Entries in Tim Easton (2)

Friday
Oct262018

Reviews by Paul McGee

Jaimee Harris Red Rescue Self Release

This is a very impressive debut from a Texas artist who is starting to make quite a few ripples Stateside. Starting off with the hard edged, driving guitar sound of Damn Right and the topic of doomed attraction and broken relationships, the mood changes on the soft and reflective Creatures to a nice melody and tempo, even if the subject is, again, that of love lost.

Harris has a past that she is thankful to have survived and this chance at putting her life on a central path is not one that she intends to mess up. Her voice is both gentle and powerful as she brings just the right amount of colour and tone to each of the 10 songs included here. There is just one co-write and the remaining songs are all self-penned, with Depressive State perhaps being the immediate stand-out with it’s refrain an earnest plea for acceptance, both from herself and others. I had a strange sensation of her singing this with Tom Petty in a dream; it’s just got that vibe about it.

The acoustic strum of Catch It Now speaks of getting out there and living life big while the guest vocals of (the late) Jimmy LaFave on Red Rescue add a poignancy to the lyric about reaching out and trying to help lift the darkness.

Fake seems a deeply personal song with its slow, lifting structure while Hurts As Good As It Feels sounds like the most radio-friendly track here; again, it deals with an abusive relationship that feeds only negative habits.  Forever is a different take on Jaimee’s ability and delivers a torch song moment that no doubt has fuelled the early comparisons to Emmylou. However, my thoughts are more towards Patty Griffin with her vocal power and tone and never more so than on Snow White Knuckles, a song that deals with her addiction and shows both her resilient and vulnerable sides in the understated delivery.

Closing track Where Are You Now? has a sad acceptance in the letting go of a loved one (parent, friend, relative?). Poignant and restrained.

The production by Craig Ross is very bright and full of just the right amount of space for the players to really express themselves and serve the songs. One of the best releases this year and highly recommended.

My Politic 12 Kinds Of Lost Self Release

This band is building up quite a head of steam as their career reaches for new heights with the release of this seventh album since they started out in 2006. Working around the central pairing of Kaston Guffey and Nick Pankey, the other band members add greatly to the organic, rootsy sound of the 12 tracks here, with dobro, mandolin, fiddle, acoustic guitars and upright bass all adding plenty of layers to the superbly observed songs and lyrics.

Starting out with Bored Young Ghost, a clever take on the possibility that growing up bored in a small country town is not just the preserve of the living. Loneliness captures that feeling of isolation perfectly and the need to reach out to another. All songs are written by Guffey and he certainly has a way with words and capturing a sentiment, a feeling or an idea worth pondering upon. Lost love is reflected in Only Human, with the notion that ultimately, we are always on our own – ‘I was always thinking of me, and you were always thinking of you.’

Down In Hell is about addiction and the possibility of repeating the sins of the father is something that many songsters have tacked, but not with this much wry observation and insight. The Tunnel is a plea and the need to reach out for one another.

I Don’t Wanna Run is about slowing down, living a simple life and being thankful for a place to settle down. Devil’s Playground, is a Steve Earle type workout that examines hypocrisy and juxtaposing the high from a needle with the high from the Good Book on a Sunday. ‘Amphetamines are passed around like communion and the Good Lord’s grace.’ 

These are character songs and dreaming of another life (Aint Outta Line), failed relationships (Great Divide), returning home (My Mother Missouri) and living a reclusive life (News Alone) are all observations on life and the feeling of being vulnerable and lost. 

Really great stuff throughout, with Wilson Conroy on dobro, mandolin, and Jen Starsinic on fiddle being supporting the twin guitars of Guffey and Pankey. Will Cafaro provides solid bass lines throughout with occasional drums from John Wood and B3 organ from Jeff Adamczyk.

Tim Easton Paco & Melodic Polaroids Campfire Propaganda

Welcome back to this very fine singer songwriter who has been releasing excellent music since his debut appeared back in 1998. Throughout the first decade of the new millennium, Easton released a series of quality albums culminating with a best of collection in 2013. 

He continues to record and release music and this project is a direct-to-lacquer mono recording. There is a timeless quality to the feel of the songs and the 10 tracks included are all just Tim and his faithful old companion, Paco – a J-45 Black Gibson guitar that he has owned since 1987.

The liner notes talk of both him and the guitar having taken a lot of dents and cracks over the years on the road but on listening to these songs, his craft is alive and well with the added sparkle that only experience and insight bring with the passing years. He is a very talented guitar player and his songs speak of heartland America in the best of Folk traditions. 

Never Punch The Clock Again is a story song of murder and staying on the run. California Bars is another dusty road tale of wanderlust and evil deeds while Elmore James is a tribute to the old blues master.

Another Good Man Down speaks of drug addiction and there is a cover of the Jimmie Rogers song, Jimmie’s Texas Blues, while Travelling Days evokes the spirit of Woody Guthrie complete with harmonica backing to add atmospherics. This is a cosy night by the fire with a nice glass of wine.

Jesus Save Me is a plea for tolerance and patience among the self-professed emissaries of truth on Earth and the greed that seems inherent in humankind, with bullying ways engineered to spread fear. This is an excellent release and deserving of a place in any discerning music collector’s home.

Walter Salas Humara Walterio Rarr

The Silos were a band credited with being at the origins of the alt-country, No Depression movement sound that spawned such acts as Uncle Tupelo, Whiskeytown, The Bottle Rockets, Wilco, Son Volt and many others. 

As a founding member, Walter has always espoused that rebel notion of staying independent, keeping it on the edge and creating a body of work, whether with the changing Solos line-ups, or latterly on a solo basis, that is continuously scaling such heights... His light continues to burn brightly as evidenced by the 10 tracks included here, all played with an energy and tension that feels like electricity burning in your grip. 

Walter also handles full production duties and the snap of She’s A Caveman and Here We Go are examples of the dynamic still at play as he releases his rock instincts to run alongside the more rootsy numbers like l Want To Be With You and Come In A Singer; all the way along to the funky groove of Hecho En Galicia

The playing is excellent throughout with Joe Reyes on guitar and Konrad Meissner on drums really driving the tight workouts and spinning the plates… Out Of The Band sums it all up with a driving beat and a rocking conclusion to what is a really enjoyable listen and one that proves real talent never goes away; it just takes a well earned rest from time to time!

The Watson Twins Duo Self Release

Twin sisters Chandra and Leigh Watson make a very welcome return with this 8-track album. It has been a few years since their last output but those sweet harmonies are as tight as ever and the production on the project is light and airy. Russ Pollard did the honours at Camp Sierra Studio in California. He also plays a number of instruments across the tracks, with just a few guest appearances from Vanessa Carlton (piano), Bo Koster (keys) and Mickey Raphael (harmonica).

At just over 21 minutes, it never overstays its welcome but, rather leaves you wanting more – a very good sign! The traditional country sound of Cry Baby is perfectly captured with some superb pedal steel playing by Carl Broemel, who also provides bass and guitar parts, in addition to some drum programming. All in all, this is a tightly produced record that highlights the commercial appeal of the twins, together with their natural talents as songwriters and singers. All eight tracks are written by Chandra and Leigh and the big sound of Rolling Thunder reminds me of the classic 60’s arrangements and vocals a lá the Shirelles.

They sing of ‘this city of lost souls’ on Down In The Valley and this is not a fate these twins will ever suffer as their talent will always point them in a clear direction. There is a torch song, noir feel to the duet with The Cactus Blossoms on the atmospheric Call To You, while the song Blue Tonight has a more folky vibe to the arrangement. 

Playing Hearts has a fine up-tempo beat and the title track sums it all up with the classic hook, ‘Gonna Hustle, Gimme That Shake; Thought We Had It Made’. Perhaps a sideways look at the career difficulties of any artist trying to forge a meaningful career in the shark infested waters of the music business these days. An excellent release and welcome back, Ladies…! 

Astra Kelly Chasing The Light Rockaway

This interesting artist is a Chicago native who now lives in in San Diego and has quite a number of releases to her name. Her career that has seen her work hard to rise above the crowded marketplace where the competition is always fierce. Her talents extend to Radio DJ, local concert promoter, recording studio manager, vocal coach and voice-over artist. Go girl…!!

On the opening track, Prelude, she sings ‘head, heart, soul; let the light be the fire’. This sums up Astra’s philosophy in believing that living in the moment is what we can best aspire towards. The following track, Old Shoes, speaks of leaving down your burdens and moving on to better things. It may be centred around a relationship but can equally be likened to a spiritual awakening. Equally, the title track, Chasing The Light, is affirmation that the journey is going to be worth all the effort. 

Astra co-produced the project with Jeffrey Berkley who also plays banjo and guitars across the eleven tracks included here. All Along speaks of leaving and taking a journey - only to realise that ‘you find out when you get there; you had what you were seeking all along’. Again, a message of inner strength being ample as our guiding light. 

The Less I Have (Freedom) speaks of living life as simply as possible, feeling light. All That Matters is a relationship song that questions the need to hide feelings and the wish for real honesty. Pedal steel from Doug Pettibone on this track adds to the atmosphere and augments the tight band arrangement.

The production is very clean throughout with plenty of space between the notes. Astra sings in a very clear, confident and soulful voice with her spoken-word piece, Watching Wasps, an interesting break to the flow of the music where she addresses the need to unlock our mental chains and step into the light. 

The country sound of Twisted is perfectly delivered with banjo and violin (Melissa Barrison) to the fore, while the acoustic groove of Stone Cold delivers a happy, upbeat sound. Crumble has a soulful sound with Jeff Berkley front and centre on electric guitar & banjo – ‘change is always comin’ back for more.’ 

Closing track, The Road, is a powerful ending that displays Astra’s ability to front this excellent studio band and a strong statement that here is an artist worthy of your attention. A fine release.  

Eilidh Patterson Sunshine Self Release

A commercial, contemporary Folk sound that is full of catchy melodies and songs that engage the listener. The studio musicians play with great sensitivity and talent in delivering these songs and Sandy Jones features on a number of instruments together with the family bluegrass band Cup O’Joe (The Agnew siblings, Reuben, Tabitha & Benjamin) and Ruth Trimble. Co-produced with Sandy Jones at the Foundry Music Lab in Motherwell, Eilidh shows a real talent for capturing a hook and melody to match her beautiful vocals and engaging words.

It has been a number of years since her last release but Eilidh has not gone away and her talents certainly shine brightly across the 12 tracks included here. In the days of singles and radio charts, the title track would have featured as a prime example of how to deliver a hit. Sunshine bounces with a happy, pop sound and an optimism about living life. Similar tracks to this are True Love Is Returned, A Good Day and the joyful slice of memory that is My Mother Loved Elvis.

However, there is also the other side of life and reflective songs like I’ve Got Lines and Do I Really Know You? hint at a disappointment with relationships that becomes manifest on the sweetly sad song, Losing You… There is a glimpse of what Eilidh could veer towards in the future with the bluesy groove of Slow Down, advice to start smelling the roses a little more and the beautiful delivery on The Way You Say My Name shows that real love and commitment is still out there, even if it’s capture is as elusive as ever... The closing song, When I Don’t Feel Like Singing Anymore is a call for reassurance and support when doubt arises and it stands as a ray of hope for a brighter tomorrow. This is a very strong comeback statement and one that merits your attention

Josephine Johnson The Spark Self Release

This is the second release from a singer songwriter who has worked hard at forging a career in the competitively overcrowded artistic space that is the female solo market. Josephine released Let It All Out back in 2014 and on this follow up she has enlisted co-producers John Vanderslice (Samantha Crain, the Mountain Goats, Grandaddy, Strand Of Oaks, Spoon) and Robert Shelton, who also engineered, across the eight tracks featured. The project was recorded at Vanderslice’s analogue studio in San Francisco and mastered in Boston. It is the culmination of two years work in driving the campaign, via KickStarter, towards a happy ending.

The overall sound is underpinned by warm keyboard sounds from Shelton on piano and organ and Carly Bond contributes on guitar, slide and clarinet to great effect. The rhythm section of Doug Stuart and Jason Slota drive the tempo with a confidence, whether on the slow groove of the title track or the up-tempo closer, Light It Up.

Long Way Home is a gentle acoustic arrangement that highlights Josephine’s smoky vocal delivery while Come Down displays a slow burn soulful sound. Tuesday Evening and Carry On also focus on a tight band sound and the vocal colour added by Josephine builds an atmosphere that delivers a consistency across this interesting release.

Kristi Rose & Fats Kaplin How Many Chances Self Release

Released in 2017, this project is not the first time that the combined talents of Kristi and Fats have aligned to make sweet music. In 2010 they released the excellent I Wonder As I Wander and they quickly followed this up in 2011 with You're Still Around

So, this makes it a very fine hat-trick with the engaging vocals of Kristi mixing seamlessly with the superb musicianship of multi-instrumentalist Fats. He plays a dizzying array of instruments on the 12 tracks included here. Wait for it – steel guitar, mandolin, organ, button accordion, bass, harmonica, violin, clarinet, viola, acoustic guitar and electric guitar...!

Of course, it helps that they are also husband and wife and the close bond shared is evident in the way that they deliver songs that have a sweet balance and a feeling of wide-open spaces about them. The bright melody and excellent harmonies of Beautiful World is a prime example, but we also have the treat of the title track with its lonesome harmonica and acoustic sound, balanced against the slow, reflective vocal and sensitive arrangements of So Far As I Can Tell and closing track, Far Away Places

The easy cool of Fly Tomorrow is a smooth groove and the next track, Gin, is a salutary look at domestic dystopia, compulsion and disillusionment. This duo makes soulful music that comes from the creative heart of what they define as Pulp Country. Wonderfully atmospheric and highly addictive.

 

Friday
Sep302016

Reviews by Stephen Rapid

 

Elouise Deep Water Self Release

Although this is under singer Elouise Walker’s name, it is a group effort with the other four featured on the album cover who play a major part in making the music. Deep Water was produced by Walker and John Chamberlin and the production technique was to keep it as raw and field recording-like as possible. Most of the songs are original, but fit neatly with those from other sources such as the opening I’ll Fly Away (written by Albert E. Brumley) and a sombre version of Amazing Grace which has new music by band member Richard Dembowski. Takes on Silent Night and Link Wray’s Fire and Brimstone follow a similar route, a path that can be imagined as wandering through creaking twisted trees, abandoned graveyards, dark moonlight shadows and perhaps even a crossroads at midnight.

Walker and Dembowski, along with John Chamberlin, Michelle Beauchense and Willam Bongiovanni share the majority of the composing credits in different combinations. All, however, understand this pre-electric vision and no matter which is the composer, they have a similar feeling for the patina of times gone by. Walker’s vocals are delivered as if through a cracked radio speaker or carnival style megaphone. This is not music designed to cheer the soul or get you in the party mood. Once in the musical deep water it is easy to surrender to the atmosphere and sink down into a world of death, murder and decay which is actually grist to the mill for a music rooted in bygone times where morbidity and murder ballads were common. Both Walker and the band are gifted exponents of this musical eeriness and use all the instruments at their disposal to bring these songs and recitations to life. Trombone, cello, tuba, banjo, harmonium, lap steel, double bass and percussion all feature, giving a distinctive texture to the music, as do the occasional lead vocals from Dubowski.

It is music that might scare some away, but will equally attract those drawn to its rich, heart of darkness. There are, naturally, 13 tracks which may appeal to those who enjoyed the song and ballads recorded at the dawn of technology as well as those who have been drawn to the music of the likes of 16 Horsepower and Th’ Legendary ShackShakers in their non-electric moments. Although the album is credited to Elouise in fairness it would seem to be more of an Alice Cooper set-up with all participants contributing to a fairly unique take on a potent musical soundscape, one self-described as “blackgrass”.

Adam Lee Sincerely, Me Self Release

Sincerely is the first solo album from Adam Lee, whose previous album with his band The Dead Horse Sound Company, When the Spirits Move Me, was a more honky-tonk affair. This time Lee has broadened his outlook and tonal palate and has devoted this album in to a side one and side two. However, there is nothing immediately obvious that divides the two sides in terms of content. The last album dealt with themes of country music, while this album, while still touching on those themes, takes a broader viewpoint and looks deeper inside with songs like the title track and Good Days - wherein the man in question faces his drinking demons and hopes to look towards a better future.  

Lee has taken a long hard look at life and delivered some honest song-writing that recognises the less savoury and affirming sides of life, but also sees that things could always get better which gives the album a positive outlook. When She Danced views the submerged spirit of a dancer working in a dive bar who transcends the negativity and necessity that are fundamental to that situation. He does this with just a bruised voice and solo piano backing. Misery has a muted guitar-twanged tone that is perfectly in tune with a man facing his inner torments.

Elsewhere Lee blends rock, blues and blue collar sentiments with a little country to create a set of self-written songs that are a précis of where life is for him right now. He has done this with a set of players that he and co-poducer Johnny Kenepaske have assembled for the album. They include Dane Talley on electric guitar, Hanna Rae Mathey on violin, Tim Rose on bass and Paul Andrews on drums. Lee’s contributes various instruments with additional vocal input from Keepsake among others. One track, Hold On adds trombone and trumpet with some hard-nosed guitar. There is a swing to What I Need and again Lee shows versatility in his vocal delivery that pegs him as an assured singer throughout. Patrick is a song with a strong Irish-American theme, both in lyrical content and musical setting. It is about the loss of a brother and the reaction to that by a mother who then calls the surviving brother by the name of the lost sibling.

Lee resides in Chicago. He was a cast member of the stage production Million Dollar Quartet and will tour in support of Sincerely, Me. He shows here that he can produce songs in a range of styles that make this an interesting and entertaining collection highlighting a writer, singer and musician who is developing his muse in a number of different ways. This is a promising and revealing album.

Jack Ingram Midnight Motel Rounder 

Looking at my music collection recently an acquaintance asked “Why would you need more than one album from any particular artist in your collection?”.The answer would depend if you’re a fan of Revolver or Sgt. Peppers Lonely Hearts Club Band. Music evolves and even if an artist stays largely within specific parameters there are nuances and new found strengths to be discovered in their music. Not necessarily true of all artists - some simply get less interesting with each release - but in the main there is good reason to continue listening. Jack Ingram is one case in point; after 12 albums (the first released in 1995 and the most recent in 2009) I looked forward to listening to his new album. It encompasses all the aspects of his music from the storyteller, the humourist, the roots rocker to more seriously-minded artist.

It also takes a certain self-assurance to make your title song and album opener a song written by another songwriter, Blu Sanders who wrote Midnight Motel , which  also closes the album in an acoustic version. Between those bookends are eleven other songs. Nine are either Ingram co-writes or solo written songs, one is by Will Kimbrough (Champion Of The World) while the remainder The Story Of Blaine is an amusing anecdote prefacing the song Blaine’s Ferris Wheel. It is a taste of how an Ingram live show might go. There are also some snatches of ambient dialogue included at the start of a couple of the tracks.

The album sounds right and part of that is down to producer Jon Randall and a team of top notch players like Charlie Sexton on guitar, keyboard player Bukka Allen, drummer Chad Cromwell and contributions from Randall and on background vocals Bruce Robison. But Ingram has a seasoned vocal delivery that is expressive and never leaves you feeling that the process was without a spontaneous element. It’s Always Gonna Rain is song co-written with Lori McKenna and accepts that life has always got hope no matter how it might seem at times.

Two of the songs talk about letting go and relaxing with I Feel like Drinking Tonight and I’m Drinking through It, where the multi-voice closing chorus changes the I’m to We’re. The former is prefaced with a dedication to fellow songwriters Hayes Carll, Todd Snider and Chris Wall amongst others, writers with whom he has doubtless shared a brew or two. The other songs display a deceptive simplicity that serves them well.

This album is classic Ingram and will also appeal to anyone who has a taste for Texas storytelling and songwriter. It may an old motel but it is one that you can feel comfortable in and one that can be returned to whenever you’re passing. After 7 years it is good to have Jack Ingram back on a label that means that many will get the chance to hear this very fine album.

Michael Ubaldini Starshaker Self Release

The man dubbed ‘the rock ’n’ roll poet’ by both fans and critics focuses here on the rock part of his moniker. He has written and produced this album which is an energetic run through 14 songs of rock, roots, blues and a little country (Tombstone Woman - with Gary Brandin on pedal steel).  It’s not all hell for leather though, with the occasional introspective song such as Ballad Of Brian Jones, a slice of country blues in tribute to the Rolling Stones’ founder’s roots. Otherwise Ubaldini and the band let loose, play the blues and have fun. 

Mrs. Johnson, Simpson & Tucker is a cautionary tale of a man who does want his late night visitors to lead to his outline in chalk on the floor. Late night liaisons forms the theme of House Of Red Lights too. Whole Lotta Nothin’ Blues has a distorted vocal, some harmonica and soulful keys and slippin’ and slidin’ guitar. The Rooster Moans at Midnight, Once Over Twice and Ballad Of An Innocent Man are catchy blue-collar, foot tappin’ rock songs while 9 Ball Shuffle calms things down with a funky 12 bar. Ubaldini knows how to pen a song and place it in a musical context. That’s as true here as in has been on his previous albums. And while this album is a little outside the parameters of Lonesome Highway’s regular route, it has a broad enough musical base to appeal to those who regularly read our reviews.

Ubaldini has built up a steady following for his albums and writing and those acquainted with him will find much to enjoy. It is not going to cause anyone to rethink their musical opinions, but in the context of good time (or should that be bad times too) rock ’n’ blues Starshaker will get you to where you need to go. One listen to the closing song One Good Woman Blues underlines that.

The Goat Roper Rodeo Band Cosmic Country Blue Aveline 

A UK acoustic country blues trio based in the North West, the Goat Ropers have recorded this new album with Romeo Stodart (The Magic Numbers) as producer and have achieved a fuller, more rounded sound this time out. The band are Thomas Davis on vocals and double bass, Jim Davis on vocals and lead guitar and Sam Roberts on vocals and rhythm guitar. Here they are joined by some guests (including fellow Magic Numbers members Angie Gannon and Michelle Stodart) to realise these new, self-written songs that build on the vocals harmonies of the trio and their essentially acoustic approach.

The album opener I Got Room has a strongly nasal lead vocal that some may not like but it is one that fits neatly into the vocal mix on the other tracks. The songs are a mix of tempos from adrenalised stompers like Mean Man, Stick It On Red and Catch Me If You Can through a more blues orientated Blossom Blues to the softer harmonies of ballads Old Joanna, My Sweet Woman and the restrained piano and guitar of the closing Hey Chuck. There are 12 slices of the cosmic country that they righteously proclaim throughout. This is a sound influenced by many diverse American acts, but one they are developing to their own ends. This has led to their at times quirky and occasionally sad songs finding favour with the likes of Bob Harris and International Submarine Band member Ian Dunlop. 

The Goat Roper Rodeo Band look and sound like a band who would have fitted neatly alongside a similarly-orientated outfit like Quiver back in the 60s. They offer hints of the cosmic side of their sound which aren’t as prominent as they might become in the future but, for now, they are establishing themselves alongside other promising UK bands playing original roots music with a refreshing approach and independent attitude. 

Martha Fields Southern White Lies Self Release

For this album Fields has taken a more bluegrass/acoustic route compared to the electric sound of her previous album Long Way From Home. Dobro, fiddle and mandolin are prominent in the sound, all underpinned by double bass and drums. This is a sound that Fields has explored with the band Mountain High previously. This album is under her name however rather than that of Texas Martha, another name she uses. Some of the players here also play with her electric band and are versed in both styles, though in truth the songs could easily adapt to either (or other) formats easily. 

The songs are a mix of original songs from Fields and some traditional songs like Lonesome Road Blues and What Are They Doing In Heaven? She has also included Jimmie Rogers’ California Blues, Janis Joplin’s What Good Can Drinkin’ Do? and Mickey Newbury’s Tell Me Baby among the album’s 12 tracks. Front and centre though is Fields’ commanding voice which leads each song with conviction on tales of lies, hard drinking, hard times, lonesome roads and dead ends. American Hologram talks of a poor underclass being shut out of the American Dream to always find themselves on the margins with little to give them hope and so they have to resort to making the best of what little they have. 

Martha Fields, on this album, explores another aspect of her musical and familial heritage. She does it with the forcefulness that makes sense of her own story and of those who came before her. This is an album that Fields fans will doubtless want to explore. 

Massy Ferguson Run It Right Into The Wall At The Helm

This album features some unashamed rockin’ -  with some country rock thrown in for good measure.  It is what was once dubbed cow-punk, although this time there is less twang and more of a hard nosed attitude. What is good about these songs is that that have an honesty that rings true. They are not unique or that different to some other acts that have been mentioned in passing, such as Son Volt or The Backsliders, with reference to their music. Massey Ferguson (the name of a sturdy American farm tractor) are a solid and believable band who are committed to their music, and that counts in an era when so much of what is heard refers to another musical era anyway. 

Massy Ferguson are Ethan Anderson, Adam Monda, Dave Goedde and Tony Mann; the line-up is guitar, bass, drums and keyboards. They describe themselves as American rock which is a good a description of what they do. I’m assuming that singer Anderson is the primary writer as there are no credits on this promo CD. The album was produced by Johnny Sangster and recorded at Soundhouse Studios in Seattle. There are influences of that city’s grunge heritage in the music. However the things that count are how these songs sound and if they bear repeated playing. They do on both counts and Run It Right into the Wall has enough energy and melody to make the listening experience one that the more rockin’-oriented amongst you will want to return to it’s blue collar heart.

Tim Easton American Fork At The Helm

Tim Easton is another accomplished and lauded songwriter who has some twenty years as a performer and writer under his belt as well as four albums on the New West label. He’s back and he still delivering the goods. This album is produced by Patrick Damphier and goes for a full sound. Damphier employs some fine musicians like steelie Russ Pahl, Michael Rinne on bass, Jon Radford on drums and multi-instrumentalist Robbie Crowell 

There are a number of avenues explored in what is a broad palette of well-arranged and melodically structured songs. In the song Elmore James Easton lauds the bluesman in a swampy harmonica-laced groove. Gatekeeper shows off his guitar skills and is another dirty slide guitar-fueled reference to the oil that makes the entertainment industry world turn. He takes a smoother path with Burning Star, a literate song that features piano and steel which give it a dreaminess and longing. There is a darker and grittier, but equally feisty and fun sounding, take for Alaskan Bars (Part 1) which has a growled backing vocal that adds a sense of disquiet to the proceedings. Now Vs Now is an appeal to not get stuck in a state of apathy but rather to take control in whatever way possible. The album opens with Right before Your Own Eyes, a rhythmically realised song with touches of saxophone to bolster the chorus. The eight track (mini) album closes with On My Way, a soft touching song to his young daughter to let her know that he is always thinking of her, even those his chosen path takes him away.

Tim Easton writes songs that are those of one who continues to hone his craft and develop his sound. Here it is a well realised and considered exploration of his previous work as well as pastures new. American Fork is a twist on the folk music of America he grew up with and everything he has distilled since then into his own interpretation of the world he sees on his travels. He is past the gatekeeper and looking to his own future and muse now.