Jerry Leger Songs From the Apartment Self Release
This is the ninth release from an artist who declares that it is a lo-fi collection of songs recorded solo at home, most of which had been written, quickly demoed and forgotten about. The performances are relaxed, intimate and refreshingly bare. As Leger says on the song, Hoodoo Brown, “I’m hungry as a hunter, it’s been a few weeks since I’ve had the love.”
Whether it’s the gentle piano melody on You & Louise or Katie Come Back, maybe it’s the simple strum on acoustic guitar of Traveller’s Prayer or Leaving Now - you are given the sense of being allowed an exclusive peek through the keyhole of this particular apartment that sees Leger sprawled on his sofa, quietly creating and winking back at you.
Based in Toronto, Leger has always displayed a very strong and creative work ethic, his impressive output since his 2005 debut also including side projects with The Del Fi's and The Bop Fi's. He also features his regular band, The Situation, on a number of his albums.
His 18-track release in 2017, NONSENSE AND HEARTACHE, brought him increased media exposure into Europe and the invite to play some festivals and shows. Leger released a career retrospective in 2019, TOO BROKE TO DIE, which covered his 2005 beginnings right up to 2019 with a very generous twenty one tracks featured.
So, this is a surprise digital-only album, released on Bandcamp during his days of social isolation, a considered and heartfelt project that will, no doubt, delight his many admirers as well as winning him many more.
Review by Paul McGee
Victor Wainwright and the Train Memphis Loud Ruf
Wainwright was born in Savannah Georgia and has played in a number of bands, including Southern Hospitality and Victor Wainwright & the Wild Roots. This is the second album with his current band and the larger-than-life vocal delivery channel a bluesy masterclass built upon an array of impressive keyboard histrionics that, in places, recall Dr John.
Billy Dean (drums), Terrence Grayson (bass, vocals), Mark Earley (sax’s, clarinet), Doug Woolverton (trumpet and flugelhorn), Pat Harrington (guitar) and producer Dave Gross (guitar and percussion) contribute with great musicianship that helps to round out the sound in impressive style.
Creek Don’t Rise has a breakneck speed and is reminiscent of Bob Seeger, while the blues workout of Recovery calls to mind BB King with some great guitar work from guest, Monster Mike Welch. Recovery brings it all home with a terrific guitar solo from Greg Gumpel and another soulful vocal from Wainwright on top of a slow blues arrangement. The twelve tracks are a heady mix of Memphis soul with larger-than-life backing vocals, an exciting horn section, all delivering a rollercoaster listening experience.
It’s a boogie express that never stops with tracks like Walk the Walk and Memphis Loud building the momentum, until Sing arrives with a vaudeville jazz feel. America does slow everything down for a soulful vocal performance from Wainwright but it is only a temporary respite as the track builds to another crashing crescendo.
Many guest musicians turn in cameo roles on various tracks – There are seven different backing vocalists, Monster Mike Welch on guitar (2 tracks), Greg Gumpel (guitar on 3 tracks), Chris Stephenson (Hammond B3) and Mikey Junior (harmonica). It’s an impressive troupe and the sheer number of vocalists and players result in the huge production sound that rolls right over you – well, just like a runaway train.
Review by Paul McGee
Mike Mattison Afterglow Landslide
An interesting mix of styles on this second album from a musician who grew up in Minneapolis, Minnesota and who can play a wide range of instruments, from the clarinet and tenor saxophone, to the french horn and trombone. He also plays guitar and bass, but is known mainly for his great vocals as a key member of different bands, including blues rock trio Scrapomatic, Derek Trucks Band and blues rock/soul group, the Tedeschi Trucks Band. Derek Trucks himself played with the Allman Brothers for a period as his uncle Butch Trucks was a drummer in the band.
So, Mattison has an extensive grounding in different musical genres and the ten tracks featured have traces of many influences in the arrangements and melodies. His voice is both sweet and strong, especially on the soulful All You Can Is Mean It. The blues is never far away of course and the slow burn of I Was Wrong is very infectious. Also, the easy groove of I Really Miss You recalls the best of soul sounds with organ swells and a great vocal delivery.
Dave York plays guitars, with Frahner Joseph on bass and Tyler Greenwell on drums and percussion. Mattison co-produced the album with Greenwell and there are appearances from Paul Olsen (guitar on four tracks), Rachel Eckroth (keyboards on three tracks) and Kofi Burbridge, who plays organ on two tracks.
Charlie Idaho and On Pontchartrain have a nice Americana feel to the arrangements with the title track veering towards a Country swing and World’s Coming Down sounding like an upgrade on an old R & B standard. Variety is the spice of life and there is plenty here to hold the interest
Review by Paul McGee
Jamie Williams and the Roots Collective Do What You Love Ashwill
This English 5-piece band are based in Essex and play a stylish blend of Americana/Roots music across the twelve tracks that are included here. This is their sixth release and production duties are handled by David Milligan, who also contributes on lead and rhythm guitar, keyboards, plus all brass, string and choir arrangements.
The other band members are Nick Garner on harmonicas and mouth organs with James Bacon taking drums and percussion and joined in the engine room by Jake Milligan on bass. Jamie Williams wrote all the songs and delivers on vocals and guitar, plus there are guest appearances from BJ Cole on pedal steel on the Country sound of Losing Streak, Robbie McIntosh slide guitar on the funky I’m a Stone and Naomi Poole on cello. The album title says it all and the sense that these musicians are indeed doing what they love shines through.
There is a slow bluesy feel to If I Met My Hero and Held You In My Glow and the more rock-oriented sound of Red Hot and Raunchy has a great brass arrangement. Life On the Road is another Country tinged song and the final track, Dreams Can Come True, sees the band really kicking into another gear with great keyboard swells and harmonica lines mixing with the blues groove and brass arrangement.
Throughout, these songs are anchored superbly by Jake Milligan and James Bacon, giving the other players the room and space to express themselves. A very enjoyable listen and if you get the opportunity to hear this band in a live setting, I’m sure you won’t be disappointed.
Review by Paul McGee
Ryan Luce California Gold Self Release
A debut EP from singer songwriter Luce who recorded these four songs at Grand St. Recording in New York City with engineer, Jake Lummus. His band of fellow musicians are DM Salsberg on keyboards and vocals, Matt Sapp on bass, Omer Ashano on violin, Wavery Langston on drums and Ron Raymond on pedal steel.
Luce contributes on guitar and vocals and the four songs clock in at a tidy 15 minutes. Faded Memory is a song about the past and leaving for a new life while the title track features two young dreamers searching for their rainbow in the sunny hills of California.
Secondhand Rose is a road song and dreaming of home, with all the treasures that lie waiting in the love of family. The final track, Loner Tendencies, is a break up song and the strong playing of Ashano and Raymond, on violin and pedal steel respectively, is balanced by the fine vocals and keyboards of Salsberg. Simple tunes, played well and a bright opening statement from an artist who will hopefully go on to greater heights.
Review by Paul McGee
Johanna Warren Chaotic Good Wax Nine
Ten tracks that echo with a 60’s folk/psychedelia influence, with imaginative imagery in the lyrics, inventive sound structures in the melodies and rhythms that inhabit the arrangements. The otherness of Rose Potion has an elegant poise that is quickly replaced by the driving beats of Part Of It and a sense of confession and release in the compelling groove. There are haunting keyboard sounds layered in the mix and a gripping sense of mystery in the overall sound.
Only The Truth slows everything down and reflects on the belief that one has to experience something in order to believe it – the lyric “The wound in me picked out the knife in you” intrigues and the song suggests that hurt is not the case when it comes to recognising the loving spark within each of us – it’s a wonderful swirling arrangement that is reminiscent of Tori Amos in its structure. A special song by any definition of artistic expression.
Bed Of Nails is another sonic sequence of lush melody that tracks a sense of hidden emotion over a relationship. Twisted has an acoustic guitar intro that builds with a passioned vocal into something resembling a catharsis.
Warren has said that her phoenix moment appeared on this project - that her earlier records were just building a funeral pyre. That sense of release is strongly evident in her conviction to listen to her creative muse; clearly evident on every track here. Warren self-produced the project over a period of years, in between touring and recording other albums in her body of work that has created four previous works. There is no information on the players who grace this project, except a brief mention in the press release for former band mates Chris St. Hilaire and Jim Bertini (from Sticklips) and as Warren is a multi-instrumentalist, I can only assume that she supplied all of the other ‘found sounds’ and instrumentation.
Hole In The Wall is a gentle respite from all the self-analysis and angst as she moves beyond a relationship that seems to reflect a Mother/Daughter bond. The abusive theme of Faking Amnesia is unsettling with its apparent focus on submissive indoctrination while the nursery rhyme delivery of Every Death has an eerie quality in the delivery.
Literate, obscure and ethereal are all equally relevant impressions across this work of great ambition and powerful attraction. Music should challenge and break out of stereotypes. Folk-Adelia for a new age? This release is worthy of your time and attention.
Review by Paul McGee
The Danberrys Shine Self Release
Ben DeBerry and Dorothy Daniel grew up in the Nashville area and were childhood sweethearts before parting during their college years, as life pulled them in different directions. Happily, they reunited some years later and eventually married. In 2011 they released a debut 4-track EP and followed that with their self-titled full album in 2013.
Their original folk, bluegrass, old-time country sound began to develop by the 2016 album, GIVE AND RECIEVE, leading to this new release, which certainly highlights a very rounded, mature set of songs. The distinct vocals of Daniel take centre stage and her delivery on the twelve tracks is faultless. DeBerry provides fine harmonies, and their dynamic is clearly evident on the final song, Rain, which deals with dwelling on the positive and keeping the ever-present dark thoughts down.
Indeed, this is a theme that runs through the album with a message of positivity and not letting the hard times sway you from the righteous path. There is a message of hope and spirituality in these songs and the gospel tinged arrangement on The Mountain (Darrell Scott on guest vocal), looks to a higher power and believing in a bright tomorrow. The soulful shuffle of the arrangement hints at a Bonnie Raitt influence, with a Little Feat groove.
The project was co-produced by Brian Brinkerhoff and Marco Giovino (Band of Joy, Patty Griffin, Buddy Miller), who also plays drums, percussion and vibes. He is joined by Neal Pawley (Southside Johnny & the Asbury Jukes) on guitars, trombone, tuba, background vocals and Duke Levine (Mary Chapin Carpenter, Robbie Fulks, Lucy Kaplansky) who contributes on guitars and mandolin. This A-team is anchored by the superb Marty Ballou on upright and electric bass while the keyboard sound is handled by Tom West, with John Deaderick on pump organ
Adding the talents of Ben DeBerry on guitars and vocals, plus Dorothy Daniel on lead vocals and tambourine results in a heady mix of diverse music and coloured by backing vocals from Amanda Broadway, Vanessa McGowan and Sam Margolis. There is also mention of ‘additional recordings’ by Doug Lancio (Patty Griffin, John Hiatt) and Mikie Martel, two more musicians who add even more to the overall feel and production. With so many heavy hitters turning up, you would expect the bar to be raised quite high and the Danberrys certainly prove to be equal to the challenge.
The title track is a swampy blues number with a message to look for the light and banish the darkness. The guitar sound is vibrant, as it is on the similar blues stomp of The Road. Maddie’s Ghost is reminiscent of a Dire Straits sound and a look back at the past in its ability to stay with us. Holding the Bag and Undertow are songs that look at deception and lies, feelings of being let down, but the life affirming mantra on The River Is Wide to keep on going and never give up, shines through more strongly. This positive stance is mirrored on Love Conquers War which asks us to choose love over hate and Francis is a song that deals with helping each other and not feeling lost and alone.
A very accomplished and confident offering with plenty to appeal to lovers of that rich Americana/Roots sound.
Review by Paul McGee
Maya Rae Can You See Me? Black Hen
Cross Nelly Furtado with Norah Jones and you get some indication of the sweetly soulful voice that colours the eleven songs here. Maya Rae is still in her teens but that is never evident on this assured performance. When you put her natural vocal gifts in a room of seasoned musicians in Nashville, at the Henhouse Studio, only good things can arise. Add in the magic dust of Steve Dawson, producer, song arranger in-chief, adding his talents on various guitars across all the tracks, well, you are bound to be impressed.
Factor in the impressive vocal talents of Birds of Chicago duo, Allison Russell and JT Nero, plus Kai Welch (keyboards/trumpet), Jamie Dick (drums), John Estes (bass) and a number of invited guests on certain tracks - Charlie McCoy (vibes on 2 songs), Sam Howard (bass, guitar, vocals across 4 songs), Kristin Weber (violin on 3 songs) and Larissa Maestro (cello on 2 songs) - an impressive team reporting for creative input.
As one of Canada’s most sought-after producers, session musicians and guitarists, Steve Dawson spends much of his time helping other songwriters and musicians bring their creative visions to life. Here, he accepted a chance to work with this talented fellow Canadian who co-wrote all eleven tracks with her brother. The songs are all from a personal perspective and for a young girl growing into adulthood Maya Rae writes with an impressive maturity.
The album was recorded in less than a week and the entire project was captured live in the studio - off the floor, as popular saying goes! Rae’s tone and range are very skilled and slow, sensitive tracks like Picture Frame and Storm Leaf, with atmospheric trumpet, leave no doubt about her ability to cross genres in her performance. Other stand out tracks include Lonely Ones, a sweetly soulful arrangement, and Freedom Fighter a smouldering blues. Overall, this is a very strong statement from an emerging artist that we will be hearing more from in the years ahead.
Review by Paul McGee
Annie Gallup Bookish Self Release
An artist who trawls in the hidden places and spaces where the nymph of song-writing hides, searching for buried treasure and opening her mind to the possibilities of what may emerge from the journey.
Born in Ann Arbor, Michigan, from where she graduated with an art degree, Gallup currently lives in Santa Barbara, California, with her husband and fellow artist/song-writer Peter Gallway. Over the years together, their output has been prodigious with their Hat Check Girl project spawning seven albums, while each has pursued solo releases; Gallway clocking up an impressive total of fifteen, to the eleven that Gallup has completed to date. This is another to add to the list and it’s almost as if they are playing catch up with each other.
This album is a collection of personal memories, story songs and musings on everything from the Sputnik launch in 1957 (Sputnik) to World War Two tales (The Roads Were Deserted), interspersed with the inner emotions and retrospection of childhood. Here is a wordsmith who takes time to hone her creations into the exact shape that she envisages, never a word wasted as she shapes the song structures to evoke a sense of time past and interspersed with faded dreams.
Gallup namechecks Angelo Ippolito on the song East 10th Street, an American painter best known for his central role in inaugurating the downtown art scene of post war New York. The sense of artistic freedom and creative endeavour is captured in the words and performance, “And so the artists gathered at the Cedar Tavern, Debating aesthetics over beers, Drew the city’s art epicentre downtown, Where it remained for the next 50 years.”
Her words have a rhythm and flow like a well-crafted poem. Often, the feeling is one of lonely reminiscence and wistful longing for an elusive feeling, now passed. On another song, California, where certainty and direction have been lost, she contemplates “Back here, it’s so quiet, silence is a thing you could break, With a hammer or a whimper.” Other songs like The Trouble With the Truth and Annie Proulx are insights into relationships where the sense of disappointment and disconnection are palpable
There are personal recollections of her parents and their strictness and stoic demeanour; in the song, Fellow Traveller, Gallup states “Mother was a mystery so I lived like a detective, Looking for clues, for the motive, the weapon.” Equally, when reminiscing about her father, she muses “Still, ever since I was a kid, I had to believe he was capable of loving me, Because he loves poetry.” Heart-breaking insights into a rigid and controlled youth where children were to be seen and not heard. Pseudonym tackles the issue of hidden truths and family constraints to keep from cheap public display.
With just voice and guitar, these songs are very much like sitting in a small parlour, early evening, watching the day turning into twilight as the intimacy of the invite to share in these fascinating vignettes is revealed. Always compelling and unconventional, Annie Gallup is unique in her creative vision and delivers yet another fine example of superbly framed songcraft.
Review by Paul McGee