Sideline Breaks To The Edge Mountain Home
The latest album from North Carolina’s Sideline is an impressive collection of traditional and progressive bluegrass and it really doesn’t get much better than this.
They have perfected the knack of carefully selecting songs from some of the best songwriters in the genre and then making them their own, with their hard driving style. Established over 20 years ago, the three core founding members are still there - Steve Dilling (banjo), Jason Moore (bass) and Skip Cherryholmes (guitar). On this recording, they are joined by Troy Boone (mandolin), Bailey Coe (guitar), Aaron Ramsey (mandolin) and Daniel Greeson (fiddle). However, as is common with many larger bands these days, the latter four musicians have since moved on to play with other ensembles. The touring band has replaced them from the large pool of enthusiastic younger players that are always ready and eager to learn from the more experienced road warriors.
The album kicks off with one of the highlights, Digging My Own Grave, yet another commentary on the negative effects of coal mining, co-written by the successful partnership of Jon Weisberger and Josh Shilling. Coal mining features again in Return to Windy Mountain, a tribute to the early bluegrass legend, Melvin Goins from W Virginia. Skip Cherryholmes shows his vocal ability in Crash Course in the Blues, their outstanding bluegrass adaptation of a Steve Wariner country hit from1991. There are further covers of both older standards by the likes of the Stanley Brothers, gospel songs from the Isaacs and they close with a fresh banjo-led take on Down in the Willow Gardens. This is a superb collection of story songs demonstrating how Sideline combine the traditional with the progressive and remain a force to be reckoned with.
Review by Eilís Boland
Damien Jurado What’s New, Tomboy? Loose
In a just world, the remuneration of artists would be dictated by both the quantity and quality of their output. That being the case, Damien Jurado would be eligible for early retirement, given the calibre of the nineteen album back catalogue that he has stockpiled over the past twenty-three years.
IN THE SHAPE OF A STORM, released last year, was a solo acoustic delight, featuring only acoustic guitar behind Jurado’s controlled vocals. His latest offering is somewhat more expansive without abandoning the elegance and playfulness of its predecessor.
Jurado’s lyrics - and indeed track titles - often invite the listener to decipher his own interpretations ("I usually have other people tell me what my songs are saying”). On this occasion seven of the song titles reference Christian names, mainly female, as if the songs were inspired by acquaintances, casual or otherwise. There’s gentleness and compassion aplenty, most evidently on both Ochoa and Sandra, two misty ballads that provoke repeated listens. The former is in memory of artist Richard Swift, who collaborated with Jurado but sadly passed away in 2018.
Arthur Aware is vintage Jurado, strained vocals alongside echoed sonics with a delightful one paced rhythm. The End Of The Road compares with the best he’s written. An uncomplicated and melodic pop song, calming and meditative, it recalls mid-career Beatles. Birds Tricked Into The Trees, the first single from the album and an obvious choice, is brief, slick and to the point. Its sound is very much like his former label mate Peter Bruntnell.
You would be hard pressed to choose an album in Jurado’s vast body of work that impresses more than WHAT’S NEW, TOMBOY? Despite the enigmatic album title and question mark, there’s little new about the album. Simply more of the same by a resolute artist at the top of his game.
Review by Declan Culliton
Fierce Flowers Mirador Self Release
Fierce Flowers are an all-female three-piece Old Time Country and Bluegrass band from Paris France. You may be somewhat surprised to encounter this style of music in the capital of France but there has been an underground bluegrass scene in Paris since the 1970’s. Bands such as Transatlantic and Bluegrass Long Distance emerged around that time and even toured in the USA. Bill Munroe’s Bluegrass Boys' legendary banjoist Bill Keith married in France and took nationality there.
Leo Divary, Shushan Kerovpyan and Julia Zech make up the trio and represent Paris, Picardy and German backgrounds. MIRADOR consists of twelve tracks, all composed by them. Half of the songs are delivered in English and the other half in French. As you would expect violin, banjo, guitar and double bass feature alongside harmony vocals. Whereas American old-time folk music is at the core of their sound, they also introduce a Parisian flavour with light touches of jazz.
Review by Declan Culliton
Andrea & Mud Bad News Darlin’ Self Release
Described as “surf-western” (a term first used by Junior Brown); this seems to be on paper just my kind of thing. Sultry vocals, twanging guitars, mariachi-styled horns, interesting story-telling lyrics. In reality it soon proved to be, indeed, my kind of thing. All those elements occur on the first track Lines (which also includes a reference to The Shadows’ hit Apache). From then on, the duo Andrea Colburn and Kyle “Mud” Moseley, have fun on eleven other tracks where they share the vocal lead in a way that fits the classic duet mode of the sweet singing female and baritone male. There’s an element of the soundtrack selections of David Lynch and Quentin Tarantino to the overall sound.
These recordings blend guitar, bass and drums with pedal steel, fiddle, trumpet, saxophone, organ and saw. All useful allies in setting the scene, whether it’s in Birmingham, Al 8.30am after a late-night blues session. Or getting inside the head (and elsewhere) of a less-than-savoury Used Car Salesman. Perhaps the search for love that encompasses Send Your Love My Way with its elements of 60s retro revisiting harmonies and Duane Eddy guitar riffs. Something that is obviously just one element of Moseley’s guitar picking skills, which combine twang with a host of other influences, that the manage to add a fresh coat of paint to these amalgamations of classic Bakersfield country, surf, rock, blues and western themes and sounds. Throughout a riff or vocal will take you to another place and time, while never losing sight of the here and now.
The duo worked with producer Damon Moon to jointly achieve the sound they wanted for this album, their second under their own names (their debut Easy, Sleazy and Greasy came out in 2018). This combination of sounds has an edge to it that makes it somewhat unclassifiable in any single genre. The overall effect is punchy as hell as well as being a pleasing mix of old favourite sources like spaghetti western themes, alongside country and western images that rides off into the sunset with style.
Review by Stephen Rapid
Whitney Rose We Still Go To Rodeos MCG
Album three sees Rose broadening out her sound from her two Raul Malo produced albums on Straight Shooter records, while retaining a sound that is still in the main identifiably country music. It pays a respectful nod to the sounds of the past while also moving forward. This time out she works with Uncle Tupelo, Hole and Pixies (among many others) producer Paul Kolderie. This allows Rose to expand on her vocal versatility and musical direction to include touches of soul, 60’s pop alongside roots, rock and country - Americana may be an easy tag but it is one that fits here. It has been noted that there is a similarity, on occasion, to the work that Carlene Carter recorded in the UK, with then husband Nick Lowe. That comparison is valid to some degree, in that the perspective here is broader than many of her contemporaries, in the same way that Carter’s focus would have been different by recording in the UK rather than in the Nashville of that era. As is the overall allegiance to the broad palette of material that was delivered by Tom Petty and The Heartbreakers.
Rose and Kolderie have gathered together a group of players who bring energy and enterprise to these songs. The satisfyingly solid rhythm section of Lisa Pankratz and Brad Ford compliment the guitar interplay of Gurf Morlix, Rich Brotherton and Dave Leroy Biller - the later appears to be the main guitarist as well as contributing pedal steel. All are experienced and nuanced players who add layers of guitar driven textured throughout. Mention is also merited for the keyboard contributions of Matt Hubbard. The focus here moves more towards a later musical base than the honky-tonk 50s and 60s references of her debut album. The producer, known for his work that leans to the harder rock side of things, brings some of that ebullience to songs like Better Man and In A Rut. The end result is a sound that approximates to that of some of her like-minded associated artists - some of whom would have been affiliated with the Bloodshot label.
Her writing contribution should also be highlighted as Rose has written all 12 of the songs here. Many have the reality of a heartbreak at their core, while the opening Just Circumstance is a summation of the possibilities faced by a pregnant woman who has led a life that “never had a chance. The writing manages to convey this story flawlessly in 3 minutes and 50 seconds. By way of contrast, Home With You is a request to accompany the man in question for some private and seductive moments. Rose is pushing her boundaries on all fronts on the album largely succeeding and an artist who will, no doubt, continue to deliver as much in the future as she has in the past.
Review by Stephen Rapid
Craig Gerdes Tough As Nails Self Release
A road warrior and hard assed outlaw may be the immediate image that is associated with Craig Gerdes. Given the title of this and his last album Smokin’ Drinkin’ & Gamblin’, that may be an easy assumption to make. The title song pretty much displays those people that he has met, who need to be tough as nails to survive whatever is thrown their way. Gerdes also sums up his oeuvre in the song If Guitars Were Guns in which he declares “I am what I am” and that “I play country music … I play rock ’n’ roll” for the most direct of reasons “It makes me feel good.” From then on, the songs tend to underscore that attitude and lifestyle. One that is as much about the people he plays to and those he observes in the process of doing that, as much as it is about himself.
There is much of the story teller about him, even if those stories are largely wrapped in turbo-charged rocking’ country music. The ten tracks all expand on these notions in various ways, with titles like Between The Cradle And The Grave, The Hardway, Only The Road Knows and Highwayman. However, it should be noted that under that seemingly tough exterior lies a more tender side, as expressed in Pennies, Feathers And Dimes. It’s a song taken at a slow tempo that has Robby Turner’s poignant pedal steel acting as a comfort blanket detailing the way loved ones, who may have passed on, who come to mind in many different ways, but especially in dreams. That Little Girl is also a ballad of reflection and regret, that offers another side of the title’s coin, one that takes place on a daughter’s wedding day. Only The Road Knows again is a stripped back tale of his lifestyle, which details the good and the bad about life on rhe road. Its mood is enhanced by some subtle strings as emphasis to these thoughts and traits. This, as in many of the songs, show his humanity in being able to translates the worlds of these lost and lonely people into relevant songs.
David Beeman produced and this recordings features Gerdes’ road band to great effect, along with the guest contributions from Turner. These seasoned and road tested players bring a vibrance to the songs that they have played and lived with on the road for some time. All of that and the natural progression that Gerdes and the band have made, marks this a release that will stand as a testament to the Gerdes and his fellow musicians at these times. It also captures insights into the way of life that many of those he has encountered on his travels in a way that others will also have empathy with, whether they are as tough as nails or not.
Review by Stephen Rapid
Carus Thompson Shakespeare Avenue Valve /Mind’s Eye.
Starting out in the music business as Carus and The True Believers, Thompson has been creating music since the early 90’s when his band were active on the music scene in Perth, Western Australia. They played a combination of folk, country and reggae/roots music, which led to three studio albums.
Along the way, Thompson began to play solo gigs, leading to a live album in 2003, Acoustic at the Norfolk, which led to a change in direction and the further release of three solo albums. We last heard from him in 2017 with the release of Island, bridging quite a gap in his recording output. So, in the search for an authentic Folk experience on this project, Thompson moved his family, wife and two daughters, over to Dartmoor, where he recorded at Round the Bend studios in the company of Sean Lakeman as producer.
Sean decided to invite his brother Seth to lend his great talents to this recording process and he brought along his wife, the superbly gifted Kathryn Roberts to add her rich vocals. Quite the band of gypsies they make as a foursome, tucked away in search for the perfect take across the ten songs that are featured. The playing is quite superb throughout, as is the pristine production with lots of bright separation and space for the musicians to play. Sean Lakeman contributes on guitars, keys, bass, piano and percussion. Brother Seth plays electric guitar, violin and viola and Thompson plays guitars, percussion and handles all lead vocals. All songs are written by Thompson, apart from one co-write, Unless We Go Now, with Greg Arnold, a song about taking chances and not being scared of facing the winds of change.
Thompson writes of chances not taken on Avondale Heights to Sunshine, where the character “Turned 42 last week, my ex and kids live ‘round the bend, Take ‘em down past that river every second weekend.” He writes on Shoulder about immigration problems in Australia and an inept political system that hides a history of underperforming representatives in Government.
He also sings about Yagan, an Indigenous Australian warrior from the Noongar people who played a key part in early resistance to British colonial settlement and rule in the area surrounding what is now Perth. Another song examines the scandal of Dylan Voller, an Aboriginal-Australian who became a media focus, concerning the mistreatment of children and their lack of protection in the youth detention system; “Thought it was all you deserved, Beatings, tear gas, abuse.”
The title track refers to a street that his grandfather lived on in Bath, England before taking a journey into the unknown and going to Australia; a journey that Thompson recently experienced in reverse in moving to the U.K. Both End of the Day and You See Through appear to be songs written with his wife in mind and celebrating her strength, in addition to the loving bond they share, as fellow adventurers in the world. An excellent addition to the body of work produced by this talented singer songwriter.
Review by Paul McGee
The Reverend Shawn Amos and the Brotherhood Blue Sky Put Together
When your CV lists talents that include musician, singer-songwriter, entrepreneur and record producer, it’s a safe bet to assume that there have been plenty of landmarks along the way that have shaped the arc of this career.
Best known as a blues singer and harmonica player, The Reverend has released six solo albums and acted as producer on a number of Solomon Burke albums, the Matthew Sweet and Susanna Hoff, UNDER THE COVERS album series and many compilations for Rhino Entertainment. He worked with Quincy Jones, produced reissues of Marvin Gaye and Herb Alpert albums and announced the formation of his own company, Amos Content Group, to develop content for digital media/traditional companies.
When he decided to put together a regular band and to record some new music the Reverend recruited the skills of drummer Brady Blade (Buddy & Julie Miller, Dave Matthews, Indigo Girls), bassist Christopher Thomas (Norah Jones, Carly Simon, Macy Gray), and long-time aide-de-camp, guitarist Chris “Doctor” Roberts.
The ten tracks featured are tightly performed and an array of additional guests appear to really fill out the sound – the horn section featuring Jamelle Adisa, Marc Bolin, Mike Cottone, Matthew Demerritt, Dan Weinstein; the lap steel, pedal steel and dobro playing of Ben Peeler , Matt Hubbard on piano, Hammond organ and wurlitzer, Johann Stein on additional guitar and James Saez on electronica, display a concise yet wonderfully loose playing around the melodies and arrangements. Piper Amos (Shawn’s daughter) and Sharlotte Gibson contribute on backing vocals throughout and Tim Ganard, plus John Montgomery are credited with extra drum parts.
The Country inflected sound of opener, Stranger Than Today, is quickly followed by the Blues groove of Troubled Man and a duet with the superb Ruthie Foster. Counting Down the Days is an electric blues swamp romp that gets mean and dirty with the repeating guitar motif and killer harmonica playing on top of great keyboard fills.
Two further songs, The Pity and the Pain and Albion Blues feature guest vocalist Kenya Hathaway and both songs deliver soulful performances with a slow tempo. The Job Is Never Done and Hold Back are straight out R’n’B workouts with driving rhythm and backing vocals that soar.
27 Dollars is an up-tempo jump blues arrangement and the slow groove of Her Letter is soulful and laid back. Final track, Keep the Faith, Have Some Fun, let’s all the dogs loose in a terrific blues/jazz stomp that highlights the celebratory nature of this music.
Reverend Amos is a fine singer and plays harmonica with the religious zeal of a true believer. Really impressive stuff all round and a definite purchase for any discerning lover of the RnB, soul-train sound.
Review by Paul McGee
Phil Gammage It’s All Real Good Self Release
Released towards the end of 2019, this ninth record confirms Phil Gammage as a musician of some resonance and staying power. His previous eight albums, including a terrific compilation, Motel Songs, with 20 tracks, released on SourMash USA Records in 2002, are a testament to the talent that he displays as a songwriter, singer, harmonica player and guitarist.
His writing is focused in the area of blues/folk/roots music and the nine tracks on this album were all written by Gammage and recorded at 30 Below Studio in New York City, where he now resides. His most recent albums were Used Man For Sale (2016), The American Dream (2015) and Adventures in Bluesland (2014). He tours either as a solo performer or with his band, The Phil Gammage Quartet, always garnering praise for his authentic body of work and song-writing talents.
The band on this project is Gammage on vocals, guitar and harmonica, with Kenny Margolis on accordion, Tony Mann on percussion, Michele Butler on vocals and David Fleming on additional harmonica. Together, they have a stripped down, tight sound that leans very much towards acoustic folk/blues and clocks in on thirty minutes, which means it does not overstay its welcome, yet leaves the listener wanting more – always a good sign.
It all starts with the most up-tempo track on the album, It’s All Real Good, a nice blues groove led by the sweet brush work of Mann on percussion. The slow gypsy accordion on Hellcat Maggie is a joy and the harmonica playing on Dancing On Top Of the World is very tasty and compliments the folk influenced arrangement. The Second Time Around combines both accordion and harmonica to great effect and the bare bones of Wandering Stars has an easy tempo and melody that pleases. The salsa swing to Naked In the Rain is another standout but really, the whole project deserves praise for the cohesion in both the playing and the production by Tony Mann, which is both airy and bright in the speakers.
For those of you who are new to this artist, it’s never too late to jump on board.
Review by Paul McGee