Itasca Spring Paradise of Bachelors
When you follow your muse and move to a New Mexico adobe in the desert to hide out and create some space for new music, then you set yourself on a course where outside agencies anticipate an album with hidden depths on your return. Gone are the days where big record labels would fund such a venture into what many could see as self-indulgence, but there is no doubt that the solitude afforded creates an environment where inspiration can visit and the music can flow through.
Whether this equates to a warmly invited weekend guest, or something more enduring, is up to the listener to decide. This is what used to be termed a ‘grower’ and repeated listening unearths a reserved gem, a slice of quiet ambience that attempts to slow the world down on its axis.
Itasca is the musical persona of Kayla Cohen. She grew up in New York and moved to Los Angeles in 2011 where she began experimenting with noise and drone sounds. Her gentle guitar and voice soundscapes as Itasca reference Folk leanings and textures that reveal many diverse colours to her own personal rainbow.
My review copy does not include a lyric sheet and it can be hard to catch the vocal phrasings of Cohen but with three previous releases, GRACE RIDES ON THE ROAD (2012), UNMOORED BY THE WIND (2015) and OPEN TO CHANCE (2016), under the banner of Itacsa, the gentle soothing balm of strummed guitars, minimal keyboard and bass lines, hint at a less is more philosophy which runs through the creative career of this artist.
Hypnotic mood essays might just about describe the soft, slow focus of the songs. The pace of the project never changes and the dream like quality endures throughout. Her voice is monotone in delivery, somewhere between Nico and Hope Sandoval in enunciation. There is a sense of personal rumination in the songs and also one of being influenced by the time stands still magnetism of her surroundings, inspired by the landscape and history of the Four Corners region.
There are ten tracks and titles like Golden Fields, Blue Spring, Only a Traveller and Plains hint at the sense of space and timelessness that develops throughout. The contributions from Daniel Swire (drums & percussion), Marc Riordan (piano) and Dave McPeters (pedal steel) creates the magic, with strings arranged by both Jean Cook and James Elkington - the production is sparse and minimalist, but hypnotic and compelling.
Review by Paul McGee
Will Bennett & The Tells All Your Favourite Songs Jewel Box
This is the second release from an Iowa band who come out of the traps with all guns blazing. Opener, Rabbit’s, is very reminiscent of early Wilco and the jangling guitars of Will Bennett and Wilson Brehmer are blended with the superb pedal steel of Brandon Bankes. There are plenty more examples of this driving sound and songs like Charades and the Cow-Punk energy of Caroline are like a breath of fresh air. The production is bright and immediate with Stephen Shirk at the controls in his Chicago studios.
There is a strong leaning towards Alt Country across the eleven tracks included and the solid rhythmic base laid down by Daniel Martinson (drums, vocals) and Ethan Kenvarg (bass) gives the other players free reign to colour the arrangements with plenty of deft touches.
The slow strum of Just Looking, beautifully augmented by Brandon Bankes on pedal steel, is a fine example of the craft and musicality that exists within the band. All songs are by Will Bennett and the stand out, In Nashville, is a real slice of inspiration in tearing down the myth behind the music machine that drives Music City USA…
“Everyone’s an artist working part-time jobs like martyrs in Nashville, Praying for a break that’ll take them one step towards making it in Nashville, They’re digging up the bones of the Cashes and the Joneses, For the shred of credibility that remains, But the one thing that’s for certain is there ain’t nothing worse than watching talent spiral down the drain.” Right on, Will Bennett – perfectly captured and right on the money!!
Tumblin’ Down has a really great drive and rhythm with Erik Jarvis (Organ) and guest players Sean Jones (bass, vocals) and Alan Gabrenya (guitar, vocals) pulling out all the stops. The title track is a return to his hometown for Bennett after a family emergency and his look at what has changed while he’s been away; both in the town itself and in the relationships of those who live there; “And we talk and we laugh, Like nothing ever happened ‘cause it happened so fast, So we’ll wait and we’ll see, Picking up the pieces as you get on your feet.”
A very enjoyable album and one that is full of great songs that deserve a wider audience.
Review by Paul McGee
Bruce Cockburn Crowing Ignites True North
Eleven instrumental tunes that run for a total playing time of 55 minutes and the time spent listening never feels forced or overly long. A tribute to the dextrous playing indeed, as listening to purely instrumental, reflective pieces can run the risk of sounding very repetitive across such a protracted period. The fact that so much variety is brought to these instrumental ruminations is proof of the technique and highly skilled gift that resides within the multi-layered talents of Bruce Cockburn.
Produced by Colin Linden at the Firehouse in San Francisco earlier this year, there is an instantly appealing groove to opening track Bardo Rush and to the superbly crafted Blind Willie, while Easter and April In Memphis are more gentle tracks with just Bruce playing, as are Sweetness & Light and Angels In The Half Light. These solo guitar pieces are contemplative and evocative of a motorcycle trip where the meanderings of the vehicle across a landscape conjure images of wide-open spaces, desert plains and the horizon of mountain ranges framed against a bright skyline.
The addition of Linden (dobro, baritone guitar, mandolin) on three tracks, Bo Carper (shakers) on two tracks, Janice Powers (keyboards) on two tracks, plus Ron Miles (cornet), Gary Craig (drums) and Roberto Occhipinti (bass) on one track (the jazz infused exploration of The Mt Lefroy Waltz), just adds to the colour palette already laid down by Bruce Cockburn.
He plays a range of instruments, from guitars to charango (a small Andean stringed instrument of the lute family), dulcimer, chimes, bells, kalimba (an African thumb piano), sansula (from the kalimba family), gong, Tibetan cymbals and singing bowls – proof positive, if needed, of his musical versatility and the range of his interest and dedication to his creative muse.
The Groan has a blues influence, aided by the slow-paced handclaps of six background assistants to the overall groove. The Bells Of Gethsemane is the longest tract and closes the album with over seven minutes of atmospheric playing against an array of cymbals, chimes and singing bowls, reminiscent of a dawn chorus! Eclectic and inclusive of many diverse elements and influences, this is music for the spirit and the soul.
Review by Paul McGee
Dean Maywood Self-Titled Self Release
Born in Drogheda Co. Louth but raised in wind-swept Donegal, Dean Maywood’s five track EP is a taster of the talents this emerging singer songwriter possesses. An artist whose profile has been growing steadily, he has appeared at local festivals and earned opening slots for acts such as Jason Wilber and Phil Coulter. An invitation to showcase at the Americana UK in January 2020 is further validation that his star is on the rise.
With influences that include John Prine and Neil Young, it’s no surprise that his songs place emphasis on the lyrical content and are quite stripped back. The album opens with Jane, which is quite poppy and radio friendly. Louisiana is a reflective and dreamy affair, recalling Tom Russell. The Silver Dollar, the standout track, is a slow barroom country burner, featuring slick guitar playing by producer Darren Doherty and wailing pedal steel by Patsy Gallagher, both contributing to flesh the song out impressively. Knowing and Lying is a fairly traditional folky affair, acoustic guitar and harmonica accompanying Maywood’s vocals, with nods to early Neil Young.
There has been a surprisingly noticeable lack of Irish artists travelling down the Americana path and establishing themselves in bigger markets. Maywood certainly has the songs, vocals and the potential to be noticed. He may have to choose between the singer songwriter or country path going forward. Either way this recording is the perfect kick off to what hopefully will be a rewarding career.
Review by Declan Culliton
The 40 Acre Mule Goodnight & Good Luck State Fair
For a band that has been performing endlessly since their formation in 2015, GOODNIGHT & GOOD LUCK is the culmination of their growth from a dive bar band to performing in clubs and eventually getting booked for festivals. They describe their output simply as rock and roll, which possibly understates their talents. A more accurate definition would make reference to artists like Nathaniel Rateliff, J.D. McPherson and St. Paul & The Broken Bones, all who (of whom?) have earned their reputation as killer live acts, mixing blues, soul, country and rockabilly with maximum attitude.
Based in Dallas Texas, the band’s main man is vocalist and guitarist J. Isaiah Evans, whose raspy lungs belt out the ten tracks on the album, complimented by bass, drums, saxophone, organ, piano and support vocals.
Thumping bass lines alongside bluesy saxophone emerge seconds into opener You Better Run and the foot is still firmly on the accelerator ten tracks later on the rockabilly closer, Josephine. Pride of place goes to Bathroom Walls as the album’s deepest cut, a raunchy bar room rocker which sums up exactly where The 40 Acre Mule are coming from. They do come up for air momentarily on the laid-back ballad, Be With Me, signalling that Evans has the wherewithal to pen ballads alongside the high tempo rockers.
The 40 Acre Mule’s signature powerful and riotous sound is captured flawlessly on this album. I can only imagine how well the tracks would transfer to a live setting.
Review by Declan Culliton
Harvey Russell Liquid Damage Self Release
Former member of alt-rock Harvey Swagger Band and country folk duo Peasant Moon, this Sydney, Australia-based artist’s debut solo album is a self-written collection of songs, very much in the classic country tradition. Supported by his backing band, The Widowmakers, (great name!) they collectively achieve exactly what Russell planned to do, simply record a hands down country album in the true sense. The band, whose playing is top drawer throughout, feature Aaron Langman on pedal steel and electric guitar, Jonathan Kelly on bass and Rich Burrows on drums.
‘Although country songs can sound simple, writing country songs is far from easy’ notes Russell. He recorded the album in fits and starts over a fifteen-month period at Sydney’s Love Hz Studios. Home truths aplenty include the obvious country fall backs of loving, leaving, drinking and addiction, which all feature across the nine tracks, with titles Rollin’ Into Town, Liquid Damage, Gave You Flowers and Please Don’t Pretend. However, Russell is at pains to emphasise and caution about living the life of the country song, rather than glorifying it.
It remains to be seen whether LIQUID DAMAGE is a one-off venture by Russell, or his reinvention as an Australian country music traditionalist. In the meantime, there’s lots to enjoy about the album from the outright honky tonker, Gave You Flowers, the rocking title track and the bluesy album book ender My Blood Is Thinning And Weak.
Review by Declan Culliton
John Surge and the Haymakers Your Wonderful Life Trouble Doll
The album from this Californian based artist opens with some encouraging twang. Ricochet is an up-tempo rocking’ song with a simple chorus that hits home. The same can be said of the title song, which follows. Both feature the guitar of Randy Volin behind Surge purposeful vocals, which don’t quite have a distinctive uniqueness, but are more than capable of delivering these songs with solid intent. All but one of the songs are written or co-written by Surge.
He has a penchant for that 80s early cowpunk, power pop punctuated roots rock sound (with a touch of Tom Petty too). That approach allows for some short, sharp hook infused material, that is epitomised by the track You’re Really Good (At Making Me Feel Bad). He can also handle a country ballad as he proves with Studio Apartment Blues. The one cover is their version of The Beat Farmers song Gun Sale At The Church. The Beat Farmers would be an influence in approach and style and this take fits well with Surge’s own songs. Some of the additional contributors include KP Hawthorn of the HawtThorns, bassist Ted Russell Kamp and stalwart go-to steel player Marty Rifkin.
Prior to this solo debut Surge was a member of the similarly named Haymaker. Two of their albums reside in my collection. The first was called MUSIC FROM ED’S HOUSE and the other from 2013 was titled NOW NOW NOW which also featured Mike Jacoby and another songwriter David Serby, who didn’t contribute songs but played bass on the album. Those particular line-ups may not have worked, so Surge took the lead role this time out, but decided to keep the name as a general moniker for his band. Either way, Surge brings previous experience to this new iteration and these set of new compositions. All make for a sound that both has a freshness as well as a certain familiarity for both the past and the future.
Review by Stephen Rapid
Rachel Harrington Hush The Wild Horses Skinny Dennis
After a break from recording and performing Harrington recovered from some health issues and reflected on what life offered her and how it reflected on her and of those close to her. It is not a pretty or passive album but rather faces death and some dark issues face on. She attended one of Mary Gauthier’s songwriting camp which gave her further impetus to write new material. Two of the songs deal with war veterans and how war has a ripple effect for those around it. The Barn takes regard of the loss of a loved one in war and was written for her mother while the more obvious Mekong Delta is about the suicide of her uncle who had been in Vietnam. The military is also central to Drop Zone in tone and lyric, being based around some of the phrases that soldiers use in training.
And melancholy is also at the heart of Drinking About You which features some fine pedal steel guitar from Lloyd Maines. Other demons, those of addiction, run through the veins of the song I Meant To Go To Memphis. While the title song deals with trying to find and finding love in some less than ideal times, something that is so often a reality. The metaphor of the horse rears its head again with the closing song If Wishes Were Horses - if wishes were horses we’d be riding away. There is a tribute to Susanna Clark and husband Guy (Susanna), it is a heartfelt nod of songwriting heroes that she co-wrote with her son. Save Yourself puts the listener in the position of a homeless person (in this case Harrington’s own brother). All of these things may not be apparent on first listen but reveal themselves with slider listening.
The album was produced by Casey Neill in Portland, Oregon. It includes the aforementioned Maines as well as fiddle player par excellence Eamon McLoughlin, banjoist Danny Barnes also guested. Neill handled the main guitar duties while they had a solid rhythm section throughout. The standout though is Harrington who delivers impassioned vocals and a set of self-written songs (others than the one noted) that are of these times. That means thane are edgy and engrossing in their depiction of one person take on what she has been through and where she is going. Rachel Harrington has made several acclaimed albums in the past and the future may hold. Ride along with her.
Review by Stephen Rapid
Amanda Anne Platt & The Honeycutters Christmas On A Greyhound Bus Organic
A five track EP of Christmas songs from Platt and her band. It feels just about right as often albums on such a singular subject end up with fillers, or a reliance on over used material. Platt is an accomplished singer and equally impressive songwriter. Here she has written two particularly fine songs in Christmas On A Greyhound Bus and in One For The Ages. They are placed alongside versions of Willie Nelson’s Pretty Paper and Santa Looked A Lot Like Daddy co-written by Buck Owens and Don Rich. Also included is a version of Nick Lowe’s perennial (What’s So Funny ‘Bout) Peace Love and Understanding? which fits snuggly with the overall mood. All are given lively, country-esque readings that are enjoyable and accomplished without eclipsing the originals.
The two new songs are both worthy additions to the Christmas song collective that may end up being covered themselves especially the John Prine-like title track. Platt produced the tracks and her tight band are right behind her throughout. So, kudos to Matthew Smith, Evan Martin and Rick Cooper but the Christmas cracker goes to Platt for her clear crystal vocals and her instincts with the songs. Happy Christmas y’all.
Review by Stephen Rapid
Derek Senn How Could A Man Self Release
Another contender for my Album of The Year from an under the radar Californian musician, Derek Senn. Here at Lonesome Highway we like to bring quality unknown work to your attention when we are lucky enough to discover it, but it really is quite shocking that this artist is not widely acclaimed.
Recorded in a variety of musical styles, this album is really all about the songs. Senn has a way with words and on many occasions on my first listen I found myself laughing out loud as he chronicles the trials and tribulations of his ordinary life.
The title track is a good example, being a paean to Senn’s goddess wife Melanie. Managing to rhyme ‘perfect skin’ with ‘Fallopian’, he leaves the listener in no doubt that he is married to Superwoman, and that he is not worthy - how could a man not fall completely in love? Another clearly autobiographical song, Babysitter introduces his two boys (two under two) and hilariously chronicles the frantic giddiness of a rare night out. Be Careful What You Wish For is a languorous account of another child free episode that didn’t evolve quite as expected - how can we miss them if they don’t go away, but they’ll soon be gone for ever, at least they better. Some Chase A Girl chronicles his courtship of the aforementioned Melanie, with more self deprecating humour. Many of the songs take a wry look at life in general - Botox, Have A Nice Day and The Nuclear Family could apply to anywhere in the privileged world. However, there are welcome contrasts to the funny, confessional and occasionally shocking lyrics - Pretty Things is a poignant and touching homage to the circle of life, and The Song Mine is a clever use of metaphor within metaphor, about the struggle to write songs.
Senn plays guitars throughout and is ably supported by Nashville drummer Paul Griffith (John Prine, Todd Snider), co-producer Damon Castillo on guitars and the very impressive keyboard skills of Kristian Ducharme.
Review by Eilís Boland
Catfish Keith Catfish Crawl Fish Tail
Catfish Keith is an absolute powerhouse of a guitar picker in the country blues and Delta blues style and this album (his seventeenth!) shows off his instrumental prowess in that genre to great effect. Not just for blues fans, this is a very accessible collection, comprising five original tunes along with covers of a large selection of songs by artists he admires. There’s a lovely version of The Carter Family’s Dixie Darlin’ and Big Bill Broonzy’s Willie Mae.
The dynamism of his incredible playing comes across here very well in the recording, due to the excellent production. Unusually, it is co-produced by his wife and manager and sound engineer Penny Cahill. Catfish has a rich depth to his voice, which is perfect for the genre.
The cd is accompanied by extensive liner notes and information, including details of all the nine guitars he used on the recording, so the guitar fans out there won’t be disappointed.
On the evidence here, it would be well worth catching Keith live when he comes to your town.
Review by Eilís Boland
Mean Mary Cold Woodrock
Although not yet 40, contemporary folkster Mary James’ biography to date reads like an adventure novel. She may well end up writing that tome herself, because she is already a published author as well as being a multi-instrumentalist, a songwriter, a horsewoman, an actor and a videographer.
Her excellent self-produced fifth album finds her in a sombre mood, leaving the listener in no doubt that she has been through the wars in her emotional life. This is epitomised on the title track Cold (House by the Sea), coming in at over 8 minutes, wherein Mary chronicles the slow death of a relationship, appropriately beside the chilly Baltic Sea in October. It reads like a series of diary entries, and with just her voice, her guitar, David Larsen’s bass and Nomad’s piano she evokes a bleak beautiful scenario. This gothic evocation is predominant across almost all of the songs, all of which are written by Mary alone, or with her guitarist brother Frank, who also contributes guitars on some tracks. Snow Falling and Sad November Breeze are also standouts, where Mary plays all of the instruments, banjo and guitar to the fore.
Her voice is distinctive and powerful too - think Cher’s dark smoky contralto, without any electronic wizardry. Although she plays eleven instruments, her banjo playing is particularly memorable and she is endorsed by top banjo makers, Deering. And if you’re feeling inadequate already, dare I mention that she produced this record also? Not surprising given her life experiences to date, she has managed to infuse the songs with a strong earthiness (she spent five of her childhood years in survival mode in remotest Minnesota with her family). The ethereal April in December and the beautiful Sparrow - just Mary and Frank’s voices and guitars melding in sibling harmony - leave the listener on a hopeful note, despite the predominant earlier darkness. I’m already looking forward to the biopic.
Review by Eilís Boland