Kelsey Waldon White Noise/White Lines OhBoy
WHITE NOISE/WHITE LINES is Kentucky native Kelsey Waldon’s third album, her first since signing to John Prine’s Oh Boy Record Label. The introduction to her Nashville neighbour Prine came about from an invitation to open shows for him in 2018. Fully deserving of the exposure she is currently enjoying, Waldon spent over ten years handling rejection and near poverty, while struggling to keep her head above water. Moving to Nashville with stars in her eyes as a nineteen-year-old was a hard lesson learned. She lasted less than twelve months before moving back home. Subsequently returning to Nashville, she enrolled in Belmont University to study songwriting, working behind bars to survive. The hard work and commitment paid off, resulting in two wonderful under the radar albums, THE GOLD MINE (2014) and I’VE GOT A WAY (2016). Invitations to perform at The Grande Ole Opry and support slots for Jamey Johnson, Tyler Childers and Prine followed.
Correctly praised in many quarters as the possessor of one of the most distinctive and unique country voices, on this recording Waldon has shifted somewhat from the traditional country template of her earlier work. WHITE NOISE/WHITE LINES is somewhat more experimental and certainly more personal, dipping into blues and folk along the way and channelling country in an altogether different direction. It also features a number of intimate interludes, including Chickasaw tribal chants recorded at her father’s hunting cabin and also a voicemail left by her father.
The title track is raw and bluesy, inspired by what was essentially a turning point in her career. A picturesque solar eclipse occurred over Nashville as she prepared to leave the city and visit her parents in Monkey’s Eyebrow in Kentucky. Having just reached the age of thirty and in a new relationship, everything seemed to be falling into place for her. The song is a reflection of this new beginning, hard earned but eventually realised. The strongest material, for me, kicks off mid album and features Waldon cemented into her comfort zone. Black Patch is the album standout track, pure honky tonk. Run Away and Very Old Barton are on the same page, the former possibly a two fingers salute to a former lover. Kentucky 1988 finds her in contemplative and proud mood, as she considers her DNA. Sunday’s Children questions organised religion and the prevailing self-righteous attitude that are the root causes of so much turmoil.
Weldon co-produced the album with Dan Knobler, who appears to be the favoured producer for emerging female artists in Nashville. Her co-residents Erin Rae and Caroline Spence both worked with him on their latest recordings.
WHITE NOISE/WHIOTE LINES may be the album that gets Waldon deserved recognition in the industry and opens doors for her. It’s certainly her most personal, the writing reflecting an artist considering her past at a pivotal stage in her career. I wonder whether her next venture will be as experimental or whether she will return fully to her early career traditional country roots. We’ll just have to wait and see.
Review by Declan Culliton
My Darling Clementine (with Steve Nieve) Country Darkness Vol. 1 Fretscore
My Darling Clementine, the husband and wife team of Michael Weston King and Lou Dalgleish, have been the pioneers of classic country music outside of The United States for near on a decade at this stage. Their debut album HOW DO YOU PLEAD? released in 2011, was deserving of the lavish praise it received. Country Music People hailed it ‘’the greatest British country record ever made ’’ and American Songwriter described it ‘’as authentic as anything coming out of Nashville or Austin.’’ THE RECONCILIATION followed in 2013, also receiving equally impressive industry accolades. They then took a more experimental approach with the release of the ‘story and song’ project THE OTHER HALF, a collaboration with crime writer and country music enthusiast Mark Billingham. Throughout this period, they toured endlessly in support of the various projects.
It should be of little surprise that their current venture explores the country music exploits undertaken by Elvis Costello. For many of today’s lovers of vintage country music residing in Europe, the introduction came by way of Elvis Costello’s sixth album ALMOST BLUE recorded in 1981. A country covers album was not what was expected from the angry young new waver at that time, and the album was greeted by mixed reviews at best. However, it introduced Michael Weston King and no doubt thousands more, to the icons of American country music and most probably shaped their listening preferences for decades to follow. George Jones, Hank Williams, Merle Haggard and Gram Parsons, all represented on that album, were artists hardly on the radar of Costello’s core audience back then. Even if Costello’s recordings were not always true to the original song versions, a light was switched on, sending many scampering for back catalogues. Weston King sums up ALMOST BLUE’s significance perfectly when he admits to being ‘’sent off along a country path to discover more about this form of music previously only viewed with suspicion.’’
COUNTRY DARKNESS VOL.1 is My Darling Clementine’s first, with hopefully more to follow, exploration of songs penned by Costello, which either had obvious country leanings or the potential to be guided in that direction. The album title refers to one of Costello’s strongest country songs, which featured on his 2004 recording THE DELIVERY MAN. It’s not included this time around but hopefully will surface in a future recording. This four-song selection accurately reflects the ‘darkness’ theme, with tales of failed and doomed relationships, domestic violence and infidelity.
The added bonus with the project is the input of Steve Nieve, foot soldier and sideman from EC’s early days and valued member of both The Attractions and The Imposters. The reinterpretation of the four songs on the album is a three-way collaboration King, his wife Lou Dalgleish and Nieve. Dalglish, also a long-time fan of both Costello and Nieve, admits to being reduced to tears when she sat down beside Nieve, to rehearse the first song on the EP.
A gentle piano introduction by Nieve opens the first track Heart Shaped Bruise, which featured on EC’s 2004 album THE DELIVERY MAN. Soon to be joined by Dalgleish on lead vocal with Weston King following, it’s the perfect taster for what’s to follow. Next up is a remodelled Stranger In The House, a co-write and duet with George Jones recorded in 1978. It surfaced as a free single with the early copies of Costello’s THIS YEAR’S MODEL in 1978 and was the first inkling of Costello’s intentions to travel the country roads. This version is closer to Countrypolitan than the original’s more honky tonk leanings, with Nieve’s silky piano work substituting the pedal steel breaks of the earlier version, this time around. The song is tailored made for the male female country duet format and MDC give it a stylish Jones/Wynette makeover.
That Day Is Done was one of a number of co-writes by Costello with Paul McCartney which featured on the latter’s 1989 Album FLOWERS IN THE DIRT. Any country leanings may not have been apparent on that recording but it’s given a total refashioning this time around, with shades of Dusty Springfield emerging in Dalgleish’s vocal performance. The albums fourth and final track is I Felt The Chill Before The Winter Came. It appeared on EC’s 2009 release SECRET, PROFANE AND SUGERCANE and was a co-write with Loretta Lynn. It’s a classic break up song, one of many authored by Costello over his career. We’re treated to a version faithful to the original, with Tom Wright on pedal steel guitar alongside the possessors of two voices that above all, always seem to love what they are singing. The remaining musicians that feature are Colin Elliot on bass, Stan Sheridan on guitar and Dean Beresford on drums.
I can’t think of any act more suited and appropriate to reappraise the extensive EC songbook and handpick material befitting reconstruction. Hopefully My Darling Clementine will be on the road, touring this and future volumes of the same. Fingers crossed that Steve Nieve and the cracking bunch of musicians that feature on this album will accompany them!
Review by Declan Culliton
Caroline Herring Verses Continental Song City
Singer, songwriter, teacher, lecturer, political activist and musical historian, Caroline Herring has been active over the past twenty years on all these fronts. She’s also the receiver of awards such as Best New Artist at SXSW in her early career and featured in Texas Music magazine as the writer of their selected Best Songs Of All Time. The acclaimed song was Mistress from her 2003 album WELLSPRING. The proud owner of such elevated awards, she could have been forgiven for aggressively pursuing her own commercial musical career. However, her art meant so much more to her, than the opportunity for personal financial gain and recognition.
Her reluctance to follow a commercial path was typified by the release of VERSE BY VERSE in 2018, described by her as ‘’ A 22 song-meditation on the scripture.’’ Her current and 9th release, completes her collection of songs inspired by the bible. The subject matter may not be one that will win her new admirers, but will certainly be of interest to many followers of Herring. Her earlier albums, in particular Wellspring (2003) and Lantana (2008), are wonderful, reinforcing both her exceptional crystal-clear vocal delivery, combined with the ability to pen gorgeous songs. These albums did also contain Christian overtones, so it’s not surprising that she explored the ancient texts of the Psalms and Gospels for her recent projects. The common denominator between Verses and her earlier work is her striking vocal, showcased in a more stripped back environment this time around. The self-produced album contains thirteen tracks, the highlights being Let The Little Children Come To Me, You Are No Longer A Stranger and My Heart Is Not Proud.
VERSES is a reminder by Herring that comfort, solace and peace of mind are brought to many by the study of ancient texts. Beautifully delivered, it may not be the entry point for newcomers to Herring’s music, but anyone investigating and appreciating her impressive back catalogue will no doubt progress to this offering.
Review by Declan Culliton
Dallas Burrow Southern Wind Sublimal Hymnal
There’s no shortage of male artists whose writing is inspired by new found sobriety these days. Dallas Burrow is the latest to join the club and his solo album SOUTHERN WIND is a reflection of a life journey from childhood through a nomadic young adulthood, much of it spent travelling and performing in America and Europe.
Those travelling days were halted when he arrived in Nashville to translate his memoirs into the thirteen songs that feature on his solo album. His choice of producer was Eric Mc Connell, whose employers have included Loretta Lynn and another hell raiser, Todd Snider. Recorded in a mere two days, it features a collection of the finest players in Nashville including former Johnny Cash bass player Dave Roe, legendary guitarist Kenny Vaughan, Average White Band drummer Pete Abott. Other notaries that contribute are pedal steel player Chris Scruggs, fiddle player Billy Contreras and guitarist Frank Rische. The real ace in the pack however, is the inclusion of West Virginia singer songwriter Sierra Ferrell. Her harmonies and backing vocals on six of the tracks elevate them to an altogether different level, the perfect adornment to Burrow’s own gritty vocals.
As you might expect, those vocals articulate the partying and hell raising lifestyle he’s left behind and also the sometimes agitated childhood that proceeded it. The album’s highlight Rodeo is a proof of this, the tale of an outlaw on the run from Texas to New Mexico and his encounter with a cowgirl every bit the measure of him. It’s pure Texas country fare, dipping and soaring wonderfully, a true reflection of his own ‘highs and lows’ along the way. Grandma Joy’s Homemade Strawberry Jam recalls innocent childhood memories whereas the hard-hitting Guitar Man suggests more troubled times some years later. (‘’But you’re afraid to pull the trigger, you’re afraid you’re gonna miss the fun, so you pick up the guitar, and you put away the gun and you strum’’). Two cuts of the title track are included. The first is delivered in pacey Sothern Rock style and the second inclusion, titled Southern Wind (Nashville version), is somewhat less frenetic and more laid back. Ferrell’s harmonies and backing vocals adorn both. Leaving Colorado is a bluesy delight, Burrow’s semi spoken vocals nestling side by side with a succession of jazzy fiddle breaks by Contreras.
After a period spent in an emotional wilderness, Burrow has returned firmly to his Texas roots with these striking tales of innocence, waywardness and finally redemption. Having lived through trying times, let’s hope this wind of change continues to whirl him in the right direction. A most impressive listen from start to finish.
Review by Declan Culliton
Jared Deck Bully Pulpit CRS/Must Have
Originally from a family farm in Oklahoma, Jared Deck’s chequered career to date has involved working in a factory, standing for election to the Oklahoma State House of Representatives at the age of 28 and being employed to perform his music in a church. It’s fair to say that all three experiences did not exactly result in happy endings but did offer Deck some life experiences that he draws from in his latest release, BULLY PULPIT. His factory career came to an abrupt halt when his company decided to outsource, leaving him and many of his colleagues redundant. His political career involved unsuccessfully standing for election for The Oklahoma State House of Representatives (“I lost out by a little, instead of a lot!”) and being fired from his performing role at a church (“I had played in churches my entire life but that one was a doozy’’).
The title of his latest album may be inspired by that dismissal or by his numerous experiences playing gospel and blues music from the pulpit throughout his career. The winner of the annual Woody Guthrie Folk Festival song writing competition with American Dream from his 2016 self-titled debut album, Deck was earmarked by both Rolling Stone and American Songwriter as ‘one to watch’. Bully Pulpit taps into his gospel upbringing and the numerous contradictions lurking behind the American Dream.
It’s a fun listen by a collective of musicians that appear to be having a blast during the recording process. Tracks such as Great American Breakdown, There’s A Leak In This Old Building and Money Back are full on Gospel fuelled rock and rollers, with Deck’s powerful vocal leading the charge. He does also manage to take a temporary breather on the tear jerker Make Your Mama Proud.
Recorded at 115 Recording in Oklahoma and produced by Wes Shanon (John Fullbright, American Aquarium, Parker Milsap), the musicians featured on the album include fiddle player Byron Berline - who played with both The Rolling Stones and The Flying Burrito Brothers – and the Turnpike Troubadours’ duo Gabe Pearson and Hank Early.
Review by Declan Culliton
The Drunken Hearts Wheels Of The City LoHi
A five piece band who play some hard edge roots rock. They are based in Colorado and recorded the album there with producer Tim Carbone. The band are Andrew McConathy and Kory Montgomery on guitars and vocals, the rhythm section of Jon McCartan and Alex Johnson and Cody Russell on steel and dobro. They are a tight-knit combo who deliver some intense songs of love and its inevitable ups and downs. Though there are no credits on the album I assume that they are all original songs. The writing is as robust as the sound and can deliver the occasional lyric that sits outside of the overall themes, or at least a different perspective on it. Passchedaele is about a soldier returning from the First World War both changed and facing changes not least in the fact that his sweetheart has gone off with another man. It features a string section effectively. Elsewhere brass was used on the title track in a subtle textured way to add to the overall feel. Unrest has an element of psychedelia in the lap steel that also turns up at other moments adding a different flavour to their take on Americana.
There are eleven songs here that show how the band play as a unit to bring the best from the songs and from each other. Wheels Of The City is a slow tempo lookat the way a city moves and who it leaves behind. The vocals are central and effective. The band also knows how to take it down a notch or two with the more acoustic opening to Two Hearts (On A Limb) before a level of chaos is introduced to the song. Dream Of Waiting is also more thoughtful in its consideration of relationships and trying to find out the person the other wants and needs. The Cave finishes out the album with a spoken into taken from Plato’s Allegory Of The Cave over some ambient noise before becominga riff heavy instrumental that finishes the album with a sense of authority. It has the feeling, at times, of some of the progressive rock sounds of the late 60s and early 70s.
Overall it is an album that stands itsground and offers a take on Americana that is, while not unique, strong enough to warrant listening too. It faces the problems that any regional act has in breaking out from that base to produce something that can stand in a wider space and gain attention against any number of other musical entities. Be that as it may The Drunken Hearts can raise a glass to what they have achieved here.
Review by Stephen Rapid
Del Reeves Hits On The Billboard 1965-1978 HumpHead
Although Del Reeves first recorded in 1957 and continued to do so with different labels in wasn’t until 1964 that he had abig hit and hisonly number with Girl On The Billboard. Previously his Be Quiet Mind had made the top ten however; perhaps though his best known material was that mix of trucking song, novelty number and Bakersfield sound. From then on, he had a lasting career with a catalogue of over 25 album releases while placing 50 singles in the Billboard charts.
One of the quirkiestaspects of his sound was to open many of his songs with a non verbal doodle-oo-doo-doo. There is also a touch of Roger Miller and of Buck Owens in his overall sound and style. Neither was he a writer on this 50-song compilation andhe only has one co-writing credit. He did favour the songs of Jerry Chestnut though, who has 8 credits. Overall this compilation is not essential but isnone-the-less an easy tolisten to collectionthat is very much of itstime. The running order is mainly consecutive from 1965 and the sound gets more commercial as the years progress. Not that Reeves wasn’t a capable singer whobrings an energy to the material he was recording. Songs that range from The Private (a tribute to the common soldier) to the cheesy and patriotic notions of Prayer From A Mobile Home. In recent times his presence was mostly found on compilations of trucking songs. Alongside Girl On The Billboard on this compilation there’s Trucker’s Paradise and Looking At The World Through A Windshield, although he did record a complete album with the latter title that was more related to the subject, this is a broader overview of his career.
He also recorded a number of duets, as that was a popular format back then, so there are tracks with Billie Jo Spears, a couple with Bobby Goldsboro and a version of the Carole King/Howard Greenfield classic Crying In The Rain with Penny DeHaven. The latter also duets on Land Mark Tavern. A handy compilation for anyone who remembers Del Reeves or who has a liking for the country music of that era. HumpHead have also released a compilation of country songs by Brenda Lee for those who might fancy that.
Review by Stephen Rapid
Micky & The Motorcars Long Time Comin’ Thirty Tigers
Family bands seem to have played a large part in the backstory for these guys. They featured with their father’s band Muzzie Braun and the Boys back in the day in Idaho. Since then Gary and Micky Braun moved to Austin to become Micky & The Motorcars while elder brothers Cody and Willy formed the renowned outfit Reckless Kelly. Both bands have fairly full-on touring schedules and each band have homed their sound in both the live and recording settings.
For this new album, their fourth studio recording, the brothers worked with producer Keith Gattis and recorded in Nashville with a set of seasoned studio players. Both brothers contributed material to the album with Gary this time out penning six of the eleven songs either as co-writes or as solo contributions. The remainder came from Micky, again in a similar fashion, though with more co-writes, one including Gary. They both take the lead vocals in the songs they wrote. The recording itself is an extension of the sound that has been their trademark since their inception. Which is a robust, road-ready roots rock. The brothers however feel that this album is a step forward and a reinvigoration for them.
It certainly sounds that way with some very strong songs from the get-go. Road to You, Rodeo Girl and Alone Again Tonight are a opening salvo of catchy and complete songs. Mainly the subject overall is that of relationships and of romance. The forth song takes things a little deeper and darker with Gary Braun’s song Lions Of Kandahar which details a officer serving a tour in Afghanistan and the traumatising situation he and the men under his command encounter during that time. It manages to convey the way that the average soldier has to deal with such stress and fear on a daily basis. By its very nature it is a stand out song and its underlying middle-eastern theme compliments that.
There are many other songs here that are further evidence of the band’s worth and how they have consolidated their music to create the best album of their career and one that should be listed to from start to finish. The final song is the title track written by Micky and Bruce Robison. Long Time Comin’ has a more reflective nature and looks at where life has taken them on the path to where they are now. As with the other songs here there is a sense of looking inwards but in a way that reflects on the universal human condition. But in doing so they play some exciting music that has across the board appeal.
Review by Stephen Rapid