Jim White Misfit’s Jubilee Loose
Confession time first. I’ve been captivated by Jim White’s music since I came upon his first album WRONG-EYED JESUS back in 1997. There was something hugely original and challenging about that album which defied categorisation. His subsequent six albums, prior to the arrival of MISFIT’S JUBILEE, have cemented his reputation as one of the most gifted and idiosyncratic writers and live performers of his generation.
White’s latest album gathers together songs, written across a career spanning over two decades, none of which featured on his previously recorded output. Some were deemed unsuitable by record labels and others simply rested on a shelf waiting for rediscovery and refashioning.
White recorded the album in Antwerp, Belgium, ably assisted by local players Geert Hellings and Nicolas Rombouts alongside his long-time drummer, the New York based Marlon Patton.
White’s tales have always signalled a deep concern for the frailties of mankind and often feature the luckless and nonconformist, albeit sympathetically. Those tales invariably explore the dark undertones of America’s Southern states and its characters. The writing on this album comprises more abstract and personal sentiments than the character examinations that made up the majority of his previous recordings.
The punchy Monkey In A Silo details the plight of a druggie dope pusher (‘I'm a monkey in a silo, I'm a junkie in a shadow, I'm a flunky running errands…. I’m buzzing like a beehive, I'm a monkey in a silo’). Insurgent and doomed lovers on the run the from the law feature on Highway Of Lost Hats. With police sirens wailing in the background, you know it’s not going to be a happy ending for the desperate couple
In many ways this may be White’s most accessible recording. He goes full on straight rock on the subjective Where Would I Be (‘Would I be an old man saying my prayers, or a nun dreaming of some football players?’). Smart Ass Reply thrives on post punk energy and the grungy Fighting My Ghosts Again wouldn’t have sounded out of place on any Nirvana album. However, it’s not all brimstone and fire. The slightly less raucous Sum Of What We’ve Been and The Mystery Of You are compassionate gems, unhurried and patient.
A raconteur of endless talent, White has always possessed a knack for morphing musical tones and textures alongside his distinctive vocal deliveries. He manages that fluently in MISFIT’S JUBILEE, which is unquestionably his most upbeat recording. An essential purchase for lovers of Jim White and the ideal starting point for those yet to sample his work.
Review by Declan Culliton
Stephanie Lambring Autonomy Self Release
With a publishing deal secured in Music City, co-writes with Caroline Spence and Andrew Combs as well as several songs featured in the tv series Nashville, you could be forgiven for thinking that Stephanie Lambring’s career was going perfectly to plan. However, she eventually became disillusioned by what she had considered to be her calling and the prospect of writing music from a handbook rather than from her heart.
She picked up work waitressing, did some travelling and gradually her passion for writing music on her own terms returned. With the encouragement of Nashville producer Teddy Morgan, Lambring took up the challenge to recommence writing and those songs are reflected on AUTONOMY.
The time spent away from Music Row also gave Lambring the opportunity to delve into emotional and unresolved personal issues. Childhood insecurities, bad relationship choices, sunken and unfulfilled dreams and religious contradictions all presented her with the ammunition to put her thoughts and inner feelings to words and music.
The solid rocker Daddy’s Disappointment grapples with the self-inflicted pressure to continually feel the need to please one’s parents, even as an adult and having left the nest. She drops down a few gears with the gentle ballad Pretty. The song revives her childhood and the hurt she suffered in silence due to name calling by other children.
The album continues to navigate its way across a range of emotions. The unchristian views of the church, very much a part of her childhood, are addressed. The members of its congregation that hide behind their religious veil while leading anything like charitable lives was the spark for Joy Of Jesus. It’s a stunning song and the album’s deepest cut, featuring Lambring’s voice, acoustic guitar and little else. A similar theme surfaces on Save Me Tonight. Little White Lie tells of relationships poorly chosen and doomed for failure from day one.
Lambring’s vocals are both achingly sad, bordering on tearful yet truly uplifting, perfectly conveying the messages in her songs. She tackles vulnerability, sadness but also optimism, on an album that could have been perceived as overly self-indulgent. On the contrary it confronts issues that are common to many with sympathy, truthfulness and elegance.
Review by Declan Culliton
Rachel Brooke The Loneliness In Me Mal
A welcome return to the recording studio in Traverse City, Michigan by honeyed vocalist Rachel Brooke has gifted us THE LONELINESS IN ME, her first solo album since A KILLER’S DREAM, which landed in 2012.
On offer here are twelve songs that present traditional country with a rockabilly twist, but also with a gothic edge. This is music for dimly lit rooms rather than neon lit honky tonks, probably best played when the children are tucked up in bed. Brooke hails from rural Michigan and grew up playing bluegrass with her father as a young child. The album is dedicated to her father, Barry Van Guilder, who passed away in recent years. She has never abandoned that love of old timey, but her time spent as a teenager in an all girl punk band has channeled her music down an off centre and more thought-provoking path.
The material on THE LONELINESS IN ME was written or co-written by Brooks and her husband Brooks Robbins, who is an accomplished musician and songwriter in his own right. She delivers her vocals in a natural and heavily accented drawl and lets you know who is wearing the trousers in the opener It Ain’t Over ‘Til You’re Crying (‘You ain’t the last boy in line, you get to pay for ancient history, that’s what you get for loving me’). Love lost, abandoned or unwinnable consistently raises its head on the album and particularly on Ghost Of You and Undecided Love.
The title track goes down a semi-rockabilly road, with an up-tempo rhythm that disguises lyrics that express self-doubt and anxiety, sentiments that can be found if you scratch beneath the surface on a number of the songs. It Won’t Be Long captures the phrasing of Hank Williams alongside accompanying musicians who operate at the highest level throughout the recording. Those players include pedal steel player Dave Feeny (Loretta Lynn, Blanche, Josh Ritter), guitarists Michael Cullen and Nick Carnes, TJ Rankin on bass, Louis Osborn on keys and drummer Aaron Graham.
Brooke set out her stall with her excellent self-titled debut album, released in 2008. She has managed once more with this new album to construct another intriguing country album that strays from the conventional without ever abandoning first principles. In cinematic terms think 'Twin Peaks' rather than 'Coal Miner’s Daughter' and you’re in the right ball park.
Review by Declan Culliton
Kelley Swindall You Can Call Me Darlin’ If You Want Velvet Elk
Breakup albums are dropping hot and heavy into the Lonesome Highway inbox this year. The subject matter has been the motivator for some memorable albums in the past and continues to energise writers, particularly in the Americana and Country genres. Kelley Swindall’s path to recording her debut studio album is not an unfamiliar one. Following her dream, she relocated from Atlanta to New York, seeking fame and fortune in an acting career. A failed relationship followed, leaving her broken hearted and angry, a treacherous combination. By way of dealing with her plight, she picked up a guitar and started writing a few songs in retribution. The songs kept coming, inspired by both the break up and wider issues, including her new found freedom.
Though broadly categorised as a country album, it is much more than that. Blending her southern upbringing, NYC acquired sassiness and acting ability, she has created an impressive bunch of songs. She puts her cards firmly on the table from the onset. I Ain’t For You, You Ain’t For Me opens the album with Swindall spitting fire. The song is raucous and aims for the jugular, (‘You see the fears you laid on me, they took their toll subconsciously… it’s finally causing me to see, I ain’t for you and honey you ain’t for me’)
She slips back a few gears with Dear Savannah which reflects on a short-term affair, walked away from with some regret. Refuse To Be Blue is a stylish Tammy Wynette sounding delight. The Thelma & Louise themed California - check out the You Tube video - tells of a blaring and doomed ridden road trip. It’s brassy and fun with language Swindall didn’t stumble upon when singing in the choir at her church as a youngster.
She goes all traditional country with the semi-spoken title track. It’s a powerful and resilient statement from a defiant and independent soul. It also turns the tables on the country prototype 'ramblin’ man', replacing it with an equally ‘devil may care’ female. The ballad Refuse To Be Blue takes on a matching motive, with a nod in the direction of Patsy Cline both in its lyrics and vocal expression.
In a similar vein to Caitlin Cannon’s The TrashCannon Album, Swindall has got even with hardship and has come out fighting with this quality package. It’s a great listen and also a further reminder of the quality of country music coming out of NYC.
Review by Declan Culliton
My Darling Clementine Country Darkness Vol.3 Fretstone
The third and final EP recording of selected Elvis Costello songs by My Darling Clementine finds the husband and wife duo revisiting another four songs from Costello’s vast war chest. These songs and the previous eight taken from COUNTRY DARKESS Vols.1 and 2 will be released as a full album in November.
As was the case with those earlier recordings, the combination of Michael Weston King's and Lou Dalgleish’s sweet sounding vocals and cracking keyboard playing from Costello’s keyboard collaborator and Rock and Roll Hall of Fame member, Steve Nieve, complement each other perfectly. The selection of songs for the three EP’s has been intriguing and once more the four tracks featured in this recording are not altogether obvious choices.
The Crooked Line is the first single released from the EP. It featured on SECRET, PROFANE & SUGARCANE, recorded by Costello in 2009 and is described by him as ‘A song looking for constancy. The only song I’ve ever written that is without irony.’ The album it’s taken from did not feature Steve Nieve, but he certainly plays his part on the pumped-up reworking of the song with some vintage Attractions -like keyboard. It reverses the trend engaged by My Darling Clementine on the previous EP’s of often toning down Costello’s originals. It also works spectacularly well, benefitting from the infused energy.
A more obvious selection is Indoor Fireworks, plucked from KING OF AMERICA (1986). It’s a quite stunning song and perfectly suited to the duet format. With shared verses from Lou and Michael, in the company of nimble piano work from Nieve, it delivers the album's standout moments. I’ll Wear It Proudly is also taken from the same album and this version does not stray too far from the original.
The wild card on the EP is Why Can’t A Man Stand Alone?, which appeared on a limited-edition EP live album titled Costello & Nieve, recorded in Los Angeles, San Francisco, Boston and New York. My Darling Clementine give it a rich Countrypolitan makeover, which recalls the production touch of Burt Bacharach more so than Billy Sherell. It’s a powerful inclusion, revealing their ability to reach out far beyond their beloved country comfort zone.
COUNTRY DARKNESS VOL.3 is the final chapter in what has been a charming and compelling project by My Darling Clementine. The three EP’s offer lovers of quality country music, together with Elvis Costello enthusiasts, an absorbing listen and one that, hopefully, we will get the opportunity to witness as a live performance when every day normality returns.
Review by Declan Culliton
My Politic Short Sighted People In Power: A Home Recording Self Release
Time was when the protest singer had a place in society, a real voice and a chance to influence and change the social mores of the day. Who can deny the footprint left in the 60’s by the likes of Pete Seeger, Joan Baez, Bob Dylan, Buffy Sainte-Marie, et al.
Today the message is carried by artists like Ani di Franco and Steve Earle but it often gets diluted and lost in our fractured, frenzied lives, our urban silos, suburban gated communities and blinkered, time-poor routines. There has been nothing that brings a powerful message that equates to the 60’s in the USA and the anti-war, civil and human rights movements.
Until now, that is; the friction caused by the present political governance in the USA and the heavy-handed actions of their administration and policing constraints has led to protest marches in the streets and the Black Lives Matter movement is a welcome voice with the citizens throughout America standing up to be counted.
Kaston Guffey is ‘as mad as hell and he’s not going to take it anymore’ (to quote Howard Beale (Peter Finch) in Network, 1974); an angry young man not holding back in his views on this 7-song, acoustic project, created during lockdown in Nashville. Always a very perceptive songwriter, he excels here on these songs of injustice, prejudice, hatred, bigotry and hypocrisy. He is to be applauded for standing up at a time when so many of his peers are reluctant to air personal views, in fear of self-sabotage and damage to their careers.
His targets are corporate greed, Government failings and ineptitude, media muggers like Fox News, the blinkered Republican Party, Global Warming, ingrained racism and police brutality against minority groups and the less privileged in society - all are targets for a man with a guitar and a heart full of hurt.
The use of expletives on certain tracks will not gain him much radio play, but Kaston’s writing is not aimed at commercial chart placings, more the conscience and moral barometer of those who value enlightened commentary and with this goal in mind, he scores a hit every time. Just 23 minutes long, but packed with fine writing and insight, despite these times that lay heavily on all our shoulders.
The title track sets things off with an attack on conglomerates, multinationals, political myopia and obscene greed in amassing vast amounts of material wealth. The Wrong Side looks at the republican party and the perverted drive to ignore everyone and everything that does not sit with their particular skewed vision of how things should be. Fantasies of a Fox News Viewer is a focus on blind bigotry and the ‘my way or no way’ approach to democracy. Voter Suppression is a defence of minority rights and the need for all parts of society to have their voice heard, ‘Let's kick em off the voter rolls, Let's force these polling places closed, It was so much easier with the fire hose.’
The anger and incredulity expressed on All American Way is really the glue that pulls this whole project together with Kaston firing literate bullets against the establishment and all the activities that bring harassment and violence down upon the Black communities in America. The white man, meanwhile, literally gets away with murder. The Experts Told Us hits out at a regime that sat on its hands while the Covid-19 virus gained a tight grip on the American people. So many needlessly lost to the arrogance of policy makers who thought they knew better. The final track, Talkin' RNC Blues, is a dream sequence of nightmare proportions that sees Kaston attending the Republican National Convention and meeting many individuals that are scarier than the ghosts that walk in the imagination. The assembled cast will not all be instantly recognisable to those outside of the USA but there are enough villains to understand the lines ‘ So for the sake of the country vote this election day, By mail, absentee or the old fashioned way, If you have to go out make sure you've got a mask, Let’s all come together and take out the trash.’
Kaston is one of the best new songwriters to emerge from the Nashville scene in recent years and with his long-time musical buddy, Nick Pankey, both co-writer and excellent guitarist, they make a compelling team and are deserving of greater media attention for their combined talents. Kaston Guffey is both clever and insightful with his wordplay and this project is meant to be listened to as a complete work, a time capsule of these times, that will stand as a statement for future perspective to judge. Woody Guthrie would be proud. An essential purchase.
Review by Paul McGee
Maple Run Band Self-Titled Back Pasture
This debut album is a very welcome surprise and the results of listening over repeated plays bring plenty of positive rewards. Kicking off the twelve songs is You’re Gonna Make Me Cry Again with some great guitar twang and a fun look at cheating partners, ‘Before I met you, last time I cried, Was the day that Johnny Cash died, You’re gonna make me cry again.’ The Queen Of Labrador City tells of a former mining town bar where the popular proprietor looks after the locals who are down on their luck and out of work. There is a nice name check for Gord Downie of Tragically Hip, who died in 2017.
Catch You Down the Line is a quirky Country flavoured swing with clever wordplay and Keep On Truckin’ is a happy go lucky jaunt about moving down the highway and forgetting about your doubts and fears. Monday Morning is a simple love song and the easy playing of the band shines through with the vocal harmonies of Trevor Crist (guitar) and Nicole Valcour (drums) very much to the fore.
The guitar sound is bright and inventive across the tracks and the catchy melodies and vocals make for a very enjoyable listen. This is Country music right down the line and the lap steel guitar of David Kamm is prominent on many of the songs. The album was produced by Trevor Crist and recorded at The Carriage Barn, Sterling, Vermont in the USA.
Last Of the West Kansas Cowboys is a tribute to the father of Trevor Crist and his life of a rancher. It’s a slow, reflective song and fittingly stands as one of the album highlights to a man who died of Alzheimer’s disease last year. ‘Now the years and the days are slipping away, But a cowboy never tells you when he hurts.’
Borderline is a rockier arrangement that drives along on a great rhythm and jangling guitars. Ma Bell is a long-distance love song with a slow tempo and cello paired with vocals that lament a difficult state of keeping communication channels open. Independence Day is a bank robbery song featuring Pretty Boy Floyd and an up-tempo arrangement that borders on rockabilly.
Bill Mullins plays lead guitar in the band and with John Spencer on bass guitar the line-up displays a tightness that is clearly borne of many hours practice and playing live together. All Songs are written by Trevor Crist, apart from the one cover - Engine Engine #9, a Roger Miller song that first appeared in 1965 and a fine Country rendition they deliver, with great dual harmonies.
Lost Bird has beautiful cello played by Nelson Caldwell which wraps around a slow melody and understated guitar lines. You’ve Got a Warrant Out (Out On My Affection) closes the album with another slow burn and the ensemble playing is quietly restrained against a song about being a loner and leaving a lover behind.
It’s a really strong debut album from a band that will continue to impress no matter what the current odds. Watch this space.
Review by Paul McGee
Joselyn & Don Soar Paintbrush
Joselyn Wilkinson and Don Barrozo comprise this duo, both as musicians and life partners, with their debut album setting down a strong marker for the future. Opening with the track, Storm, and the message, ’where do we go now that the storm has reached our shores,’ seems tailor made for these difficult times of Covid-19 virus, even if it was originally written in the wake of the L.A. bushfires. The following song, All It Takes Is Time, is equally appropriate in calling for love to blossom and flow like a river between us all. Title track Soar is about taking second chances and moving forward in life. Positive messages to support the waning spirit in days of challenge.
Trouble is a cool bluesy shuffle that warns you to steer clear of the obvious dangers and Broken is a statement about growing older and wiser; ‘Just let me be broken, If you are my friend, Every scar is a souvenir of the places I have been.’ The song Where We Belong is a statement of commitment and union that is sweetly soulful, ‘When the golden sun is setting, And the kids are grown and gone, There’ll be this house where we belong.’
Eliza Schneider contributes violin on both Don’t Wanna Talk About and Wayfarer’s Son, a story song right out of the traditional Folk songbook. Janna Matteoli also adds her voice to three tracks, Don’t Wanna Talk About, Mama Bird and All It Takes Is Time.
The production on the ten tracks is crystal clear and highlights the beautiful vocal of Joselyn as she displays gentle restraint and powerful delivery across the 35 minutes here. She also tracks backing vocals in addition to playing tenor ukulele, conga drum and keyboards. Don produced the project and contributed on keyboards, guitar, trumpet, accordion, bass and drums/percussion.
Joselyn is the founder of women’s global fusion band, ADAAWE, who released two albums while Don is a multi-instrumentalist, composer and producer who also spends time as film editor for the animated series, “The Simpsons.” The overall feel is that of a contemporary Folk sound with plenty of Roots leanings. A love of nature and keeping life in balance runs through these songs and the listening experience is something that will bring many pleasant moments.
Review by Paul McGee
Market Junction Burning Bridges Self Release
From Houston TX, this band is comprised of Matt Parrish on lead vocals and acoustic guitar; Justin Lofton on background vocals, guitar, mandola, lap steep, and keyboards; Taylor Hilyard on bass; and Michael Blattel on drums. This is their third release since a debut album back in 2012 and the project was produced by a combination of Richard Barrow, Ty Robins, Justin Lofton and Matt Parrish.
All songs are written by Matt Parrish and Justin Lofton and the sound is very much in the Alt. Country genre with some excellent interplay between the four musicians. The ten tracks follow a relationship cycle from young love, through a growing realisation of differences, into disillusionment and a breakdown of communication, finally resulting in leaving. The regrets that ensue, leave an imprint on the rest of life still to come.
It may appear bleak on the surface but it does question our respective roles in abetting tired relationships that have run their course and the costs and benefits of walking away to an uncertain future. What balances the subject matter is the great vocals of Matt Parrish with his clear, honeyed delivery and the dynamic in the song arrangements that always keeps the interest across the 34 minutes.
Opening track, When Your Heart Begins To Break, questions what love actually represents and the push and pull between lustful desire and real meaningful commitment. ‘Love is not a lifeline that pulls you from despair, It is a jury of your peers that sends you to the chair.’ The next track, Out Of Love, looks at the lost spark and a tired relationship, with the lines ‘We never needed the silent treatment, Cause it’s been years since we’ve had anything to say.’
Taking the decision to actually leave is the hardest reality but with I Hope It Breaks Your Heart, the lines ‘I don’t have the courage to speak my mind anymore’ says it all – no respite in their stabbing personal war. Nebraska sees the husband working away and missing his wife with the distance and time to bring some perspective to the relationship. ‘I’d go home, but I don’t know, If a place like that exists anymore.’ The banjo and pedal steel amplify the angst felt by separation.
Now In California, looking at the transitory nature of life, it’s lonely out on your own and the song Western Coast hits the nail on the head, ‘I’ve been trying to outrun the love we had, But I’m all alone on this western coast, Out of gas.’
Hello My Dear looks at a possible reconciliation, even if it’s only imagining, with the thought ‘What if I see just a hint of regret when I look into your eyes.’ The sad realisation that something broken, cannot always be properly repaired surfaces in the song Livin’ A Lie and the lines, ‘Like an orphan in a stranger’s care, This world broke my heart, treated me unfair.’
The final track and the album title, Burning Bridges, brings everything around full circle with the thought that ‘Time will take Our youth And leave our mistakes,’ together with the lessons learned and the need to be true to yourself and move on.
It’s a really superbly crafted album with plenty of great musicianship and Americana sounds to recommend it. Definitely a contender for my favourite releases list in this challenging year.
Review by Paul McGee