Gill Landry Skelton At The Banquet Loose
A former New Orleans busker and member of Old Crow Medicine Show, Gill Landry has been quite prolific since parting with that band in 2014. SKELETON IN THE BANQUET is his fifth solo recording since then and was conceived during last summer, when Landry retreated to a small flat in a Western French village, to gather his thoughts and reflect on present day America and more personal matters. A multi-instrumentalist, Landry contributes vocals, guitars, pedal steel, keys & harmonica on the album, alongside his co-producer Seth Ford-Young playing bass, Josh Collazo on drums, Stewart Cole on trumpet and Odessa Jorgensen on violin.
Landry’s solo work is far removed from his work with OCMS. His relaxed baritone vocals, aided by accomplished playing throughout, impress on the nine tracks that feature on the album. It’s a collection of unhurried, contemplative songs, often dark and wistful, reflecting on relationships both fulfilled (I Love You Too) and doomed (Angeline). With its swirling pedal steel twang, the former creates visions of hand in hand walks on sun drenched beaches. The latter represents the opposite end of the spectrum, a harmonica intro and Dylan like up-tempo delivery, which launch into a bitter breakup rant. The Refuge of Your Arms, probably influenced by his stay in France, is a tender waltz like stroll, recollecting past comforts sadly missed. The beautifully punctuated and melodic A Different Tune recalls Veracruz by the late Warren Zevon.
Landry’s luxurious low-pitched vocal delivery mirror mid-career Leonard Cohen on the gloriously uncluttered Nobody’s Calling. The apocalyptic Trouble Town, with a similar vocal delivery, paints a picture of impending hopelessness and despair. Perhaps a reflection on the present day political and environmental turmoil, it closes with a simple appeal ‘’Captain let’s turn this ship around.’’
SKELETON AT THE BANQUET follows in a similar vein to Landry’s previous album LOVE RIDES A DARK HORSE. Its minimalistic, laid back and brooding approach perfectly captures an artist at the top of his game. Late night candle light listening of the highest calibre and a wonderful album to kick off a new decade.
Review by Declan Culliton
The Southern Fold Bible Fear Self Release
Dark events, characters and phenomena are explored by The Southern Fold across thirteen tracks on BIBLE FEAR, their debut full album. The recording follows their mini album A TRUE ASCENSION FROM THE WAYWARD PATH, which was released back in 2016.
The Southern Fold are Emlyn Holden (Vocals, Guitar, Banjo), Laura Hand (Vocals), Brian McGrath (Bass), Cian Doolan (Guitar) and Jamie Fitzpatrick (Drums). They cite their influences to include both Hank Williams and Nirvana, but their core sound is best described as Gothic Americana, bringing to mind the early output of both Willard Grant Conspiracy and The Handsome Family. The material on the album is entirely self-written by Holden, with the exception of a re-modelling of the traditional song Run On. It’s a powerful showcase of creative and fanciful song writing, covering the emotional baggage of religious torment, damnation and redemption. Writing aside, the real winner here is the vocals of both Holden and Hand, a combination that impresses throughout.
Hold Back The Sun, the album’s first track, kicks off with acoustic guitar alongside those combined vocals, recalling the unlikely yet potent musical marriage of Mark Lanegan and Isobel Campbell, when they joined forces in 2006 with BALLAD OF THE BROKEN SEAS. It’s a comparison that repeats on a number of occasions on the album. The evocative and deathly Sunday Best is a dark late-night listen, that unites Holden on banjo alongside splashes of accordion, compliments of Ger Moloney.
Jesus Christ & The Holy Ghost (Not Taken In Vain) is a swinging country affair, laced with mournful pedal steel guitar by David Murphy. It’s particularly easy on the ear and radio friendly, though unfortunately the title is most likely to exclude it from our national radio airwaves. Murphy also collaborates on God Is A Ghost, another mellow country ballad that bookends the album. Blood OF Life is torrid and mischievous, bluesy with a twang. Run On (For A Long Time) and The Devil In Me are both on the same page, stomping toe tapping country blues. Save Your Soul enters gospel territory, showcasing two vocals perfectly balanced and on the same page. No - One Is My Name is a dreamy ballad with Hand’s hypnotic and simply gorgeous lead vocal impeccably complimented by background cello from Ella Englishby.
Released at the busiest time of the year towards the tail end of 2019, let’s hope it doesn’t get overlooked by both the press and buying public.Make no mistake, this is a quality product that compares more than favourably alongside the darker side of roots music being recorded by well-established acts in The States. BIBLE FEAR is further evidence, if we needed it, of the exceptional quality on our own doorsteps and an album that should take pride of place on the shelf of any serious Americana supporter.
Review by Declan Culliton
Session Americana North East Self Release
Session Americana are a Boston folk collective consisting of core members Ry Cavanaugh, Billy Beard, Dinty Child, Jon Bistline and Jim Fitting. This album, their seventh recording, reunites them with a host of talented musicians best described as part time members, who join the band on stage or in the studio occasionally. These contributors are John Powhida, Rose Polenzani, Kris Delmhorst, Isa Burke, Duke Levine, Merrie Amsterberg, Peter Linten, Jason Anick, Dietrich Strause, Zap Trojano, Jennifer Kimball, Ali McGrath and Jeffrey Foucault. NORTH EAST finds the band exploring songs and songwriters of North Eastern America, music with roots predominately in English traditional music, unlike the music of the South which often developed from Irish and Scottish beginnings.
The tunes chosen to cover include a selection of recent and not so recent compositions. The James Taylor song Riding On a Railroad opens the album with a somewhat more up tempo offering than the more laid-back original. You’ll Never Get To Heaven, written by Bill Morrissey, explores the once bustling mill towns, now practically deserted. The Pixies Here Comes Your Man is reconstructed and delightfully countrified and Jonathan Richman’s Roadrunner is delivered in Dylanesque style. Others featured include Patty Griffin’s Goodbye and the album standout track, a rousing delivery of Tom Rush’s Merrimac County.
The album was intended to revisit and represent both the Old-World Charm and New World grit of New England and does exactly that. A delightful selection of well-chosen songs, impressively packaged and easy on the ear.
Review by Declan Culliton
Darling West We’ll Never Know Unless We Try Jansen
Another act from Norway that are making lengthy strides under the emerging Nordicana genre, Darling West are duo Mari Kreken and Tor Egil Kreken. They have spent quite some time in The United States in recent years, honing their sound and gaining invaluable experience while touring there and networking with similar minded people. Included in their collection of friends is Nashville ‘man about town’ Aaron Lee Tasjan, who together with Ohio alt-rocker Erika Blinn, collaborated with them on True Friends, the only song of the nine on the album not composed by the duo.
Together with a steady stream of artists from Norway, earning recognition in the Americana world by recording material with alt-folk leanings, Darling West’s sound is somewhat more sugar-coated, a blend of well-crafted melodic pop songs, alongside some dreamy ballads. Much of the material was written while they were in Nashville and on tour across the U.S.A. Whereas a large portion of the material being released in that part of the world at present, is a reflection of the turbulent political climate and its consequences, the theme of WE’LL NEVER KNOW UNLESS WE TRY is somewhat more positive, concentrating on hopefulness rather than hopelessness. Winners of the prestigious Spellemann (Norwegian Grammy) in 2016 with their debut album VINYL AND A HEARTACHE, this is their third release and with its mid-tempo sound and glorious harmonies has all the ingredients to qualify for commercial radio airplay. Make It Last and Can’t Help It, the first single from the album, particularly succeeds in this regard.
Americana, to my mind, is stretching the imagination in categorising WNKUWT. It’s a polished and impressive offering leaning towards the mainstream pop market and perfectly suited to what currently dominates the airwaves in America’s Country Music Radio Stations.
Review by Declan Culliton
Genevieve Charbonneau Heart Is A Tower Self Release
This singer-songwriter is based on Vancouver Island, British Columbia where she lives a life that is centred around homesteading activities as a Mother and provider for three children.
This album is her third release and it was recorded at a state-of-the-art studio at Shawnigan Lake School. Her children attend the school and it was her meeting with music teacher Jack Connolly that led to him becoming involved as producer and player on the project. A fine job he makes of it too, with lots to admire across the eleven songs featured here. The album is a very enjoyable experience and the central themes running through the songs revolve around Family and relationships.
Her Father, Gerry Auger, contributes one song, Lonesome City, about a parents’ perspective when his child wanted to leave home and go into the World to explore her hopes and dreams. He also co-wrote another song, Here’s To Hereafter, which looks at a life lived and the legacy that gets handed down from grandfather to grandchildren with all the joy and insight that experience teaches.
All other songs are written by Charbonneau and from the title track about love gained and lost, with superb fiddle and cello, to the closing song, Thank You, a love letter to her life partner, Daniel, who keeps everything running smoothly when she is out touring “Thank you for letting me share my heart with strangers, Every time I take the stage” – the ensemble deliver beautifully realised melodies and harmony singing of the highest standard. The contentment of living in the moment is captured on No Other Time, with superb mandolin and banjo parts. Wilderness talks about feeling trapped in the city and needing to break free, with some great banjo playing on this track.
Queen Of Hearts looks at love now departed and looking back at what once was – some great Bluegrass playing and superb fiddle from Ivonne Hernandez. She features strongly throughout and her playing on Hit A Wall, a song about breakdown and meltdown, with an up-tempo beat and catchy drum shuffles from Brian Horwitz is a real joy. Empty Dresses is a song about the missing and murdered girls and women in Canada and was inspired by an Art installation in Winnipeg. The song could also be taken as a cry out against the inequality and suppression that women have suffered for generations. Not Enough Love dissects the state of the World with a side look at a personal relationship that is also going through hard times, “What is to blame? Our ignorant tongues, The forums are many and cheap.”
Jack Connolly also contributes on acoustic and electric guitars, keyboards and vocals, together with Brian Horwitz (drums), Alex Rempel (upright bass), Daniel Lapp (fiddle, on 3 songs), Eli Bender (cello), Peter Reid (banjo) and Jessica Blakney (vocals). Quite an impressive line-up of local talent and they all contribute in bringing great nuance to the bright, mellow and wistful tunes on display.
Charbonneau also plays and sings with her all-female band, Genevieve and the Wild Sundays, all of whom are featured on this solo album, with Ivonne Hernandez (fiddle, vocals), Kelly Sherwin (vocals), Chandra Crowe (mandolin) and Laura Carleton (vocals) adding greatly to the warm textures of the song arrangements.
Previous releases were UPDRAFT (2014) and FINE LINE (2016), recorded with the Wild Sundays, and both received great praise among the folk/roots and bluegrass music community. She has also been a long-time member of the award-winning Balkan Babes, in addition to joining Jack Connolly as the performing duo, Heartland. As if all this activity was not enough, Charbonneau also holds a Bachelor of Fine Arts degree in Theatre and is a trained dancer and choreographer, together with her involvement in a movement linking volunteers with organic farmers and growers, to promote cultural and educational experiences, based on trust and non-monetary exchange – all helping to build a sustainable, global community.
Here is a wonderful story of self-sufficiency and having travelled throughout the USA and Mexico in younger years, then joining a crew on a yacht to complete a world circumnavigation, Charbonneau channelled her energies in to building a home on 10 acres purchased with some like-minded souls and beginning an adventure, while integrating with the local community. Sounds like that original hippie dream that so many wanted to embrace but never had the courage, or fortitude, to follow through upon.
Review by Paul McGee
Emily Duff Hallelujah Hello Self Release
Born in New York city and the survivor of a tough childhood, this artist has been described by Rolling Stone Magazine as, “One Part Patti Smith, One Part Muscle Shoals.” Interesting then, that Emily decided to record her second album at Muscle Shoals in 2017, titled MAYBE IN THE MORNING.
On this, her third release, she again returned to the legendary FAME studios in Muscle Shoals, Alabama. Featuring an All-Star Band of veteran Muscle Shoals musicians, including members of the original Fame Gang, Emily Duff comes tearing out of the traps on the opener, Hallelujah Hello, with a blues-rock groove that lays down a firm marker for the rest of the album. It is reminiscent of Tina Turner with the powerful arrangement, backing horn section and singers, giving a full sound.
She then switches to a country/gospel sound with Get In The Water and the feeling of redemption is present in the warm organ sound, handclaps, harmony vocals and addictive beat. The next track, You, You, You, has a blues-based sound with a laid-back beat and plenty to admire in the horn playing of Brad Guin on tenor sax solo and also Ken Watters on trumpet with Billy Bargetzi on trombone.
You Better Believe is another blues track with plenty of soul in the vocal from Duff. Backing singers Marie Lewey, Cindy Walker and James LeBlanc really excel on this number and the production across all twelve tracks by John Gifford III is just full of bright separation and big sound attack. Many of the tracks have a big choral sound and a full horn backing that adds to the dynamic.
Eggs All Day is back to a Country sound with understated playing by the band, which highlights Duff and her vocal skills in adding authenticity to the words which speak of resting in the arms of the Lord when he calls you home. Pedal Steel and dobro from Wayne Bridge are particularly strong on this track. Jesus Love This Tired Woman could be autobiographical in the words about a life lived on the edge of breaking down, yet holding on for the sake of your sanity and for others. It’s one of the highlights on the album and the slow tempo really shows off the restrained quality in the playing.
The Day He Walked has a Stones groove with a great rhythm and blues arrangement and soulful singing from Duff to compliment the guitar lines of Will MacFarlane/Kelvin Holley. She has a powerful vocal, full of colour and character, especially on the superb Loved Blues, with another acoustic beginning, relaxed front porch playing and gentle melody.
We All Need Savin’ Sometime is a rockabilly sound with great piano from Clayton Ivey who also provides the Hammond B3 organ sound throughout the project. The rhythm section of Bob Wray and Justin Holder really anchor the songs with some stellar playing and they can be heard in all their glory on this track as it drives along. Trust The Lord is another blues workout with a vocal that reminds me of Janis Joplin and some fine guitar work to build the dynamic. Heaven Is Where I’m Bound is a traditional Bluegrass/Gospel sound with an acoustic guitar, fiddle, dobro accompaniment from the band. The final track, The Fall, has a slow blues arrangement that eases the body and soul.
Duff has clearly found a spiritual home at Muscle Shoals and the quality of her writing and singing, together with the quality of the studio musicians, is what lifts this album far beyond the ordinary. It is a joy from start to finish and comes highly recommended.
Review by Paul McGee
Mara Levine Facets Of Folk Self Release
On her website, Mara describes herself as a “New Jersey based singer, recording artist, jewellery designer and interpreter of fine and contemporary Folk songs.” This perfectly highlights the creative muse of this artist who releases her third album, co-produced with both Bob Harris and John Guth.
Bob Harris also plays guitar on six songs while John Guth contributes various guitars, bass and string arrangements across five tracks. Other notable contributions are from Caroline Cutroneo, vocals and rhythm guitar (two tracks) and Terry Kitchen, on his own song, A Perfect Rose. It is the rich vocal harmonies that stand above everything else in the song arrangements however. The melodies are beautifully constructed and delivered with Gathering Time (Hillary Foxsong/ Stuart Markus/ Gerry McKeveny) contributing on five songs.
Josh Joffin duets on Child Of Mine, with Jan Alba on subtle flute and Harris/Juth combining on guitar accompaniment. Some of the songs are chosen for the times in which we live and the message of Daughters and Sons (Tommy Sands), Be The Change (Arlon Bennett) and By My Silence (Ellen Bukstel and Nick Annis) cannot be overstated.
There are songs of love, Song For The Asking (Paul Simon), Hey, That’s No Way To Say Goodbye (Leonard Cohen) and Bitter Green (Gordon Lightfoot); chances missed (The Moment Slipped Away); protecting Salmon spawning ground (Upstream) and being true to yourself (You Reap What You Sow).
Other musicians who appear on various songs are; Kim and Reggie Harris, Robin Greenstein, Michael G. Ronstadt, Ed Trickett, Harold Morton, Sean McComiskey, Barbara Novick, Cheryl Prashker, Tilman Reitzle, Akiva Wharton and Patrice Avsharian Wiseman.
This is a celebration of what makes contemporary Folk music a compelling genre; steeped in fine melody, harmony singing to excite and arrangements to keep the listener engaged at every turn.
Review by Paul McGee
Alice Howe Visions Know Howe
This is the debut album from a singer songwriter who delivers ten tracks, four of which are co-writes with producer Freebo, who also contributes on fretless bass and harmony vocals. It’s quite a coup to secure a high-profile name like Freebo to produce your debut album and it says something of the talent that Alice Howe displays. She met Freebo at the Northeast Regional Folk Alliance Conference in 2016 and he ended up inviting her to record at Aum studios, Bakersfield, Southern California.
Having played with Bonnie Raitt for a decade and collaborated/performed with artists like Crosby, Stills, & Nash, Loudon Wainwright III, Neil Young, Dr. John, Ringo Starr and more, Freebo was in the perfect place to influence the songs that Howe brought to these recording sessions. Of the four co-writes, Getaway Car stands out with its textured arrangement and horn section, provided by Lee Thornburg (trumpet, trombone) and Paul Perez (tenor and baritone saxophones). The one song that Howe wrote herself, What We Got Is Gold, is another highlight and shows off her clear vocals with some nice accompaniment on accordion from John Thomas (JT).
Other players on the album are John Molo (drums), Fuzzbee Morse (electric guitar), Jeff Felder (dobro/electric slide guitar), Al Keith (congas), Augie Howe (harmony vocals), Geoff Goodhue (mandolin) and JT also contributes on Hammond b-3 organ and electric piano. The players are all quite superb and colour the songs with just the right amount of gentle tones and rounded rhythm.
Somewhat surprised by the number of covers on this debut album, five in total. While Howe does each song justice, I have to wonder whether we could have had perhaps another two of her own compositions to limit the impression of relying on a safe and secure cover to fill out the project. She sings and plays acoustic guitar on Honey Bee (Muddy Waters), Bring It On Home To Me (Sam Cooke), Lovin’ In My Baby’s Eyes (Taj Mahal), Too Long at the Fair (Joel Zoss) and Don’t Think Twice, It’s Alright (Bob Dylan) and while they all sound very pleasing in the listening, I would have liked more insight into the writing of Howe. Twilight and Still On My Mind are two songs that use the imagery of nature and the ocean, one looking towards the future and the challenges ahead; the other, a look back to an old flame that still lingers on her mind.
Review by Paul McGee
The Heart Of Heartland I Loved Her First Permian
Back in 2006, Heartland, a band from Huntsville, Alabama released a debut album, I Loved Her First. The title song went to the top of the Billboard Country music charts and a big future looked on the cards for this 6-piece group.
Sadly, their career never took off and failure to land any hits with their next 5 singles, together with a change of record label, signalled a death knell for the original band. By 2012, the only members left were Jason Albert and Chuck Crawford. In that same year they released a new single on Permian Records, a label they had joined in 2009 but since that time there has been no real media news about the band.
So, it was something of a surprise to receive this 2019 release, again on Permian Records, with two of the ten tracks featured having first appeared on the original and only studio album that the band released. Thirteen years later there is still involvement from Albert and Crawford, both of whom perform on the new record and there is also mention of another original member, Keith West, as playing a part. Unfortunately, there is no other information to assist regarding who plays on these new songs and whether the band are planning to support the release with a tour.
Featuring guest appearances from Tracy Lawrence and Samantha Crawford, this release was co-produced by Walt Aldridge (who produced the original album) and James Stroud (who produced the 2012 single, The Sound a Dream Makes), both of whom continue their involvement with the band.
The tracks are rooted in traditional country values and are very radio-friendly in sound. Solid country songs performed with a sincerity and a belief that small town families still take pride in an honest day’s work. Songs like Thank God For The Hard Times, My Daddy Did and Judge A Man By The Woman all display the beliefs of the American heartland.
There are love songs too, with Let Go, I Know Enough To Know and Sideways looking at different sides to relationships. Angel deals with drug addiction and is written by Crawford, while Slow Down is a look back to younger days and being a new parent juxtaposed with the challenges faced with a daughter, now a teenager. Final track, When Love Comes Around, is a duet with Albert and Samantha Crawford singing sweetly about a special love and not letting go.
Review by Paul McGee