Ned LeDoux Next In Line Thirty Tigers
First off, I was big fan of Chris LeDoux Ned’s father. He was a rocking’, rodeo horse riding real cowboy who balanced a music career with running a ranch. LeDoux senior has been mentioned by Garth Brooks as a major influence; although one went on to mega success it is the other whose records remain in my collection. There was an outright honesty and energy to his music that seems to have carried over to his son’s work too. It’s the blowing off steam nature of a cowboy’s life that Saturday night was something of a highpoint of the week. Hence there are songs that reference that, with his versions of John Fogerty’s Almost Saturday Night and his father’s Homegrown Western Saturday Night - the latter opens with an introduction by Chris.
Produced by Mac McAnally the album has a up tempo energetic sign that falls on the rights side of being too hard rock for its own good. The songs are all based on LeDoux’s viewpoint on life with songs like Old Fashioned “that’s who I am, a little set in my ways.” Worth It which praises hard, simple work “It’s a tough job to do, but it gets done and it’s worth it.” Dance With Your Spurs On, a song co-written and sung with Corb Lund is equally a list of things you need to do to be able to dance with your spurs and make of life what you can. That essentially homespun philosophy is the core to the truth of these songs. Living a life close to the land and being the next in line to continue traditions (Next In Line). They songs are written by LeDoux solo or a number with McAnally and one with Mark Sissel (Great Plains). Sissel was the guitarist with Western Underground, Chris LeDoux’s band and partly responsible for their rockin’ sound. Ned LeDoux was the drummer for a time in that band too. Mac McAnally and Chris Stapleton wrote Just A Little Bit Better which is sung here by both McAnally and LeDoux.
While Ned LeDoux gets more miles under his music saddle he has matured into an artist who has carried on the family tradition (and sound) forward in way that would gain approval from those who recognise the sound as country music with more than a touch of western, but given an injection of pure energy that makes LeDoux’s music more than a tribute to his father. It is a living entity that is worthy of consideration in the same breath. He is (or should be) the next in line.
Review by Stephen Rapid
The Mavericks Play The Hits Mono Mundo
I have more than a little fondness for the Mavericks from the release of their debut album. The band are currently on a 30th anniversary album which, to date have yet to a make a return visit to these shores. Something that is unlikely to happen this year at this stage however - but hopefully in the near future.
This is a shame as I think this album would have gone down a treat live. Described as country/latino/rock’n’roll - which is accurate for this brimming with personality set of superior musicians who bring a sense of joy to what they play. It this case the band have recorded the hits of others and throughout they equal or surpass the original versions of the songs, not least due to the vocal versatility of singer Raul Malo. The other key members of the band - the ace drummer Paul Deacon, guitarist Eddie Perez and keyboardist Jerry Dale McFadden - make a perfect foil for the singer in style, charisma and musicality.
Here they draw a little closer to the country sound they became known for in their early days. Though that hasn’t meant they have lost any their musical exploration. There are eleven songs that run from start to finish brimmed with entertaining qualities. But if one had to point to a couple of highlights then their version of Before The Next Teardrop Falls (a song written by Vivian Keith and Ben Peters and known for its version by Freddy Fender) is one. The uniqueness of what they do is further underlined by their version of Fred Rose’s Blue Eyes Crying In The Rain where they almost make you forget the take on it by Willie Nelson. They have made these songs Maverick in the way they have delivered them here.
The remaining tracks include Are You Sure Hank Done It This Way?, Hungry Heart, Don’t Be Cruel, Don’t You Ever Get Tired Of Hurting Me and Blame It On Your Heart. All are perfect choices that ring true and run from slow ballad to big swingers. This multi-cultural band have rarely been better and though this is an album of known and some not as well known covers it is at its heart a Mavericks album. Mention also for the additional players who record and tour with the band adding brass, accordion and percussion to bring depth and texture to the performances. That level of commitment is what makes this special.
Review by Stephen Rapid
Helene Cronin Old Ghosts & Lost Causes Self Release
I have to admit when I received this album the thing that initially attracted me to listen was the standard of players involved. I will listen to anything that Kenny Vaughan plays on. Add to that Chad Cromwell - drums, Byron House - bass, Bobby Terry - guitars, mandolin and steel, Heidi Newfield on harmonica and backing vocals. Then there is producer Matt King also adding backing vocal to the proceedings and you have the making of a great album.
The ingredient that is vital to it working is Helene Cronin, her voice and her songs, all of which prove to be well up to the job. Cronin has been compared to Lori McKenna and Mary Chapin Carpenter. There are also a number of lesser known contemporaries who she would easily fit alongside too.
As a songwriter she has mostly written the songs on her own but some are co writes with the likes of Davis Corley, Scott Sean White and others. The first song that stood out was Humankind. This song brings together a young nurse and an old embittered man and the relationship they form. This song shows how she can weave into the story a bigger picture than the one written and how she uses small details to give the song some added reality. Riding The Gray Line details a bus journey and the selection of humanity that are, by necessity, traveling together on this together alone journey. So, first and foremost Cronin is a songwriter and a good one. She also has an expressive voice with which to deliver these tales.
On El Camino Fly the use of additional vocals that illuminates how this song could easily fit on something like a Pistol Annies album. With its powerful beat and hard guitars it speaks of “riding out here on the edge of crazy, outcast, outlaw, no cause, tearing up the night” setting the scene for a road movie scenario. There is darkness and there is some light, plus there are times that the Mary Chapin Carpenter comparison comes into focus vocally, to a degree, on In A Kiss. While there is a different mood to The Last Cowboy where her man is the last cowboy I’ll ever need. the last of a stubborn breed. It is clear she has an affection for this kind of rugged individualism. There are other songs here that also make the grade of memorable and meaningful and worth applauding, including God Doesn’t and the amusing we’re all equal sing along, Mongrels and Mutts.
Helene Cronin, after a couple of EPs has released this full length album and with her songwriting and vocal talent has made it one to note. She and producer King can feel the they have achieved something special here that is worthy of the talents of all involved.
Review by Stephen Rapid
Jerry Leger Time Out For Tomorrow Latent
Leger’s last recording Nonsense and Heartaches, released in 2018, was essentially two albums in one. It was divided between a side of full on electric rockers, paired with a side of laid-back acoustic ballads. Time Out For Tomorrow, even though it does feature a mixture of both up-tempo and laid-back tracks, is less experimental and considerably more consistent. However, there are similarities as the album is once again produced by Michael Timmons of Cowboy Junkies fame and recorded on that bands own label, Latent Recordings. Leger’s long-time backing band The Situation again feature and collectively they contribute in no small measure to flesh out Leger’s vocals, guitar and piano. The band members are James Mc Kie (lap steel, guitars, fiddle), Dan Mock (bass) and Kyle Sullivan (drums)
The Canadian has speculated that the two albums that most influenced the direction of this recording were Lou Reed’s Coney Island Baby and Nick Lowe’s The Impossible Bird. The characteristic Nick Lowe melodies do surface on Burchell Lake. However, to my ears, there is a distinct early to mid-70’s feel to the album throughout. Opener Canvas Of Gold recalls the country soul vibe of Van Morrison’s Old Old Woodstock from his Tupelo Honey album. Ledger unleashes a convincing full force vocal delivery himself on Read Between The Lines, a Dylanesque styled song, reminiscent of the Rolling Thunder Revue era. Tell A Lie has a similar feel to it, with nods towards Tom Petty. It’s not all blood and guts though and ballads That Ain’t Here and I Would are both impressive inclusions.
Canada continues to provide quality singer songwriters, both male and female. Leger definitely qualifies with flying colours in this regard, but its possibly doing his band a disservice to label him as a solo artist rather than a band leader. Since 2005, he’s recorded over a dozen albums, either solo or with his side projects The Del-Fi’s and The Bob Fi’s. Firmly rooted in the classic and vintage sounds that dominated the output of many early 70’s bands in America, Time Out For Tomorrow is as impressive as anything in Leger’s back catalogue.
Review by Declan Culliton
Jeremy Ivey Dream and The Dreamer Epitaph
‘‘Who’s going to be the next pretender, who’s going to play that role?’’ asks Jeremy Ivey on the killer opening track Diamonds To Coal, from his equally impressive debut solo album Dream And The Dreamer. The quote instantly brings to mind the number of Neil Young influenced artists that have come and gone over the years, having released albums with the Grandfather of Americana’s stamp firmly on them. Ivey’s album also suggests a love of the Neil Young songbook, but like his peer Dylan LeBlanc’s latest offering Renegade, those influences have inspired a body of work that is also individualistic, having its foundations in both country and folk. Ivey’s workload in recent years has been fuelled by supporting, producing and managing his wife Margo Price’s career. Sometimes touring and appearing on stage with her and other times playing house father while she tours, he has been supportive and protective of her, allowing her profile to prosper. Times have been hectic for the couple of late, what with the birth of their second child, constant touring demands on Price, Ivey being signed to the independent label ANTI- and now the release of Dream And The Dreamer. In a former life, the couple have written and performed as members of Buffalo Clover, a Music City local supergroup of sorts which included Kenny Vaughan and Sturgill Simpson at one stage.
Falling Man could be an autobiographical reflection on Ivey’s own life journey. Beautifully melodic, you get the sense of Ivey as a deep thinker, who has probably always sought an outlet to express those considerations. Worry Doll is from bygone times, a route one folk tune, which finds the dreamer imploring his beau not to abandon him. Greyhound is a catchy duet with wife Margo, possibly recalling memories of low budget journeys undertaken by them in their former lives. It’s the type of song that graces Dave Rawling’s albums, a cheerful recollection of innocent times. Gino The Tramp is written in the style of Willy Vlautin, a sympathetic observation of the marginalised in society. It’s common a trait that comes to light in much of Ivey’s writing. A realist rather than a pessimist, Ivey considers life’s challenges of today and yesterday on Story Of A Fish and on the album’s title track, a stripped back ballad which closes the album.
A prolific writer, with the confidence of a record deal now behind him, Ivey is in a hurry to get things done. He has already written material for another two albums, together with co-writes with his wife for her next release. Dream And The Dreamer is a welcome introduction from an artist who is proving to be quite a late bloomer.
Review by Declan Culliton
Michaela Anne Desert Dove Yep Roc
In an often unforgiving industry, it’s satisfying to witness an artist deservedly getting well-earned recognition and being signed to an established record label. This is particularly the case with Michaela Anne, an artist that has been very much on the Lonesome Highway radar since discovering her at Americana Fest in Nashville a number of years ago. She’s certainly put in the spade work, touring solo and with pick up bands and sharing stages with Sam Outlaw and J.P. Harris in recent years. The possessor of a crystal clear voice equal to any of her peers, Desert Dove finds her sticking with a similar formula to her impressive 2016 release Bright Lights And The Fame. Not just an accomplished vocalist, Anne’s songwriting skills have moved to an altogether different level on this album. The material is a reflection on how we live, love and communicate, in times where tweets and texts dominate normal communication avenues. It’s also noteworthy that her lyrics never attempt to be overly clever, simply coming from the heart, questioning, challenging and considering.
I’m Not The Fire and Run Away With Me recall a young Carlene Carter in her heyday. Anne may be slight in stature, but she’s no shrinking violet and her no-nonsense sassiness rings true in the somewhat tongue in cheek If I Wanted Your Opinion. The gorgeous opener By Our Design evaluates life choices, relationships and goal setting. Child Of The Wind is possibly a reflection on her nomadic childhood dictated by the demands on her military employed father. The reflective title track Desert Dove was no doubt stimulated by her choice to record in California, rather than her current hometown of Nashville.
The production duties were handled by Sam Outlaw and Kelly Winrich of Delta Spirit fame. A host of top-notch players feature including guitarist Brian Whelan (Dwight Yoakam, Jim Lauderdale) and fiddler Kristin Weber (Kacey Musgraves, Margo Price).
To date Anne has, to her credit, avoided dumbing down her output and targeting the lucrative crossover country market that continues to churn out predictable pop music masquerading as country. Desert Dove is very much an album in the present but with its heart in the past. Let’s hope she continues down this road and gets the industry support and recognition she richly deserves. Don’t just take our word for it, Rolling Stone have compared Anne to both Linda Ronstadt and Emmylou Harris. Enough said!
Review by Declan Culliton
Jason James Seems Like Tears Ago Melodyville
Firstly, a word of caution. This is a COUNTRY album with pedal steel and fiddle on most tracks! There’s nothing crossover, nothing alt or nothing Americana about the album. Simply classic vintage country of the highest order. James released his self-titled debut album in 2015 on the New West Record label. Deemed to be a tad too ‘country’ for the label, they attempted to steer James in a slightly different musical direction. Without any intention of budging from his core sound, he appropriately delivered a cover of the Ernest Tubb song Let’s Say Goodbye As We Said Hello as his swansong to the record label.
Seems Like Tears Ago follows an identical template to his previous album. Covering the usual topics of loneliness, lost love and ‘tears in beer’ heartache with panache, it’s little surprise that titles such as I Miss You After All, Achin’ Takin’ Place, Ole Used To Be and Foolish Heart all feature. Weeping pedal steel guitar introduces the opening and title track followed by James’ velvety vocal delivery, leaving the listener in little doubt of what is to follow. It would be easy to brand James a modern-day George Jones pretender- that’s a compliment in itself - given his vocal style. He’s much more than that, with shades of Dwight Yoakam on Move A Little Closer and the previously noted Ole Used To Be, and echoing Jim Lauderdale when he dons a Nudie suit and goes full on country. The timeless We’re Gonna Honky Tonk Tonight, a two-step invite and classic Texan Dancehall fare, also hits the spot.
The album was recorded in just three days at Signal Hill Recordings in Dripping Springs just outside Austin, Texas. Remarkably, the majority of the songs were down in just two or three takes, testament to the quality of the players that producer John Evans (Hayes Carll, Corb Lund) assembled. Geoff Queen takes the credit for excellent guitar and steel pedal contributions and Reckless Kelly’s Cody Braun plays fiddle. Completing the line up were Rick Richards on drums, T Jarrod Bonta on piano, Jacob Marchese on bass and Chric C Cook on rubboard.
Ironically, James is a modern-day “country outlaw”, writing and recording on his own terms and not prepared to accept the interferences of a record label. Things have certainly come full circle. File under ‘they just don’t make them like this anymore’. Make no mistake, if this album was recorded in the early 70’s, James would be a household name!
Review by Declan Culliton
Suzie Vinnick Shake The Love Around Self Release
If you, like me, thought that the blues was predominantly a sad music then this excellent album by Canadian Suzie Vinnick will make you think again. It’s apparent from the opening chords of the opening song Happy As Hell that she is one contented person and that she’s determined to lift the listener up too. I’m embarrassed to admit that she has never crossed my radar, even though she has won multiple music awards in blues, jazz and folk genres in her native Canada.
The twelve songs here (all but three are self penned) allow her ample scope to show her impressive chops on guitars and bass. She only needs to call in an Ontario local for drum duties (Gary Craig) and her co-producer Mark Lalama adds Wurlitzer, Hammond organ and accordion.
Suzie has a powerful voice that she knows how to use, be that sweetly on a country blues acoustic like Drift Away (a co-write with the wonderful Matt Andersen) or on the bass heavy rocker Lean Into The Light.
Difficult to categorise, she dips in and out of folk, rock and jazz with total ease. There’s a truly sultry cover of John Fogerty’s A Hundred And Ten In The Shade, followed by her own Crying A River For You where she conveys the heartache with some gorgeous lap steel. Recommended.
Review by Eilís Boland