Annie Dressner Coffee At the Corner Bar Self Release
This talented artist delivers her third full length album, having first appeared in 2011 when based in her native New York city. Now relocated to Cambridge, England, Dressner calls upon her husband, singer-songwriter Paul Godwin to produce the latest project and a very fine job he does too.
The gentle melodies of these eleven songs wrap around the listener and settle in for a sweet jaunt along quiet roads on a sunny afternoon. There is a great cover version of the Magnetic Fields song, The Book Of Love, and Matthew Caws of Nada Surf is credited with a co-write on Midnight Bus, a highlight with his co-vocal catching the attention. Nyack is a song about childhood memories and first love while Beyond the Leaves speaks of a distant crush on someone that was not available and never to know of the unrequited love. ‘You never really saw my face beyond the leaves, And I just wanted to leave a trace of what you mean to me.’
Secrets,Tell Me Lies is a soft acoustic based arrangement that asks for stark reality to be kept away from the dream ‘Just say when you want to stop from this pretend life.’ Spotlight looks at the price of stardom and media attention and asks ‘What’s it like living life in a bubble.’ Look What You’re Doing To Us is a relationship song that asks the hard questions about a life in freefall ‘Except nothing is worse than when I found her lying there breathless.’ Game up!
The easy build of Out In the Cold is another impressive song that deals with inner strength and bouncing back ‘You can huff, you can puff, but you can’t blow me down.’ Final song, Losing You, has a fine harmony vocal from Polly Paulusma who plays with Dressner in their Pollyanna Band. Paul Goodwin contributes on guitar, piano, organ, synth, bass, harmonium, mandolin, harmonica and various percussion and programming addition – a handy person to call on as your other half!
An artist with many gifts to share and these twelve songs are ample proof that Annie Dressner is heading in the right direction.
Review by Paul McGee
Layla Kaylif Lovers Don’t Meet Canopus
This singer-songwriter first appeared back in 1999 with the release of her debut album. A further release arrived in 2008, but the momentum of a career in music seemed to disappear into other projects, culminating in 2015 with the release of the film, The Letter Writer, for which she won an award for her scriptwriting.
This return to music sees Layla release a 7-song album that runs for 21 minutes and contains lots of positives. The circle is completed by the inclusion of the theme song from her film, The Letter Writer, a song titled Let Me Count the Ways, which was itself adapted from the sonnet “How Do I Love Thee?” composed by Elizabeth Barrett Browning.
There are also nods in the direction of Syrian writer Nizar Qabbanito with the song As I Am and 13th Century poet, Rumi, on the title track and also, 99, a song about reaching out and embracing love. Her vocal is clear and confident in delivery and the assembled band of Nashville musicians are very in tune with the easy melodies that wrap around these songs.
The keyboards of Reed Pitman are always creative within the song arrangements, with the gentle bass of Cornelius Perry and the subtle drumming of Matt Iceman adding plenty of diversity. Guitarist Ben Owens plays with a restrained dynamism throughout and Layla adds guitar, in support of these fine studio musicians, who were assembled by producer Jason Hall.
Don’t You Know Me Yet? and As I Am, are two tracks that ask questions about relationships and whether it’s possible to be vulnerable with a lover and also feel comfortable. The challenges that underpin all communications continue to fuel the fires of loving and trusting. An enjoyable listen.
Review by Paul McGee
Michael Johnathon Legacy Poet Man
This artist is a real tour-de-force with many strings to his impressive array of instruments. Not only a Folk singer-songwriter who came into the industry with the guidance of Pete Seeger; he is also a producer, author and playwright. This is his fifteenth release in a successful career that has spanned four decades and covered a wide range of projects along the way. He also hosts a radio show, the Wood Songs Old-Time Radio Hour, a folk/roots/Americana multi-media program.
This release has ten songs that include four covers – Bob Dylan (Knocking On Heaven’s Door and Like a Rolling Stone); Woody Guthrie (Woody’s Poem) and a fine rendition of the Irving Berlin classic, Blue Skies. The title track is a walk through the music legacy that many greats have created and there are references for Don McLean, Arlo Guthrie, Harry Chapin and The Kingston Trio, among others. Johnathon has said “Legacy is a tribute and celebration of all artists, We are in an odd time in America and a strange time in music. Everyone is struggling to find their audience, and it’s getting harder.” Well, nobody can argue with that sentiment which has been made all the more stark by the Covid-19 virus.
Loyalty is a song about undying love to another and The Twinkle Song is a ditty about escaping the grip of an overpowering presence that brings nothing but negative feelings. Winter Rose and Rain are two songs that focus on acoustic arrangements and messages of reflection and seasons changing, mood pieces that mirror the nature of change. There is a string quartet on Rain that lifts the melody and The Coin is a metaphor for daily living, a song about reflecting back on lives lived and the wealth of knowledge that builds from experience.
Johnathon has a fine voice and he arranged, produced and wrote this entire project. An impressive talent and an album to enjoy.
Review by Paul McGee
Cliff Howard Egos & Heartaches Self Release
This UK artist, originally from London and now living in North Wales, releases a 5-Track EP that follows on from his debut, SPIRITUAL TOWN, which appeared back in 2016. Howard has played in a number of bands over the years before returning to his roots and this acoustic based Americana project is both gentle and understated in the performance and the writing. Howard is an accomplished guitar player and all the songs sit nicely into a quiet groove, from the opening, Maybe It’s Just Me, with some nice pedal steel from Gwyndaf Williams.
It continues in the same vein with Life Ain’t What It Used To Be and more tasty pedal steel, subtle cello from Toumai Rouse, along with the fine vocals of Stacey McNeill. Vintage Red is an instrumental track with lots of excellent playing and a tex-mex twist in the arrangement. Going Home has a sweet melody and the presence of friend and fellow musical collaborator Jonathan Swift (guitar, keyboard) adds a rounded sound to the songs. The final track, Dreams Of You, is another excellent song and overall, this is a worthwhile project that deserves investigation.
Review by Paul McGee
Bonnie Whitmore Last Will And Testament Aviatrix
Even if Bonnie Whitmore is a new name to you, there’s every likelihood that you’ve heard her vocals and bass playing previously. Over the past twenty years or so, she has played with a host of acts including Sunny Sweeney, Jimmie Dale Gilmore, Butch Hancock, Hayes Carll, Eliza Gilkyson and John Moreland. She is James McMurtry’s first call as a support act when he’s planning a tour and she has also held a weekly residency at the legendary Continental Club in Austin, where she currently resides.
Whitmore was steeped in music traditions from an early age. She played and toured in a band with her parents at a young age, alongside her sister Eleanor, who is one half of the husband and wife duo, The Mastersons.
Given the company she has kept over the years, you’d be forgiven for expecting a regular country/roots album from Whitmore. LAST WILL AND TESTAMENT is certainly more than that and genre hops across a number of categories from driving rock (Last Will and Testament, Asked For It), sultry ballads (None Of My Business), classic country (Fine), melodic pop (Time To Shoot), dreamy psychedelics (Imaginary), retro rhythm and blues (Love Worth Remembering) and cool jazz (George’s Lullaby). Serving up such a mixed bag could spell disaster but, on the contrary, Whitmore succeeds with flying colours, primarily due to her ability to use her quite stunning vocals fluently across all the categories.
The songs are divided between personal and topical. She addresses suicide on the title track, which was written following the loss of yet another musician and Asking For It considers rape culture. Fine, a co-write with Jaimee Harris, visits romantic affairs and the closer George’s Lullaby was written in remembrance of her close friend and bass player, recently deceased.
Whitmore released her debut album F##K WITH SAD GIRLS in 2016, making a statement that she shoots from the hip. That attitude is maintained on this album that shifts effortlessly between musical modes and styles.
Review by Declan Culliton
Jarrod Dickenson Under a Texas Sky Self-Release
Texan Jarrod Dickenson is a much-travelled singer songwriter. Raised in Waco, Texas, he moved to Austin at the age of 20 to study at The University of Texas. A relatively late comer to playing music, he only started playing guitar at the age of 18. Over the next few years, the music scene in Austin gave him the opportunity to play local bars and coffee shops, alongside his regular job. It also earned him the skillset to learn on his feet as a performer and writer. He recorded his debut album ASHES ON THE GROUND while living in Austin, before the draw to hit the road and try to carve out a living as a professional musician became irresistible.
He initially headed for the West Coast, self-managing and booking a full schedule of shows, most of which by his own admission, were sparsely attended at best. Despite losing a lot of money and gaining few fans, the experience was an eye opener for Dickenson and rather than breaking his spirit actually motivated him to continue as a touring artist.
Since then and with a different game plan, he’s toured over fifteen countries, lived in New York and Los Angeles and recorded his second album THE LONESOME TRAVELER. His trips to Europe lead to an invitation to perform at a songwriter’s festival in Belfast, where he met his wife to be Claire Ward, who now regularly shares stages with her husband and appears on this album as a member of The Ward Sisters.
UNDER A TEXAS SKY is an album that celebrates some of the finest Texan musicians and is released only months after Dickenson’s last studio recording READY THE HORSES. He selected five artists to honour and chose lesser known songs recorded by them to feature on the mini album.
The songs seldom stray too far from the original versions and represent R&B (Esther Phillips), Rock’n’roll (Roy Orbison), Country (Willie Nelson & Ray Charles), Americana (Doug Sahm) and Singer Songwriter (Guy Clark). Recorded at Spirit Radio in Nashville, Dickenson was joined in the studio by JP Ruggieri on guitars and pedal steel, Stephanie Jean on Wurlitzer, Ted Pecchio on Bass, Josh Hunt on Drums, Michael Bellar on Hammond Organ and Johnny Duke on Cabasa. Backing vocals are provided most impressively by the Ward Sisters.
A country singing child prodigy, Doug Sahm may be the least celebrated artist to be covered, but he was an early pioneer of what is now classified as Americana. He is best remembered for his bands The Sir Douglas Quartet and The Texas Tornados. I’m Glad For Your Sake (But Sorry For Mine) is part blues, part country and part rock and roll. Dickenson and his team give it a similar treatment to the original version from The Sir Douglas Quartet, awash with do wop and soulful, backing vocals. Similarly, Esther Phillips may not be the first name to spring to mind when considering the music of Texas. Try Me, the 1966 single released by the powerhouse rhythm and blues singer, was the most challenging selection for Dickenson. Replicating the dynamic vocals of Phillips is no easy task, but Dickenson, with the support of The Ward Sisters, does the song justice.
Roy Orbison is remembered by a reworking of his 1961 rocking single Uptown. Lone Star living legend Willie Nelson’s representation comes by way of Seven Spanish Angels, his duet with Ray Charles, taken from the latter’s 1984 album FRIENDSHIP. Dickenson takes the lead vocal with The Ward Sisters performing the lines delivered by Charles on the original recording. Not surprisingly the music of Guy Clark is included on the album, he was the first artist selected by Dickenson to include. One of the most talented songwriters from Texas and hugely revered by his peers, Dickenson comes up trumps with his version of the gentle ballad Dublin Blues, a song often included by Dickenson and his wife is his live sets.
The album is sub-titled ‘A Celebration of The Many Stars from the Lone Star State’ and it may possibly be a theme that Dickenson revisits going forward. In the meantime, it’s a memento to five legendary figures in the history of Texan music and a most enjoyable listen as well.
Review by Declan Culliton
Ted Russell Kamp Down In The Den PO Mo
Multi-instrumentalist Ted Russell Kamp’s musical calling over the past twenty-five years has included releasing over a dozen solo albums, guesting on numerous recordings and a key member of Shooter Jennings band the .357’s, both in the studio and on the road.
His solo output has been consistent and often harks back to the classic early 1970’s sounds of bands like Little Feat and Leon Russell. The cover of DOWN IN THE DEN also has that retro look about it, the image of bearded Kemp with thick shoulder length hair is a throwback to an era when the industry was vibrant and artists like Kamp had little difficulty securing record deals.
This album’s title makes reference to his home recording studio The Den in L.A. and Kamp’s stature in the industry is endorsed by the considerable number of guests that joined him on this album. Shooter Jennings, Emily Zuzik, Sarah Gayle Meech, Brian Whelan and Eric Haywood are just a few of the thirty plus artists that lent a hand to the recording. Despite the multitude of players, the album flows freely in a similar style to his 2019 album WALKIN’ SHOES. It also provides the listener with an assortment of southern soul, blues, country and a dusting of Dixieland.
Taking into account those shifting styles, the album never sounds disjointed across the fourteen tracks. Home Sweet Hollywood is a catchy as hell multi layered delight that recalls The Band, with keys, horns and slick guitar breaks combining. Hobo Nickel and Waste A Little Time With Me offer a jazzy New Orleans vibe. The sweeping country ballad Take My Song With You finds him trading vocals with Kirsten Proffit and Sarah Gayle Meech adds harmony on the soulful Word For Word.
Kamp is an artist that seldom attempts to reinvent himself, instead sticking to the template that works for him. He’s done exactly that with DOWN IN THE DEN once more, with flying colours.
Review by Declan Culliton
Sean Burns & Lost Country We Gotta Lotta Truckin’ To Do Stringbreakin’
He may not be in the possession of a Class 1 Driver Licence but Winnipeg country artist Sean Burns can empathise with the many truckers that continue to negotiate the highways in their commercial vehicles for a hard-earned living. Truck driving country, is a musical sub-genre in its own right and has its origins going back to the early 1960’s, when artist such as Red Simpson and Dave Dudley started penning truck driving related songs. The topics covered the full range of trials and tribulations common to the occupation, including CB radio, truck stops, law enforcement, contraband and weather reports. The music was intended to be company for the long-haul truckers but the perspectives contained in many of the recordings were also a reflection on every day struggles.
Burns and his band follow on from their impressive 2018 recording Music For Taverns, Bars and Honky Tonks. Grant Siemens (guitars), Bern Thiessen (bass), Joanna Miller (drums, vocals) form part of the band once more and are joined by Ryan ‘Skinny’ Dyck (pedal steel) and Marc Arnould (keys). The vocals and acoustic guitar are played by Burns and the recording was completed in three days at The High and Lonesome Club in Winnipeg. Burns has also recorded a number of solo albums, the latest IT TAKES LUCK TO GET THE BEST OF ME, arriving only a few months back.
WE GOTTA LOTTA TRUCKIN’ TO DO includes twelve well-chosen signature truckin’ songs and one original written by Burns. High octane tracks such as Six Days On The Road and Freightliner Fever are country flavoured rockabilly, closer to the Bakersfield than Nashville sound. The Jerry Chestnut & Mike Hoyer classic Looking at The World Through a Windshield gets a similar upbeat reworking and the loneliness and isolation of the occupation surface on the Buck Owens/ Red Simpson composition My Baby’s Waiting. The Carroll County Accident, written by Bob Ferguson and recorded by Port Wagoner, though not a trucking song, is a reminder of the perils of the road.
Fiercely devoted to vintage country music, Burns continues to remodel previously recorded songs and also write his own material. In a similar vein to the last album with his band, WE GOTTA LOTTA TRUCKIN’TO DO is no frills, fun filled country music, that impresses from start to finish.
Review by Declan Culliton
Fretland Self-titled Self Release
Hailing from Snohomish in Washington, Fretland are a four-piece indie folk band. Fronted by founding member Hillary Grace Fretland, their debut self-titled album offers eleven tracks that showcase the band’s ability both vocally and musically.
Credited in American Songwriter as a band to watch out for in 2020, they released the debut single Long Haul in November 2019, with a supporting video. A benchmark to their core sound would be The Decemberists or The Lone Bellow, a worthy comparison on the basis of the sound that they capture on the album. Hillary’s vocals are striking and work particularly well when harmonising with the other band members. Those other members are Jake Haber, Luke Francis and Kenny Bates.
There’s a cohesiveness and no end of emotion delivered on the eleven tracks on the album. Tracks such as Friendly Fire, Hands and the previously mentioned Long Haul are rampant and energetic, each possessing a lively back beat. They’re equally at home with more chilled ballads and Garden, the countrified Black & Gold and Heaven all impress.
Kicking in at over fifty minutes the material finds Fretland trying to make sense of the world she currently resides in and also looking over her shoulder at her life journey to date. She and her bandmates have created a cohesive and brooding sound that is both easy on the ear and extremely melodic. It’s also a very much radio friendly sound, which with any luck should propel them to the next level in an increasingly crowded industry
Review by Declan Culliton