Thunder and Rain Passing In The Night Self Release
Hailing from the foothills of the Rocky Mountains, Thunder And Rain are a four-piece band most closely fitting the bluegrass genre but also more than capable of delivering impressive old-time country and catchy mainstream songs. PASSING IN THE NIGHT is their third release and features the most impressive vocals of Erinn Peel Lukes, alongside her bandmates Dylan McCarthy on mandolin, Ian Haegele on bass and Allen Cooke on dobro. McCarthy and Haegele also add harmony vocals, complementing Peel Lukes' fine lead deliveries.
The majority of the song writing is credited to Peel Lukes, who was a New Folk finalist at the Kerrville Folk Festival in 2018. It’s possibly unfair to the other members of the band to describe the album as somewhat of a solo venture by her, given the quality of the playing. However, when considering the theme running through much of the material, it’s not difficult to form that opinion. The impressive musicianship by times disguises some hard-hitting lyrics, suggesting relationship difficulties at the time of writing. Notwithstanding the albums suggestive title, tracks such as the classic old school country Walk Right Through The Door Of My Heart and the full-on jangly album highlight Two Ships, both point in the direction of unrequited love.
The album features twelve tracks in total, blending full on bluegrass on the previously noted Two Ships and Run With You. Get It Together offers a catchy flamenco style introduction before merging into a toe tapping delight. Falling Down A Rabbit Hole, a fusion of modern country and pop, leans in the direction of Alison Krauss and Union Station.
In a somewhat overcrowded market in the bluegrass genre, it is particularly difficult to stand out from the crowd but the all acoustic sound of this band is well worth investigation. If you are a casual bluegrass listener, you could do a lot worse than check out this recording. Thunder and Rain are on tour in the UK in May of this year on a fifteen-date tour across the country. On the basis of this impressive album, I expect that they would be equally dynamic in the live setting.
Review by Declan Culliton
Shane Alexander A Life Like Ours Continental Song City
Shane Alexander’s career includes recording and touring, TV and film credits, alongside production duties for other artists at Buddhaland Studios, which is located at his home in Ventura Country, California. A LIFE LIKE OURS follows his 2016 recording BLISS. It’s his seventh studio album and has contributions from a host of L.A. players including Ted Russell Kamp (Shooter Jennings) on bass, Jesse Siebenberg (Lucas Nelson, Lady Gaga) on lap steel, Carl Byron (Jim Lauderdale) on piano and Austin Beede (Grateful Shred) on drums.
A practicing Buddhist, Alexander had initially intended to populate the album in total with material fuelled by the current political environment in America, but on reflection he decided to focus on more positivity rather than totally on despair. The album’s themes include family, a childhood memory, relationships and a large measure of hopefulness. However, it does have its hard-hitting inclusions. I’ll Be Here was written in the aftermath of the Los Vegas mass shooting and Lost Road reflects on family and friends left behind to deal with the suicide of a loved one. A cover of Nights In White Satin is, in the main, true to the original version, with the exception of a mid-song excursion into Ennio Morricone territory. Both Fault Line and the title track are reflective and slow burning folk songs before Alexander closes the album with the optimistic Evermore.
A LIFE LIKE OURS offers the listener an impressive group of songs which navigates a path across the writers’ inner thoughts and emotions. Well worth a listen.
Review by Declan Culliton
Kacy & Clayton Carrying On New West
There is a delightful simplicity and innocence to the recordings of Saskatchewan cousins Kacy Anderson and Clayton Linthicum, as if they are blissfully unaware of musical trends and fashions of current times. Not inclined towards experimentation, their albums follow a tried and trusted path, forged from traditional and modern folk roots and focussing on simple, honest to God stories, about everyday people and events. It’s the time-honoured method of writing lasting folk and country songs. It’s also in complete contradiction to the all too common approach to song writing, locking five people in a room for hours until they concoct a bunch of often bland and predictable lyrics.
Anderson’s sweet high-pitched vocals and Linthicum’s finger picking guitar playing have delivered an undisputable consistency and excellence throughout their back catalogue. This latest release is probably their most impressive collection of songs to date. As advanced by the title, the album follows on from THE SIRENS SONGS (2017). It’s similar in style, and unlike their earlier work it also includes bass and drums, this time around provided by Andy Beisel and Mike Silverman. Even with a fuller sound, Anderson’s vocal and Linthicum’s guitar style remain up front, no doubt encouraged by Jeff Tweedy, who produced both CARRYING ON and its predecessor. It was recorded live at The Loft in Chicago, having been written while they toured extensively during 2018.
Self-confessed old folk and country music nerds from a young age, the cousins engrossed themselves in The Carter Family, Hank Snow, Bob Wills and Doc Watson as teenagers. Exposure to U.K artists Fairport Convention, Shirley Collins and Anne Briggs came a few years later. The late 60’s U.K. folk sound rings true on The Forty Ninth Parallel, complete with Richard Thompson style guitar break from Linthicum. The title track, which includes backing vocals by Linthicum, is a reminder of our impermanency (“Life don’t cost nothing, but your sweet time, and you know you'd be spending it anyway. So, hold every minute like it's your last dime.”) Similar themes of impending death appear on the dark anti-murder ballad Spare Me Over One More Year and In A Time Of Doubt, which tells of a defiant escape from a cruel relationship. Mom and Dad’s Waltz #2 speaks of an unwanted child, and a semi deserted wife who, unable to cope, passes the child from grandparent to grandparent. Linthicum takes lead vocal on the catchy High Holiday, a tale of a travelling musician and its inherent woes. The Sweet Orchestra Sound closes the album on an upbeat note, recalling joyous local musical gatherings and name checking local players Bob McGlynn, Bud Romanski and Lonnie Harden.
When Lonesome Highway last spoke with Anderson, she pointed out their plan going forward was ‘to keep making an album every couple of years, tour to support it and repeat that cycle as many times as possible.’ They have achieved that goal with this delightful spiced up country folk album and are currently on a tour of Europe, the USA and Canada that runs up to the end of May 2020.
Review by Declan Culliton
David Quinn Wanderin’ Fool Self Release
I’m admittedly a little late to the party with this album, which was released early last year. An inclusion on the most recent Bloodshot Records Compilation TOO LATE TO PRAY/DEFIANT CHICAGO ROOTS set me scurrying off to check out David Quinn, whose track Long Time Gone was one of a number of gems on the Bloodshot collection.
Quinn initially cut his teeth as a drummer in a number of local Chicago bands, prior to writing his own material while touring as a session player with various bands. A failed marriage set Quinn off on a self-inflicted nomadic journey, travelling from Colorado south to Texas and back west to California. The experience fuelled material both reflecting his travels (Grassy Trails, Where The Buffalo Roam, Wanderin’ Fool) and the breakup (Cryin’ Shame, We Both Know). Motivation aside, what he delivers is a no-frills crossover of raw old school country and cosmic rockabilly. The album does draw comparisons with two albums from 2018 by two equally under the radar country rockers, Pat Reedy & The Longtime Goners (THAT’S ALL THERE IS AND THERE AIN’T NO MORE) and Cliff Westfall (BABY YOU WIN).
Quinn presented the material to Andrija Tokic at Bomb Shelter Studios in Nashville, who gathered together some crack players to put their mark on the album. Dave Roe (Johnny Cash’s bassist), Jimmy Lester (drummer for Billy Joe Shaver) and Micah Hulscher (keyboardist for Margo Price) all feature. It’s not the longest album, weighing in at only twenty-six minutes, but the quality rings through and it is a taster for an artist well worth following.
The good news is that Quinn has booked studio time in Nashville in the coming months and lined up another band of local players to record his follow up album, which hopefully will land in the summer. Most definitely one to watch out for after this fine introduction.
Review by Declan Culliton
Emma Hill Magnesium Dreams Self Release
This is the seventh studio release from Anchorage Alaska resident Emma Hill and her musical partner and co-producer Bryan Daste. Collectively the duo are yet another alliance that fits the Americana groove like a glove. Hill plays acoustic guitar and also has lead vocalist and song writing credits. Daste chips in on a wide range of instruments including pedal steel, banjo, guitars, percussion and glockenspiel.
Like many artists, Hill used the Kickstarter platform for funding and she presents an elegantly packaged album with a lyric booklet and striking artwork that immediately catches the eye. Graphics aside, it’s fair to say that the musical content is equally impressive with songs that are channelled down a traditional country folk direction like Stardust, crosses over to the jazzier sound on What Time and offers offbeat pop on the title track. The jewel in the crown is the closing track Give Up The Ghost. A lively and dramatic up-tempo song, it’s transported to an altogether higher level by the introduction of viola, violin and cello courtesy of Kyleen King and Emily Dalsfoist. It’s a fitting end to an engaging and moody listen that holds the listeners attention from start to finish.
Review by Declan Culliton
Tony McLoughlin True Native Fuego
Released in November 2019, TRUE NATIVE is the seventh studio album recorded by singer songwriter Tony McLoughlin. It was recorded at Gaf Studios in Co. Tipperary Ireland and was produced by legendary Irish guitarist Philip Donnelly, who sadly passed away on 28th November 2019. Philip played guitars and percussions on the album, with Tony McLoughlin’s contributions including vocals, guitars, Hammond organ and harmonica.
The album provides the listener with nine solid songs, including a version of Butch Hancock’s If You Were A Butterfly. The guitar driven Blood On Blood is the opening track and a benchmark for what follows, with McLoughlin’s weather worn vocal sitting comfortably alongside some killer guitar work. Here Comes The Wind has a rocky ZZ Top feel to it and Below Zero is the standout track on the collection, a crunching guitar lead rocker that recalls Tom Petty. The Colour Of Spring and Treeline are simple and very listenable country ballads with backing vocals by Jean Anne Chapman Tarleton. Mercury is stripped to the bone, with semi spoken vocal and acoustic guitar.
All in all, an impressive body of lived in and heartfelt songs that manage to achieve the ideal balance between folk, blues and country.
Review by Declan Culliton
The Brookses Lucky Charm Self Release
On this debut release, father/daughter duo, James and Meg Brooks deliver a sound that includes influences of traditional folk, country and blues. The 12 tracks are divided equitably with James writing six, Meg penning five and one co-write included for good measure. They share vocal duties with Meg’s voice very confident and strong on numbers like Lucky Charm and Black Magic, songs that break out of the comfortable arrangements and offers a bluesy groove with Meg singing above a slow rhythm and an atmospheric guitar sound from James on lead. Candlemaker is a traditional Country arrangement as is Over Again, High Noon and If Tears Were Whiskey. There is a contemporary Folk sound and feel to songs like Evening Star that also repeats with tracks Victrola and Calicoe.
Self-produced by the Brookses, who are based in Atlanta, they play both as a duo and with a full band on the local circuit. Joined by Scott DePoy (fiddle), Emily Backus (banjo, backing vocals), Chandler Galloway (organ), Robert Henson (bass) and Adam Goodhue (percussion), the playing is easy on the ear and the gentle sway to the songs is never something that leads to repetition.
Skylarking and The Bridge conclude matters and the warm band sound is a lasting memory of what is an enjoyable listening experience.
Review by Paul McGee
Coyote Brother Self-Titled Self Release
When reviewing John Hardin’s album The Piasa Bird, which was produced by Hayward Williams (an artist with six albums under his own name), I noted that it would be well worth hearing more music from this team. Well here is our opportunity, only this time they are working together as a duo under the name of Coyote Brother. It is every bit as rewarding as that previous album. Although not brothers by relation, they are capturing that sibling harmony sound that reminds a little of the Brother Brothers’ work. The two produced the album together with the rhythm section of Jeremy Moses Curtis on bass and Charlie Koltak on drums, who lay down a solid but unobtrusive bedrock throughout. Brooks Milgate plays piano and B3 and the sound is further enhanced by the gilded pedal steel of the ubiquitous Eric Haywood.
And while these players are prominent throughout, it is the voices and songs of John Hardin and Hayward Williams that are the essence of the album. Nine songs feature of which seven are by Hardin, one by Williams and one is a co-write. That latter song titled A Part Of Me That’s Lonely opens the album. This song sets the tone for what is to follow with their rich, understated vocal presence that has a certain melancholy. It talks of being surrounded by friends and family, of being in the heart of a city but having a sense of loneliness that accompanies one through their life. The lyrics for the album are reproduced on the duo’s website and show a poetic sense that may not be obvious on first listen, but soon reveal the depth of the writing.
While this is an album to listen to in total - the best way in fact to be entranced into the band’s world - there are some songs that have a more immediate impact such as the opening song and also Lucky Ones and Palmetto Wine. The latter is a slow song delivered over an insistent drum beat, some stark guitar and atmospheric pedal steel, with a captivating vocal from the duo,which shows the epitome of their individuality. The lyrics often take a non-linear stance as with London Dry - curios title in that the song talks of a woman with a tender heart and a reckless head but the reference to the title is a little oblique. Alberta Goddamn combines place and time as well as reference to another woman who was “wearing a hat she took off Stackolee.” The end result is an album to savour and a must for anyone who like close harmonies and music to match.
Review by Stephen Rapid
Frank Migliorelli and the Dirt Nappers The Things You Left Behind Rave On
Think a little about Nick Lowe’s output if he’d grown up in America and that will give you a hint of the sound of Frank Migliorelli and the Dirt Nappers. A little rock ’n’ roll, power pop, county and white soul. Frank Migliorelli leads his five piece band through this collection of self-written songs. They are delivered with a spirit and verve that suggests a band having fun with the making of their music. Aside from frontman Migliorelli the band are Tony Tino, Daniel Weiss, Mike Heaphy, Thad Debrock and Tommy Diehl. These guys add bass, keyboards, steel guitar, guitars and drums behind Migliorelli’s lead vocal and guitars. Nothing here is something you won’t have heard before but that’s not really the point. This is a band recording original songs that come from a myriad of sources and influences but combine them in a cohesive and enjoyable overall sound.
There are stand-out songs in Vagabond Shoes, the power pop of I Wanna Know or the sense of confusion surrounding a break-up (She’s Not Coming Home). There’s the retro sound of The Key To Your Heart a soul-tinged song about being unable to be with a girlfriend. Only Here is an anti-gun song, it comes in two versions an explicit and a radio friendly one. The harder version nails the NRA and the politicians under their patronage. Every Bartender In This Town Knows My Name is another highlight which stands out for a number of reasons, the main one it is the nearest to a traditional country song on the album and the steel guitar is to the fore. It’s catchy and twang-laden and shows that a full album flowing this particular path would be welcome (for this writer at the very least). That song is ostensibly the final song on the album proper and rounds out what is an enjoyable and varied set of songs. The second version of Only Here is listed as a and eleventh bonus track.
Frank Migliorelli and the Dirt Nappers album shows thought and thoroughness in equal measure and the band’s solid and satisfying self-production brings out the best in these songs. The members have a solid track record outside this band yet this seems like a unit that plays together because it wants to. The vocals from Migliorelli and his band and guests Sherry Marshall and Eleanor Kleiner all further enhance that. The lyrics manage to cover a number of different bases but the balance overall sit together perfectly and showcase a band that has across the board appeal on a number of levels.
Review by Stephen Rapid