Leaf Rapids Citizen Alien Coax
Keri and Devin Latimer were founding members of alt-country band, Nathan, based in Winnipeg, Manitoba. They released four records and in 2015 this husband and wife team decided to form Leaf Rapids. This is their second release and these songs are beautifully conceived and brought to life with tender loving care. They look to a past where life was supposedly simpler but in reality, was so much harder. It is a tribute to fortitude and the strength to endure whatever life throws at you.
Whether it is unwanted teenage pregnancy, Dear Sister, or the quiet desperation of motherhood, captured in the track, Virginia, this key-hole look into the past lives of hardship and hope is beautifully observed. Barbershop Shears is based on a true story of an immigrant picture-bride from Japan who delivers a punishment to a lumberjack client in a barber shop in Victoria, Canada. Husavik honours the immigrants who came from distant lands only to suffer death and disease at the hands of a smallpox epidemic.
On it goes with gentle tributes such as Helen’s Waltz, for Devin Latimer’s mother who died last year – which includes Oscar Latimer, aged four, constructing a song and Helen Latimer reciting her own poem, poignant and touching.
Parliament Gardens and a salute to the heroes of WW1 who suffered terribly from PTSD long before it was ever diagnosed or recognised. Caragana Switch looks at child punishment at the hands of parents who knew no different and the scars that remain from such abuse.
The title song, Citizen Alien, recounts the horror of Japanese immigrants being declared illegal aliens by the Canadian Government during 1942 and the Second World War. Evicted from their farms, homes and land in an act of unbelievable cruelty. Forced to survive through hard labour until 1949 when they were granted freedom of movement, these Japanese were never given back what was taken from them. These are the stories of everyman, passed down from immigrant generations who displayed incredible dignity and force of spirit in the fight to endure in a cold World.
Co-produced with acclaimed Winnipeg multi-instrumentalist and composer Rusty Matyas (Imaginary Cities, The Sheepdogs), Keri Latimer realises a singular vision by delving into her family past and the stories that were passed down across generations. Husband, Devin Latimer carried out a similar research and together they have created and documented a project of incredible artistic merit and depth.
Twenty Stories High doesn’t seem to fit into the overall theme and appears to be a song about demon hangovers, slightly unwound individuals and those who try to keep a focus on normality. Equally, There They Go seems to be a song about subjective observation of another’s life and getting it probably very wrong. Self-righteous isolation.
The studio players are Keri Latimer (acoustic guitar, theremin, lead vocal), Devin Latimer (bass), Joanna Miller (drums), Rusty Matyas (keyboards, trumpet), with various guests on selected tracks, notably Bill Western on pedal steel and Michael Johnson on piano. Ground breaking and joyful, the past serves up lessons for the present.
Review by Paul McGee
Great American Trainwreck Self-Titled Self Release
This debut release was recorded at Bear Creek Studios, Washington and is self-produced by a band who are based in Seattle, USA. The twelve tracks included here are just shy of 44 minutes and their sound is very much in the Americana stable. There are elements of Bluegrass, Country and Roots Rock and the players are Stephanie Ward (vocals, acoustic & electric guitars), Chuck Dunklin (electric tenor guitar, mandolin), Andy Basinger (keyboards), Dan Rogers (electric/upright Bass), Dave Bush (drums). The album features guest appearances by Danny Barnes (Banjo), Dave Harmonson (Pedal Steel), and Judd Wasserman (Vocals).
Hell On the Rise and Louisiana are strong openers and see the band driving forward with a rocking sound. Gears is classic Country with banjo to the fore and Moving Mountains falls into both camps with a slow rhythm and tone. Devil Woman shows off the vocal prowess of Stephanie as she takes the main part in filling out the sound, warm keyboards surrounding the delivery.
Undercover slots nicely into a Bluegrass field with both Boxcar Pass and Friend Like You energetic numbers with great ensemble playing, again displaying Bluegrass influence and leanings. Highland Drive has a slower tempo but some sweetly delivered melody lines and the last two tracks, Relativity and Heavy Weights show both sides of the band, the former is a full-on, up-tempo workout and the latter, a slower groove around the vocal of Ward and a soaring chorus line. Engaging and a fine debut.
Review by Paul McGee
Kyshona Listen Fish
This artist lives in Nashville and has been at the forefront of bringing positive messages of hope and reconciliation to the growing number of admirers who are discovering her music. She sings with a passion and her powerful voice has been compared to both Aretha Franklin and Etta James no less. Her medium is Soul, Gospel and RnB music and before she found an outlet for her songs, she graduated as a music therapist, working in mental health hospitals and correctional facilities.
Kyshona sings of healing and empowerment and co-producer on the album, Andrija Tokic, (Alabama Shakes, Hurray For the Riff Raff, St. Paul and the Broken Bones) anchors everything with a creative energy at his famous Nashville Bomb Shelter studios.
The tracks are a melting pot of soulful blues, gospel and plenty of R’n’B in the mix. The ten tracks include messages in support of the marginalised and the title track, Listen, is a strong opening swipe at the authorities who turn a blind eye far too often. Fear is a great band workout with the rhythm section steering a mean groove around the driving guitars and a blues vocal that really delivers.
The sweet Soul sounds (We The People/Fallen People) and slow groove (My Own Grave/Try) arrangements all deliver with great conviction. Worried Mind is pure Gospel Blues with piano and organ laying down a warm texture on top of the rhythm, while Marching On has a R’n’B pulse that is infectious.
I received no information regarding the studio musicians on the project but the playing is tight and full of colour throughout. Kyshona really sings these songs with everything that she has in her vocal range and her spirit shines through. The last song, More In Common, is a slow, soulful blues with a plea to realise that there is support out there for those who feel beaten down in this World.
No doubt we will hear much more from this talented artist who has already shared the stage with acts such as Margo Price, Wynonna Judd, Lake Street Dive, JD McPherson, Cracker and many more.
Review by Paul McGee
Bronwynne Brent Undercover Self Release
A simple yet striking image of Bronwynne Brent adorns the cover of UNDERCOVER, the third album from the Mississippi born singer songwriter. She’s depicted glancing furtively to her left, as if she’s expecting an unwelcomed pursuer to appear. It captures the underlying direction of much of the album’s material, with titles such as Lost In The Moonlight, Empty Pot Of Gold, You’ve Lost Your Way, Big Talker and the title track, suggesting relationships devoid of happy endings.
However downbeat these titles may appear; their delivery is another thing altogether. Brent possesses one of those voices that wraps itself around notes like a blanket and works equally well delivering jazz tinged numbers as it does soul infused country. Comparisons with Amy Winehouse are understandable and those familiar with the equally talented Frazey Ford will notice similarities.
Brent presents thirteen tracks on the album which includes two cover versions, Whatcha Gonna Do When Your Baby Leaves You and Jacques Brel’s If You Go Away. I’m not convinced that she needed to include either as her own material far outweighs them, and sometimes less is more.
She bares her soul on the stripped back Raincoat and fleshes out the mid 60’s sounding (I’m reminded of Lulu’s To Sir With Love) You’ve Lost Your Way with a cool Memphis horn driven sound. The previously referenced Big Talker, given its content, could be downbeat and morose but Brent transforms the subject matter into a beautifully melodic ear pleaser. It stands alongside the title track as the highlights from a delightfully packaged, measured and refined body of work that offers a flawless crossover of folk, soul and countrified blues.
Review by Declan Culliton
Elaine Lennon Self-Titled Little Sailor
Difficult to slot into any definitive musical category, Glaswegian Elaine Lennon’s debut album is most certainly easy on the ear. Gifted with a delicately beautiful voice, her sound embraces light soul, jazz and radio friendly pop, across the eleven tracks on this album.
Next Friday Night, a breezy love song, opens the album complete with Lennon’s impressive layered vocals. Trouble and Little Bird Little Sailor are soul driven gems, the latter an ode to her two young children. Alone Here With Me explores loneliness and isolation and the dramatic This recalls her fellow Scot Annie Lennox. The album includes one cover track, Hank Cochran’s She’s Got You, immortalised by Patsy Cline back in the early 60’s.
Top marks to Elaine and her team for the striking packaging, which includes a lyric booklet and some stunning photography. So many more high-profile artists seem to dismiss the principle of including the lyrics with their albums and settle for bland album covers - a cardinal error in my humble opinion - so thumbs up to Lennon and many of her contemporary emerging artists for reversing this trend. Also noteworthy is the impressive production by Glasgow singer songwriter Finlay Napier, who also contributes guitars and backing vocals in the mix. The Glasgow ‘go to man’ for pedal steel, Iain Sloan also features, as does Euan Burton on bass.
Review by Declan Culliton
Evie Ladin Band Caught On A Wire Self Release
From California comes a superb (and truly Americana) album for the times that are in it. Grown out of her deep roots in country, folk, bluegrass and old time music, Evie Ladin has captured the essence of what folk music is about - she explains that this album ‘explores contradiction ... singing about conflict, to sing it through to resolution’. Those contradictions are aptly illustrated by the cover art - a stark photograph of shredded white diaphanous material caught on strands of black barbed wire.
Kicking off with a country ballad California I Cry, Evie’s gorgeous twangy vocals lament the urban build up and environmental damage to the state that she loves, and now calls home. Renowned for her clawhammer banjo playing, songs like Glory and Gone Again show that instrument at its best. Collaborating on all tracks are the two members of her road band:- Erik Pearson (vocals, guitars, banjo uke) and Keith Terry (vocals, bass, drums and percussion). Recorded mainly using acoustic instrumentation, the interesting and often unusual arrangements are a testament to the fact that all three have spent their lives embedded in music and dance, as performers and educators. Away from the serious stuff, there are also several joyous songs that wouldn’t be out of place at a hoedown or a rock and roll dance party. Of the thirteen tracks here, all but one are originals written by Evie. Late In The Evening slows it right down and guest Sundra Manning is called upon to lay down some piano for a moving portrayal of the heartbreak of the migrant worker - unfortunately all too relevant for many millions of people around the world today.
News Cyclone is another highlight - Keith Terry’s percussion adeptly creates the stormy atmosphere behind Evie’s driving banjo, echoing the constant stream of words which we are bombarded with on an hourly basis by the media. Recommended.
Review by Eilís Boland
Phil Davidson Out Of The Dark Self Release
On the poppier side of Americana - or should that be Australiana? - comes the fourth release from Phil Davidson, who hails from the Blue Mountains in NSW. Phil upped and went to Nashville to record at Eastside Manor studio with his old friend and fellow Australian Sam Hawksley (Sunny Sweeney, The BoDeans) in the producer’s swivel chair.
The songs clearly germinated during Phil’s serious brush with mortality in the recent past. He has thankfully had the all clear from cancer since, but the profound effects have naturally coloured his songwriting. Themes explored are those of gratitude, love for family and friends, his faith and a renewed appreciation of life.
The Nashville influence is obvious almost from the start. Fearless and several other tracks feature the pedal steel playing of Dan Dugmore, who can rightly be called legendary. Producer Sam Hawksley contributes guitars, mandolin and bass, James Farrell plays keys, and Rachel Loy and Jano Rix complete the lineup on bass and drums, respectively. There’s a melodic 80s pop feel to Mavis Staples and Angelique Kidjo, and Mavis is name-checked again in the lovely Fort Worth TX. The latter is written about his friendship with the Texan singer-songwriter Bonnie Bishop, who returned the compliment by adding her much acclaimed country soul vocals to most of the tracks. The standout song for this reviewer is the beautiful slow burner Things I Didn’t Say, a cowrite with Fred Wilhelm and Sam Hawksley. Phil Davidson has a steady following in his native Northern Ireland, where he was a favourite of the late Gerry Anderson and of another broadcasting legend Cherry McIlwaine. I suspect he will be getting even more radio play on the BBC and further afield for this latest project.
Review by Eilís Boland
Ruby Lovett It’s A Hard Life Puff Bunny
A stellar country voice returns with a brand new album that is titled after its opening track It’s A Hard Life, penned by the still prescient Nanci Griffith. It’s a song that takes in the Troubles in Belfast as well as overt racism in America. These examples are used to illustrate the continuing divisions in society and Lovett quotes the lines from the song on the back sleeve “If we poison our children with hatred, then a hard life is all that they’ll know” which serves as a warning for the future (and for the past). That title track, written in 1989, sets the tone for the album, which features a number of Lovett co-writes (several with K.S. Taylor Pie - who also has a song on her own as well as one written with Herb McCullough). Taylor Pie also co-produced the album with Lovett and Mark Miller.
Musically it is acoustic country with an edge. The assembled players include multi-instrumentalist Jeff Plankenhorn, violinist Gene Elders, Dave Pomeroy on bass, Taylor Pie again on several instruments and Russ Pahl. But the focus is Lovett’s vocal dexterity which is laced with a twang that places her undeniably in the country basket. It has a heart and soul that shines through and the musicians simply underscore those sense of values.
A Father’s Life, espouses hard work as an honest way of life, a value passed on to her by her adopted father) that hard work which was a way a life but an honest one and one that from which her adopted father passed his own values to her. Catfish John was written by Allen Reynolds (who Lovett worked with in her early days) and Bob McDill. A song about a former slave who works as a river hobo and the attraction he had as a misfit. It is played in a simple bluegrass fashion. The Blues You And Me is given a treatment that is in line with its title with fiddle a steel that both emphasise the fact that the blues “they come to town every now and then.” Home Sweet Honky Tonk was written by Jim Rushing and Carl Jackson, but like the covers here sits with ease beside the self-written co-writes. It is slow paced, reminiscing on heartbreak and the place where “the same ol’ crowd of losers seek comfort.” Riley Bring Your Fiddle has Lovett singing that she needs “a little music with that old-time sound.” The use of the pedal steel with the acoustic instrumentation again proves effective and noticeable. Straight From The Heart is a love song that is “til death do us part.” They Don’t Know is about a relationship that works though not seen as right by others on the outside. The final song Walkin’ On The Moon, takes on dreams and ambitions and hope for one’s self. It is filled with a spirit and heart that is seen throughout the album. One that is musically strong and full of courage and grit and real emotion. There may be hard times in life but sometimes there is music to sooth the soul too.
Review by Stephen Rapid
Philip Rambow Canadiana Fretsore
Now this is an interesting release. I was a fan of Philip Rambow since his emergence as frontman of the pub rock band The Winkies. A band that were a part of the pre-punk emergence of shorter, faster, edgier bands like Eddie and The Hot Rods and’s set list. Since then Rambow has released a number of solo albums since the demise of The Winkies but returns with a wide-ranging release that makes reference to his birth country and his current musical endeavours. He is a part time member of The Tex Pistols (UK), an occasional band that includes Pete Thomas and Martin Belmont (who also features here on Springtime In My Heart and Piggin’ Out).
The new release opens with the recent singles American Buffalo and Things Are Not Looking Good. The former song features the Elvis Costello rhythm section of Pete Thomas and Davey Faragher as well as UK pedal steel guitarist CJ Hillman and guitarist Paul Cuddeford. Former Basement Jaxx singer Sharlene Hector is backing singer here, though she also appears on a couple of soulful duets on the album too. American Buffalo ponders its loss alongside the soul of the nation in its search for the mighty dollar. Things Are Not Looking Good is a song that is led by the fiddle of Bob Loveday and has the piano of Geraint Watkins adding to the overall feel. The song laments that life doesn’t always go the way it should. These musicians are joined on other tracks by Stephen Gilchrist, Mick Hutton and multi-instrumentalist Jack Henderson along with other contributors. The latter produced Angel Everyday and Devoted to You, playing all the instruments on the first and all expect for the bass on the latter. The main producer for the other material was guitarist Paul Cudderford, who has his own impressive track record. Hector is very much to the fore on Oceans Apart, a verse by verse duet with Rambow, where both vocalists are well suited to the song’s message of separation but closeness.
The sound is pretty wide ranging but all falling under the wider umbrella of Canadiana/Americana. However, it is Rambow’s name over the door and he proves that he is still an impressive vocalist and songwriter who has written all eleven songs on the album, three as co-writes. He also plays acoustic guitar throughout. Rambow is a largely undiscovered talent but one deserving of wider exploration, which may come with an upcoming re-release of his back catalogue. Even without any knowledge of his previous work this album is full of tracks that standout and is both welcome and worldly wise.
Review by Stephen Rapid