James Elkington Ever-Roving Eye Paradise of Bachelors
This is the second solo release from an artist who has been greatly admired over the years for his technical expertise as a studio musician and a gun for hire to any number of famous names who know about his reputation.
Elkington was born in England but his career in music only started to gain momentum with a move to Chicago. There, he began to study guitar and to play in local bands, before gaining a foothold as a session player around the city. He has played with a very impressive list of people, from Richard Thompson to Tortoise, Jeff Tweedy to Michael Chapman, Steve Gunn to Eleventh Dream Day. He co-produced an album last year for Joan Shelley (Like The River Loves The Sea) to great critical acclaim and this added further momentum to his body of work, that had taken a new turn in 2017, when Elkington released his debut solo album.
This new album is a heady mix of Folk and Jazz rhythms, seamlessly merged together into a really impressive whole. Starting out with Nowhere Time and the sweet sound of a new-age acoustic guitar, similar to something that a John Abercrombie might fashion, before the calm is interrupted by an addictive beat and rhythmic drumming, complimented by superb guitar breaks and repeating motifs. The Jazz tempo and instinctive riffing is really terrific and the layered vocals build into a real tour de force as a statement for the rest of this solo release.
Second track, Sleeping Me Awake, has a more pastoral sound that is reminiscent of the old Folk days of the 1960’s and is immediately followed by a deep groove on Leopards Lay Down, a dreamlike melody with superb double bass and woodwinds that conjures up early John Martyn.
The studio musicians include Nick Macri on bass, Spencer Tweedy on drums, Paul Von Mertens on woodwinds, Macie Stewart on violin, Lia Kohl on cello and Tamara Lindeman on vocals. The dextrous playing throughout is a pure joy and the almost psychedelic sound on some of the tracks really paints a sweeping vista of rich summer days spent dreaming in the meadows of the countryside.
Instrumental track, Rendusham’s Way, displays all you need to know about this superb player when it comes to guitar technique; it is a stand-out track among pretty stiff competition. Late Jim’s Lament, a nod and a wink at his timekeeping, builds to a compelling climax of pulsing double-base and frantic guitar, slicing through the beat, while the final track, Much Master, blends pedal steel and woodwind instruments together in an unlikely combination that works superbly well.
The entire project is delivered with a confidence and panache that is quite inspiring and I have no doubt that this wonderful album will feature in many highlights of the year lists as 2020 continues to unfold.
Review by Paul McGee
John Dennis Mortal Flames Rainfeather
The imagined dawn of creation is beautifully captured in the lyrics and the gentle acoustic playing on the opening track, First Light - a statement that frames the circle of birth, death and rebirth – captured in the lines “And with each page, Countless flames reach the day of their fading, Their reprise in closed infant eyes, Parents patiently waiting.”
An impressive start to what is an album of real depth and displaying a talent that impresses at every turn. Eleven songs, over 55 minutes and produced by Bryan Clark at three separate studios in Nashville. Augmented by a coterie of musicians that bring great nuance and touch to these songs, all of which form a cycle that represents a personal journey through experiences that have given both darkness and light in the search for greater meaning.
The second track, Board Game Money, dispels all sense of the sweet opening sounds and channels a very satisfying James McMurtry groove in talking of just getting by and dreaming of having enough to, one day, enjoy the material attractions that life can dangle. There is a slow and soulful band rhythm to Fools Golden Boy and a look at the fragile pains of growing up and dealing with the pain of the past, pointing at parental lack of care with the lines; “Mama says, “Where You Been?”, But Mama, where were you?”
The imagery and legend of Guinevere is spread across two tracks with an initial wish for imagined, perfect love being replaced by the sense of seeing real love for the first time, by looking beyond the innocence of dreams; “But I’m grateful to now understand, That nobody’s perfect, And everyone’s guilty, Of doing the best that they can.” Amen brother!
Orpheus brings up the difficulty and pain in letting go of a sad memory and the death of a girlfriend some years ago. There is an understandable passion in the vocal and band dynamic, which at its height echoes the frustration in dreams turned sour and the reality of carrying a flame for the past.
However, there is a turn towards the light at the start of the second song cycle, introduced by the acoustic calm of Another Door and the hope of new beginnings. The pedal steel of multi-instrumentalist and producer Bryan Clark is very integral to the feel of the track, together with some superb backing vocals from one of the three female voices featured across these songs. The quality of harmony singing is top drawer and without individual credits, I was very impressed by Kynadi Echols, Tyra Thompson, Emily Perino, whenever they were given parts in the song arrangements. All shine brightly throughout, together with the male contributions of Bren Joy and Jason Erie on selected tracks.
Stand-out song for me is the superb Good Good Love that looks at the joy of attraction from both sides of a relationship that’s about to take flight. It hints at speaking of true feelings and not letting unrequited love be the dominant force that holds back on experiencing the real thing. The duet vocal with Alannah Zitka is just a perfect example of two voices complimenting each other in a sweet balance of hidden fears and true emotion.
The Innocents is a slow band groove around the scars of childhood and a hope to stay strong by being together – “Can we learn how to trust, When we’ve never been shown it?” The title track deals with the trade-off between free will and fate, the mystery of this life and the impermanence of living – perhaps the secret lies in just enjoying every given day? Final track, Oh Beloved, brings everything back to the source and speaks of letting go in order to embrace a new chance to grow from the pain of losing someone dear.
This third album from the head and heart of John Dennis speaks to me of an old soul in a young body and is something that will stand the test of time. A work that will endure and one which speaks loudly of a talent that deserves greater exposure and recognition. A very impressive release.
Review by Paul McGee
Brooks Williams Work My Claim Self Release
A singer-songwriter that has released more than 20 albums across a 30-year career span deserves to be given the highest of accolades when acknowledging contemporary Folk/Roots artists. Williams was born in Statesboro, Georgia and learned his craft in the bars and coffee houses of Boston, alongside many other wannabees on the Folk circuit in the late 70’s. His debut album appeared in 1990 and over the next ten years he followed it with a regular output of recordings that proved his prolific talents as a songwriter of some depth and a very accomplished acoustic guitar player.
This release marks his 30th anniversary in a business that is famous for its high attrition rate and the roads are scattered with the bones of many performers who went before and after, in search of a modicum of fame and perhaps, a living.
The twelve songs featured here are taken from eight of his releases, LUCKY STAR (2018), winning out with three tracks included. There is also a cover of a Duke Ellington song, I Got It Bad (and that ain’t good), that seems gratuitous, given the huge amount of material he has to choose from his self-penned back catalogue.
The early period of his career, 1990 – 1998 is represented by only four songs and although Williams states that he has chosen his favourite songs, one has to wonder if a poll taken from his fan-base might have resulted in a more even spread of this talented troubadour across his back catalogue.
Williams displays a healthy interest in different genres as he comfortably skips between Folk, Blues and Roots based songs, with an array of talented guests joining him to reinterpret these songs and present fresh arrangements. The fiddle playing of both Aaron Catlow and John McCusker is very prevalent on the opening four songs, Inland Sailor, King Of California, Frank Delandry and Seven Sisters. The blues then kick in for a few songs, with You Don’t Know My Mind and Here Comes the Blues highlighting the playing of Jim Henry (mandolin) and Phil Richardson (piano). There is a light swing to Whatever It Takes and Georgia and the gentle vocals of Christine Collister feature.
The final two tracks, Jump That Train and My Turn Now, are acoustic blues with just Brooks on acoustic guitar and vocals, joined again by Collister, in what is a fine example of his bottleneck slide and finger picking techniques.
Listening to his body of work, there are many excellent albums, including live, compilation and tribute projects, which have all added to what stands as a very successful career.
Review by Paul McGee
Jaime Wyatt Neon Cross New West
Not many artists can have been dogged with misfortune more than Jaime Wyatt. Some of the distractions were self afflicted, others not so. A career that promised so much from an early age was side tracked when two record deals fell through while she was still in her teens. Some unfortunate life choices followed, together with substance abuse issues, leaving her in the doldrums and steamrolling downhill, another artist with potential unrealised.
In the true spirit of many of country music’s most celebrated artists who struggled with addiction and incarceration issues, she has used these experiences to inspire her writing. Her 2017 recording FELONY BLUES was peppered with memories stimulated by fellow inmates during her incarceration at Wasco State Prison - or Stone Hotel as she branded the institution on the album. The recording also provided a glimpse of the unquestionable talent that Wyatt possesses. If that album was an indicator of Wyatt finding her feet, NEON CROSS simply knocks it out of the park.
Shooter Jennings is hot property as a producer currently, particularly for female artists. Both Brandi Carlisle and Tanya Tucker have benefitted from his input which earned them both Grammy Awards in recent years. A long-time friend of Wyatt’s, he witnessed her at her lowest and understood the issues she was coming to terms with, including coming out as a gay woman. That empathy, together with his expertise at the controls, earned him the production duties. He places Wyatt’s vocals perfectly in the mix, often using first and second takes where her voice cracked slightly, capturing the mood to perfection. He also gathered a powerful team of players alongside him. Neal Casal, to whom the album is dedicated, features on guitar, harmonica and Wurlitzer, in one of his last studio performances before his tragic passing. Shooter’s regular bass player Ted Russell Kamp also performs, alongside John Schreffler Jr. on pedal steel and Jamie Douglas on drums. The icing on the cake is a cameo by Jessi Colter, who also lends a hand, sharing vocals on the autobiographical I’m Just A Woman.
However, the real winner on the album is Wyatt’s song writing and her ability to vocalise her tales with phrasing, intensity and passion. That emotion hits you straight on from the first track Sweet Mess. It mourns an impending relationship collapse and opens with a piano intro by Wyatt. Every word is meticulously enunciated as she accepts the inevitable. “I’ll guess that just like all the rest, I’ll be forgotten.”
“Oh, poor me, Oh, poor me, You don’t love me, why don’t you nail me to a neon cross?” she probes on the title track. It’s delivered with a driving drum lead rhythm, echoed vocals and instantly catchy melody. Wyatt’s vocals border on tearful on Hurt So Bad. It positively aches as she looks over her shoulder at vices that pull at her and the strains of leaving them behind. “Them swingin’ doors they cut right through me and I gave my money to the man” she cries alongside some aching pedal steel. Jennings adds vocals on the chorus, placed in the mix as if he’s observing from afar. This is country heartache from the real world rather than from a shared song writing session.
The album could justifiably have been titled Livin’, one of the songs that is featured. It’s one of eleven tracks on the album and each navigates its way across a variety of emotions. Staring in the mirror and examining her inner self, Wyatt is opening up wounds not yet fully healed with painful honesty. She’s also banishing demons and dealing with issues that have possibly been festering and needed closure. In this vein, By Your Side reflects on the passing of her father and a close friend from a drug overdose, and her inability to deal with either at the time.
Despite the enormous potential that Wyatt projected as a young artist, it’s improbable that she could have recorded material as powerful as this without the suffering and regret that she’s since endured. However, much of that disorder has been followed by a reawakening and rebirth, both of which shine through on the album.
My profile picture says, “thirty-three and still ain’t grown” she reminds herself on the rocking Make Something Outta’ Me. Age should not be an impediment; Lucinda Williams was a dozen years older when she released CAR WHEELS ON A GRAVEL ROAD and people eventually stood up and took notice. Hopefully, Wyatt’s maturity and composure are maintained and she continues to record material of this standard in the future.
Personally, I may hear a better album in 2020, but I seriously doubt it.
Review by Declan Culliton
Josh O’Keefe Bloomin’ Josh O’Keefe Self Release
With a double-edged title to the album that could refer to the blossoming or the splendour of the artist, Josh O’Keefe is a singer songwriter who is ignoring popular trends to concentrate on his own personal musical pilgrimage. U.K. born but presently residing in Nashville, his debut album boldly ignores the ongoing Americana explosion by focusing solely on a traditional folk sound. His musical apprenticeship is impressive and includes sharing stages with household names such as Kris Kristofferson, Ramblin' Jack Elliott, Alison Krauss and Rufus Wainwright. An impressive curriculum vitae indeed, for an artist that had yet to record a full-length album. The learning process also included appearances at Woody Guthrie Folk Festival, Black Deer Festival and Glastonbury, together with endless hours in Nashville’s Lower Broadway bars with a tip jar at his feet.
His sound is unapologetically folk, a throwback to the mid 1960’s. That pre-hippy period found artists such as Bob Dylan, Phil Ochs and Pete Seeger calling the shots. They relied solely on their vocals, battered acoustic guitars, harmonicas and their ability to create meaningful songs with simple language. O’Keefe has used a similar template with this recording.
He has not been in a rush to record the album either, waiting until he had the appropriate ammunition and carefully selecting where he would record and under whose guidance. The ten tracks on offer were recorded live at the legendary Columbia Studio A in Nashville by the late Charlie Brocco. A Grammy winner for his work with Kacy Musgraves, having previously recorded with George Harrison, Patty Griffin, Barenaked Ladies and many more, Brocco sadly passed away two months after working on the album. The final mastering was undertaken by Greg Cali (Bon Iver, The National, Bob Dylan, Bruce Springsteen) at Sterling Sound studios in New Jersey.
The material is forged from both modern and traditional folk roots with subjects such as mortality (The Lonely Highway), lost love (Lucille, Lucille), racism (We’re All The Same) and current politics (Thoughts and Prayers) all highlighted.Sticking to his artistic guns O’Keefe has resisted fleshing out the songs, instead relying on his emotive vocals, acoustic guitar and harmonica. His vocal is two steps ahead of being semi spoken at times, approaching Sam Baker’s vocal style on Lucille, Lucille and early Dylan on When Mother Nature Calls. The tongue in cheek Talkin’ Neighbour From Hell, delivered with full English accent, recalls fellow countryman and folkie Billy Bragg.
It’s an impressive and courageous debut album from an artist that appears to have a career game plan and is executing it with military precision. Josh O’Keefe is a name to keep an eye out for in the coming years.
Review by Declan Culliton
Clara Rose Travelling Soul Self Release
Whether it’s fronting her own band, belting out the blues as a member of Ladies in The Blues at Glastonbury, curating an event to celebrate International Women’s Day, or toning her Sean Nós vocals, Clara Rose seldom sits still. The high spirited and multi-talented artist - she can also boast a Masters in Music Therapy - has taken a slight detour from her core sound with this five track EP. Her last album THE OFFERING, released in 2018, showcased her extraordinary vocals on a collection of songs that covered her core blues style, with some jazz and folk on the side.
On this occasion she travels down a somewhat more traditional and folky route on the five tracks, four of which are original compositions. The remaining inclusion is an arrangement of the traditional cowboy ballad Red River Valley. The material came to life following time spent on Achill Island in Co. Mayo and the project is very much a family affair. She collaborated with her mother Elizabeth Monahan - no stranger to sharing stages with Clara Rose - on the recording. Her father Alan Monahan also makes an appearance, adding banjo to the title track. The opening track The Pattern, lands dead centre between folk and trad, with Clara Rose taking the lead vocal before merging into a duet with Elizabeth mid-song. They both harmonise on the timeless title track which follows. Cathy Mc Evoy’s haunting violin connects divinely with the vocals on Your Pirate Queen, which is set to theme of the Irish trad song Óró Sé Do Bheatha Abhaile. The up-tempo Man-O-War offers vocals, acoustic guitar and violin delivered like a full force gale. The previously referenced Red River Valley closes the album in fine style, mother and daughter voices and strummed guitar more than enough to do the song justice.
Whereas her previous albums particularly focused on her muscular vocals, the emphasis here is directed towards melody and harmony, on songs that embrace both the best elements of folk and traditional music. Clara Rose may be more accustomed to delivering high octane blues than melancholy folk but TRAVELLING SOUL is evidence that she’s every bit as comfortable with either challenge.
Review by Declan Culliton
Devil Doll Lover & A Fighter Self Release
The title is a pretty accurate depiction of Devil Doll, or Colleen Duffy as she is know to those close to her. The “Fighter” aspect is described in the blog on her website where she writes about being faced what would seem like unsurmountable health issues, but has managed to come out with a strong and positive attitude in the wake of that. The “Lover” is evident by her love and commitment to making and recording this new album. It is varied and vibrant blend of torch song, rockabilly, blues, countrypolitan and harder-edged classic rock. All genres that have their roots in earlier times but are here given a sense of engagement that is very much of and for a contemporary audience.
Contributors include sometime The Who bassist Jon Button, Gabe Witcher from the Punch Brothers and Charlie Overbey, who duets on Ballad Of The Rearview Mirror. The title track is a guitar-riffing, uptempo driving song (in both senses) that takes few prisoners. Duffy has noted that another of the songs here, namely Steeltown Heart, was written as a tribute to heroes Hank Williams Snr and Patsy Cline. It features prominent steel guitar with a vocal performance that is top notch and highlights again her range and versatility. Her writing is also a reflection of the twin aspects of the title and serves notice of a storytelling songwriter of some dexterity. There is heartbreak, seduction and some spiritual searching - the latter as heard in the understated Mother Mary. There are two covers alongside the eleven originals - a cover of Conway Twitty’s It’s Only Make Believe and a striking big sounding version of Lynyrd Skynyrd’s Simple Man. Although it is not noted in the press release I am assuming that Duffy was also heavily involved in the production of the album.
The direction that Duffy has chosen, while not unique in itself, is a summation of its many parts, maybe described best as a high-end rock ’n’ roll cabaret that touches on different emotions and energies to make the experience a rewarding listen on several different levels. With a playing time of an hour it is a release that will see listeners finding immediate favourites but further listening reveals other songs to savour in the long term in the company of this devilish doll.
Review by Stephen Rapid
Darlin’ Brando Also, Too … Self Release
A mini-album of 8 tracks from Darlin’ Brando which is a project of Brandon Goldstein who works with a number of Nashville-based artists as a drummer. Goldstein is no newcomer to the game and has performed in various guises and roles through the years. On this new release he performs with his wife Edith Freni on backing vocals and on a duet on the opening track When You Don’t Fight. There is a good sense of melody and structure in this self-composed and produced material. These Old Demons looks back at an earlier self and how messed up he might have been then and how that relates to current relationships. Adam Kurtz adds some soothing pedal steel alongside Storm Rhode IV’s twang inspired guitar riffs. These players are part of the Streise Bar Band and they feature on 6 tracks. The remaining 2 are played with multi-instrumentalist Ryan Payton. Weeds and Flowers, one of those two songs, has a different sound more of a harmony duo than on the other tracks. The second Payton backed song The Old Man And The Kid is an acoustic based story song about a journey to Las Vegas that turned out to be eventful and not quite the money making venture that was planned for. Crumbling Marriages is a honky tonk inspired tale of two people who are looking at the break-ups of their friend’s marriages. They find ways to make theirs work in the surrounding mayhem. Last Call is a barroom shout out for the end of a rowdy night and Year One is again helped by Freni’s additional vocal.
All of which goes to show that Goldstein can adapt his vocal style to suit particular songs. His role in the production and mixing mean that what you hear on this outing is pretty much what he aimed for at that time. As a musician working with other projects who is also trying to forge a solo career it is undoubtably not an easy ride but the fact that he reached his target when crowdfunding this release which can only bode well for the future. Personally I was drawn more towards the band selections but the balance overall works and shows that Goldstein has the ability and vision to take this further on a full album release the next time out.
Review by Stephen Rapid
Charlie Sutton Primitive Songs For Modern Times Junkerdash
“Country-fried folkabilly” is Charlie Sutton’s apt description of his eclectic mix of country-blues, folk, primitive guitar and rockabilly which he brings to us on his first solo recording. He has already put out two albums with Curtis Sutton and the Scavengers, and has been playing around his native Boise, Idaho for a few years, having previously lived in several parts of the US.
Across the 16 tracks, we are taken on a crazy ride through the world according to Charlie, with subjects ranging from the personal to tales of jail break outs, escapades of rats and hounds, story songs, love songs and farming tales. All are delivered with an upbeat infectious enthusiasm, topped with a large dollop of humanity. Charlie writes all the songs and is a multi-instrumentalist, playing guitars, banjo, harmonica, bass and percussion.
He favours a resonator guitar sound with lots of harmonica, percussion and a curious collection of homemade sound effects. Someone New recounts the breakdown of his marriage and the effects of post-divorce arrangements on his child. In Penitentiary we hear from a child’s viewpoint the tale of his father’s imprisonment, the edgy harmonica embues the song with a mournful atmosphere, eventually turning to menace. The harmonica is used to similar effect in Radioactive Hound, convincingly evoking the howls and then the shrieks of said canine. Against the odds, you just might find yourself feeling affection for the rodent who tells his tale in The Old Wharf Rat, or empathising with Charlie when he admits that he is decidedly not a Modern Man. Elsewhere he can surprise with a switch to gentle jazz ballads, simply recorded with acoustic guitar and fiddle, as in Had A Dream and Windy. Incinerator is a standout closing song, just Charlie’s vocals and electric guitar.
Signed to the recently formed Junkerdash Records, home of a small roster of likeminded artists, the album is co-produced by label founder and HillFolk Noir’s Travis Ward. Recorded in Charlie’s home studio, the Shred Shed, Travis also contributes some keyboards and backing vocals. His partner Alison Ward adds washboard to several tracks, while another notable contributor is Adam Straubinger whose fiddle playing is striking throughout.
Review by Eilís Boland