirited. But she never over-sings, as often is the case, revealing only as much as she wants to and allowing the listener to imagine the deeper crevices of the character’s motivations. 

You can add Karen Jonas to such notables as Eilen Jewell and Zoe Muth. These women are all singer/songwriters who front great bands and make music that is special and definitely worthy of attention. This is music with heart and soul, music that is made because the artist needs to make it  - for herself as much as anyone.

There are elements of honky-tonk, jazz in its Americana overtones. It was recorded quickly in a live setup in the studio with Jonas allowing all of the participants to have a say in the direction the music took. This explains the organic and instinctive interactive feeling that the music has and why there is an energy and rawness in the music that’s appealing on a number of levels.

The final song, White Trash Romance, is a tongue twisting tale of  a relationship that has humour as well as narrative. It is just one of ten great songs on an outstanding debut release that promises much for the future for Jonas and for those who still seek the truth in music.