Entries in Sophia Marshall (1)

Thursday
Apr062017

Reviews by Declan Culliton

Samantha Crain You Had Me At Goodbye Ramseur Records

Samantha Crain’s last visit to Ireland in 2015 featured an appearance on national television where she performed Big Rock from her then current album Under Branch And Thorn And Tree on The Late Late Show. That album featured highly in Lonesome Highway’s Best of 2015 and was a career best for the Oklahoma resident. Not one to stand on ceremony, Crain freely admitted that after that tour it was back to bread and butter issues with the prospect of working shifts at a pizza parlour to earn cash to finance her next recording and subsequent tour. The result of her toils is You Had Me At Goodbye, the fifth full album by Crain and a worthy successor to its predecessor.

Engaging the same production team of John Vanderslice (The Mountain Goats, Strand of Oaks) and Jacob Winik (The Magnetic Fields, Hot Buttered Rum) and recorded at Tiny Telephone Studio in San Francisco the album finds Crain in a more experimental and relaxed mood than on previous recordings. A recent quote from the young Shawnee Oklahoma resident noted "With this album, I just wanted to have some fun. I’ve spent the majority of my young adulthood taking myself and my music very seriously."’

Well, it is indeed fun but certainly not throwaway. Crain may have felt more carefree than on her previous recordings but her gift as a prolific and passionate songwriter continues to glow as she considers sincerity, self-respect, grieving, mental illness and relationships over the ten songs that make up the album. The album kicks off with the upbeat and hooky Antiseptic Greeting which agonises about the pressure on people to continually put a brave face on, when sometimes it should be ok and acceptable to be in bad form and not under pressure to be expected to mask it. The Loneliest Handsome Man deals with lost friendship and is delivered with an almost sleepwalking vocal and delightful piano and strings. Crain employs her ancestors native Choctaw language on Red Sky, Blue Mountain a melodic and hypnotic song and possibly the stand out track on the album. Grieving and loss are visited on Betty’s Eulogy which deals with a widow’s loss. Interestingly the album includes Crain’s first recorded cover song When The Roses Bloom Again from the Mermaid Avenue Sessions. Its appearance on that album featured music by Jeff Tweedy to lyrics that were discovered in Woody Guthrie’s journals but which had been written by the composer Will D. Cobb.

This album is a slight departure from Crain’s previous work but captures the lyrical beauty that has permeated all her output to date and fits snugly in a back catalogue that should be included in every serious listener’s collection.

Holly Macve Golden Eagle Bella Union

‘I looked at the world with different eyes’ announces Holly Macve in White Bridge, the opening track from her debut album Golden Eagle. In a certain context these words could well describe the direction the twenty one year old Galway born artist has taken her musical inspirations to create a most impressive and individualistic recording.

Possessing a quite unparalleled vocal which dips and soars throughout the ten tracks on the album, Macve excels in the art of storytelling with a maturity well beyond her years. Produced by Paul Gregory of Lanterns On The Lake, the album was written when Macve was, by her own admission, going through a difficult period emotionally. Often the motivation for creativity, her dark moments have delivered some wonderful stark stories depicting lost love (Heartbreak Blues), the comfort of childhood innocence (Sycamore Tree/Timbuktu), isolation (Shell) and loved ones departed (All Of It’s Glory), often delivered with minimal instrumentation and Macve’s  luscious vocal always out front. 

Make no mistake, her warbling, yodelling vocal will not be to everyone’s taste. It is quite distinctive and it did take a few listens to fully connect with but the time invested and particularly with the lyric sheet in hand certainly reaps rich rewards.

While heavily influenced by old time country, one is constantly reminded of Hank Williams, comparisons could also be made with Angel Olsen and no doubt Macve has the talent and potential like Olsen, to make a major industry breakthrough on the strength of Golden Eagle.

Country noir at its finest and highly recommended indeed.

The Black Sorrows Faithful Satellite Rootsy

Listening to Cold Grey Moon, the opening track on The Black Sorrows latest album, you could be forgiven for assuming it was an outtake from Elvis Costello’s 1999 album Painted From Memory, the album he recorded in collaboration with Burt Bacharach. Glorious vocal, horns and strings combine to give the song a full and rich delivery. No coincidence possibly as Costello was instrumental in a process that elevated The Black Sorrows from a covers band to big hitters. Frontman Joe Camilleri had raised the finance to record the band’s first album by playing birthday parties and weddings, the resulting album Sonola was recorded for a mere $1300. Costello happened upon the album when visiting Gaslight Records while playing in Australia and plugged them on the national airwaves and TV, creating a wave of interest in the band.  Costello in fact went on to cover Joe Camilleri’s So Young on his 1987 compilation album Out Of Our Idiot.  

Camilleri has since been at the forefront of Australian music culture for decades and was inducted into The Australian Recording Industry Association Hall of Fame in 2007. Under his stewardship, The Black Sorrows have recorded seventeen albums to date and continue to be one of Australia’s most loved live acts. 

Faithfull Satellite is an album that packs a hefty punch from start to finish with the artists that excited and influenced Camilleri well represented. Costello’s trademark is all over the opening track and is revisited on Love Is On It’s Way, with a reggae beat Watching The Detectives style. It Ain’t Ever Gonna Happen comes across as time honoured Cohen with accompanying backing vocals and Winter Rose recalls a classic Van Morrison sound. Not content with merely paying homage to their peers they also dust down their banjos and fiddles for the country (ish) Fix My Bell and move more up tempo with a classic power pop melody with Carolina.

The album was recorded at Woodstock Studio in Melbourne with production duties shared by Camilleri and keyboard player John Mc All. The twelve songs were written by Camilleri and executive producer Nick Smith.

Conor O’Donnell Come On In Self Release

Conor O’Donnell’s father Al was very much part of the mid 60’s flourishing folk scene in London, rubbing shoulders with household names such as Peggy Seegar, Billy Connolly, Martin Carthy and Ewan Mc Coll. In Dublin he performed alongside The Dubliners and for a brief period  was a member of the traditional folk group Sweeney’s Men. He sadly passed away in 2015 and Come On In, Conor O’ Donnell’s debut album, is dedicated to his late father.

Featuring eleven self-penned songs, the albums stand out track is the haunting ballad Trouble I’m In and embraces the full range of roots music with nods to rockabilly (T Minus 20), country (Trucks A Gonna Roll) and two songs (Bobby Cole and Come On In) that recall the work of Simone Felice.

Recorded at Orphan Recording in Dublin the album was co-produced by Garvan Gallagher who also plays bass and keyboards and guest musician Gavin Glass who contributes keyboards and slide guitar. Also guesting on the album on violin is Leo O’Kelly with regular band members Kieran Mc Evoy (guitar, Duesenberg, vocals) and Sean Devitt (drums, vocals) completing the line up.

Donald Byron Wheatley Moondogs And Madogs Maiden Voyage

A number of the music magazines we subscribe to include in their review sections ‘Rediscovered’ features, reminding us or introducing us to forgotten or little known acts that released quality music back in the day but for some reason did not reach a market or were unappreciated at the time. Listening to  set me thinking that this album may feature in a similar scenario twenty years down the road as an extraordinary recording that did not get its due recognition when released. It’s an excellent album to say the least and exceptional in that the artist has never played onstage to a live audience. 

The title Donald Byron Wheatley conjures up an image of an aristocratic public schooled English gent most likely dressed in tweeds from head to toes and clad in hand made Barker Alderney brogues. In fact nothing could be further from the truth. Wheatley spent his childhood in the family’s travelling business erecting and dismantling helter-skelters at various carnivals and fairgrounds up and down the country. His introduction to music was through his father’s love of the blues, regularly playing Bessie Smith, Muddy Waters and Howlin’ Wolf and eventually progressing to the early classic Dylan recordings. Both his father and grandfather were musical, playing the guitar and accordion but purely as a pass time.

Wheatley had notions of becoming a professional musician in his youngers years and wrote some songs which he intended to include in an album at some stage. However, life moved on with family responsibilities a priority and the idea of stardom soon faded into the background. Some years after his fathers passing and difficult times encountered by some close friends, he felt inspired to write again and with the encouragement of his cousin John Wheatley put the songs down on tape at Reservoir Recording Studio in North London.

The resulting album was produced by Chris Clarke (Danny & The Champions of The World) and John Wheatley (Suburban Discs) and features members The Champions, Chris Clarke, Steve Brookes, Andy Fairclough together with Siobhain Parr and UK pedal steel supremo BJ Cole.

The musical influences on the album are obvious, Wheatley wears his heart on his sleeve in this regard, but the quality of the material from first to twelfth track is staggering. On second listens I was convinced that some of the tracks were cover versions that I had previously heard such was the impact they made.

Opener Life’s A Beach is a semi rap type delivery in the style of Aaron Lee Tasjan and uncharacteristic of what follows. Smoking Gun and Hand Me Down Leopard Skin Hat recall mid 60’s Dylan and Not Tonight Josephine explores similar territory with its Band like driving rhythm, hammond organ solo and layered backing vocals. Nothing is the stand out track on the album, of a standard that would sit comfortably alongside anything on John Lennon’s Imagine.

There’s no doubt that Wheatley could be accused of raiding Dylans piggy band for much of the material but the same could be said of numerous other artists. Fans of the Felice Brothers and The Band will lap this up and rightly so. 

Osborne Jones Only Now Continental Song City

Unapologetically inspired by Gram Parsons, The Flying Burrito Brothers and the classic country sound of the 60’s, you could be forgiven for assuming that Osborne Jones was a Nashville country crooner. They are in fact David-Gwyn Jones and David Osborne, UK born and bred who have assembled a team of musicians to produce an album that delightfully recalls the traditional sound of both Bakersfield and Nashville. Featuring ten tracks, nine of which were written by them and one co-write with Nigel Osborne, the songs are punctuated in no small measure by the stunning playing by Rick Shea who contributes mandolin, acoustic, electric and pedal steel guitar. A renowned artists in his own right, Shea also produced the album which was recorded by Mark Linett (Beach Boys, Los Lobos, Rikki Lee Jones, Randy Newman) at Your Place Or Mine Studios in Glendale, California. Also brought on board for the recording are David Jackson on bass, piano, organ and accordion, Shawn Nourse on drums and Cindy Wasserman and Gia Ciambotti on backing vocals.

The album is a fulfilment of a common love of the classic country sound between two long-time friends and part time musicians and though now residing in different continents they have managed to realise that ambition. As would be expected heartbreak and loving feature in large doses, no better than on Only Now with more than a nod to Elvis  and  Heartbreak and Six Strings and I Still Think She Cares both of which are soaked in pedal steel guitar.

Never intended as a project to attack the Billboard Country Music Charts it achieves precisely what it set out to do in accomplishing their ambition to create a body of well fashioned songs and particularly impressive musicianship which they can justifiably be proud of.

Dave Desmelik Lifeboat Self Release

Lifeboat, similar to the other works in the back catalogue of Dave Desmelik, is not an album to pop in your cd player and start singing along with the choruses after one listen. The Brevard North Carolina resident’s albums fall into a similar category to the work of Jim White, John Dowd, Richard Buckner and possibly Vic Chestnutt, no compromise, from the heart and music that demands a considerable investment of your time to fully appreciate.

It’s his eleventh recording in a career that dates back to the late nineties when he was part of the Arizona band Onus B.Johnson. Not quite a one man show, though Desmelik does contributes vocals, acoustic and electric guitars, cigar box guitar, baritone ukulele, bass, piano, organ, drums and percussion together with recording and mixing duties. The cover artwork also features a sketch by Desmelik.

Despite employing many and varied instruments in the recording the eleven tracks are in the main raw, stripped back yet never fail to atmospherically create vivid imagery for the listener.

The delightful Surgery, Recovery and Love features only three spoken words by Desmelik and is basically an instrumental with the addition of sporadic words by children Holmes, Elena and Vince who, unaware that they are being recorded, reveal their innocent inner thoughts. 

A Strange Realization, the longest track on the album at over nine minutes and one of the highlights, is a dreamy kaleidoscope of sound that could be mistaken as a demo track for an early Pink Floyd album.

Battlefield is a more up-tempo inclusion on an album that often sounds desperate, intense, honest and hurting, yet when penetrated, grabs the listener from the outset and doesn’t let go.

Sophia Marshall The Paper Thin EP Self Release

In a previous life and as a teenager, Leicester born Sophia Marshall’s was part of The Havenots, a duo with Liam Dullaghan whose album Bad Pennies, released in 2004, was possibly a decade ahead of its time and combined luscious boy/girl harmonies in a manner that is certainly more hip today than it was then. The Mastersons, Shovels and Ropes and Whitehorse have perfected the approach and one is left to wonder what impact Bad Pennies would have in the burgeoning Americana scene were it to be released today.

In more recent times, 2015 to be precise, Marshall began concentrating on her solo career and this five track EP, her debut solo release, demonstrates not only her beautifully subtle vocal but also her ability to create songs that contain both melody and depth in equal measures.

Comparisons with Eddie Reader come to mind on both Wasted Days and Living  Things. Her vocals ebb and flow, layered delightfully on the closing track and tour da force The Devil and The Hollow. Produced by her band member and guitarist Andy Jenkinson, the emphasis is always on Marshalls perfectly paced voice.

In her former and current career Marshall has played support to Frazey Ford, Peter Bruntnell, The Sadies, Sam Outlaw and Tift Merrit. On the strength of this recording, given the exposure it deserves, there is little doubt that she has the potential and talent to make a lot of people stand up and take notice.