Sylvie Simmons Blue On Blue Compass
For a music journalist and author to take up the challenge and enter a studio to record their own material requires both courage and conviction in equal measures. That’s precisely what Sylvie Simmons did in 2014, when she recorded her debut self-titled album. Her career can boast thousands of album reviews across more than four decades, interviews with hundreds of artists from Rod Stewart to Michael Jackson and Bruce Springsteen to The Clash and she is the author of numerous books, including fiction and biographies. Her Leonard Cohen biography I’M YOUR MAN: THE LIFE OF LEONARD COHEN (2012) was a New York Times and international best seller and has been translated into twenty-nine languages to date.
Her career behind the microphone developed when she toured extensively in support of the Leonard Cohen biography. Her presentations and readings included executions by her of a selection of Cohen’s compositions, accompanied by her ukulele. Her recording calling followed in 2014, when she released SYLVIE. Produced by Howe Gelb, what could have been considered a vanity project, in fact drew high praise from publications such as Rolling Stone and The Guardian, and from psychedelic folk champion Devendra Banhart.
Simmons travelled to Tucson, Arizona in 2017 to record her second album BLUE ON BLUE, working once more with alt-country trailblazer Howe Gelb. Also featured on the recording is the wonderfully eccentric Jim White. Tucson residents Gabriel Sullivan and Brian Lopez and Australian Matt Wilkinson completed the musical troupe. Unfortunately, a horrific accident on the first day of recording left Simmons with broken bones and nerve damage to her left hand, which led to a number of surgeries and rehabilitation, leaving the recording of the album in abeyance.
The setback resulted in a number of songs that she had written for the album being sidelined, and a re-start to the writing process. As with her self-titled album, Simmons' vocals and ukulele are to the front of the mix. Nevertheless, the supporting instrumentation is more extensive on this occasion, Gelb’s influence coaxing the songs in directions which his work with Giant Sand has often journeyed.
Simmons' vocals convey a charming innocence throughout and lyrically what may seem like petty details evolve into engrossing episodes. A disordered barefoot man dancing alone in the early morning sun (Keep Dancing) and the sanctuary of home (Sweet California) are both sweetly delivered tales. There is a darker edge to The Thing They Don't Tell You About Girls which, although expressed with a buoyant spirit, disguises a more solemn undercurrent (‘Since you've gone, I keep away from bridges, trains and razor blades’). Waiting For The Shadows To Fall includes an appearance by Jim White on ukulele and bells. Her love of The Beach Boys - particularly the more downbeat compositions by Brian Wilson - as a teenager, fashioned the vision for The Man Who Painted The Sea Blue. It’s a close relative to Skeeter Davis’ End of World, with a matching tempo and sentiment. Creation Day is ghostly, glorious and other worldly, sounding as if the listener is eavesdropping on a sleep walker’s ramblings. She closes the album in style with 1000 Years Before I Met You, a fetching country duet titled 1000 Years Before I Met You, sharing the vocals with Howe Gelb.
Words have consistently come easy to Simmons, so her ability to create graphic images with wordplay should come as little surprise. Those truly touching lyrics, nestled alongside some fine playing, result in a most impressive listen from start to finish.
Review by Declan Culliton
The Jayhawks XOXO Thirty Tigers
The purple patch enjoyed by The Jayhawks from 1992 to 1997, when they delivered three classic albums, HOLLYWOOD TOWN HALL, TOMORROW THE GREEN GRASS and SOUND OF LIES, has always set the bar at the highest possible level for the band that formed in Minneapolis thirty-five years ago. The first two of those albums established them as pioneers of the alt-country camp, at a period when that movement was very much in its infancy. The shared vocals and writing of Gary Louris and Mark Olson, alongside jangly guitars and sweet melodies, was very much at the forefront of a creative, if somewhat retro, musical direction. After Olson’s departure in 1995, Louris continued with the template of infectious melodic material, but abandoned the country leanings in favour of a more conventional rock sound. SMILE (2000) and RAINY-DAY MUSIC (2003) continued in a similar vein and after an eight year pause in recording, Olson came back on board for MOCKINGBIRD TIME in 2011, which proved to be their most commercially successful release. Unfortunately, the tour in support of that album led to a major falling out between Louris and Olson and to a wound that remains open to this day.
Louris endorsed an altogether different approach with XOXO, the band's thirteenth studio recording. The writing credits and main vocals were divided between the four members this time around. Those three members alongside Louris are original disciple Marc Perlman on bass and harmonica, Karen Grotberg on keyboards and Tim O’Reagan on drums, guitar and sitar. Pedal steel is added by guests Eric Heywood and Stephen McCarthy. On previous albums the band members have contributed to the writing, but the writing was predominantly from the pen of Louris. On this occasion six of the tracks exclude any writing credit to Gary Louris. The final product of such a democratic approach could have been somewhat disjointed and piecemeal. On the contrary, nothing could be further than the truth and XOXO, despite so many cooks, works spectacularly well both in the writing and delivery of the twelve songs. This should not come as a surprise to fans of the band, Tim O’Reagan’s self-titled album from 2006 was evidence of his ability to both craft and deliver quality material. Perlman has co-written with Louris on many occasions, Grotberg less so. The opportunity for those three to contribute their own compositions is an unforeseen triumph.
Given the free hand that they were offered, the end result reinforces exactly what The Jayhawks do so well. The trademark countrified gems, rich in harmonies and complete with slick guitar breaks that HOLLYWOOD TOWN HALL had in plenty, are replicated on This Forgotten Town and Bitter Pill. The former finds O’Reagan stepping into Mark Olson’s shoes by sharing lead vocals with Louris. The more power poppy gems that SOUND OF LIES was packed with are reborn on Little Victories, Living In A Bubble and Dogtown Days. That four individual vocalists take the leads goes unnoticed, given the fluency and smoothness of the tracks.
What could have been an inconsistent and fickle exercise, has instead produced an album that compares most favourably with much of their acclaimed output. It would be incomprehensible to expect The Jayhawks - or any other band for that matter - to recreate the brilliance of HOLLYWOOD TOWN HALL or TOMORROW THE GREEN GRASS. However, XOXO stands shoulder to shoulder with the rest of their recordings, and it is arguably their finest since RAINY DAY MUSIC in 2003.
To quote Gary Louris “This album feels like a new lease on life for us and my only regret is that we didn’t do something like this soone.” Hopefully that’s a pointer of more to come from this reborn quartet.
Review by Declan Culliton
Van Darien Levee Mechanical Heart
Leaving her home in the rural town of Weatherford, Parker County, Texas in 2015 to relocate in Nashville gave Vanessa Darien the stimulus to reflect on her life experiences and draw on them to create the body of work that would become her debut full album LEVEE.
Her father, a welder by trade, was the proprietor of a machine shop on the family property and a number of tracks on the album are drawn from her experiences growing up in that environment.
Her musical influences include fellow Texans Guy Clark and Townes Van Zandt, along with indie bands The War on Drugs and Metric. While these elements do surface occasionally on the album, its direction is more classic rock and quite mainstream by times. However, that’s not to lessen the quality of her writing or the delivery of the material. It was recorded at Glass Onion Studio in East Nashville and co-produced by Steven Cooper and JD Tiner. Credit is due to all involved in the studio, the sound is clear and crisp throughout both on Darien’s muscular vocals and the skilled musicians that she worked with.
Maren Morris has been spreading her wings of late with her inclusion in The Highwomen and her welcome role in encouraging Kathleen Edwards to write music again. She’s also active here, co-writing two of the tracks, Low Road and Twisted Metal. With an educated sense of where the market is at present for emerging female artists, one can also sense that Morris may have influenced the musical direction on the album. Joey Green is also credited, having written American Steel with Darien.
The album’s title track reflects the dilemma of Americans living through The Great Depression, and could also be a representation of similar pressures being currently experienced (‘Mouths to feed, hands to fill, money's become my enemy. I’ve been hanging on for far too long now, I don’t know how much more of this I can take’). That emotional baggage continues on the impressive ballad Cardboard Boxes. It’s written by co-producer Cooper and dwells on moving on to new pastures and challenges.
Ponderosa explores the continual search for that elusive dream. An upbeat rocker, it recalls a Tom Petty rhythm. The album’s two standout tracks are the previously mentioned American Steel and Twisted Metal and it’s no coincidence that both have foundations in Darien’s childhood, in front and behind the counter in her father’s store. The latter is a powerfully delivered mid-tempo song that recalls the toils of the blue-collar workers and the sweat they pumped to build the nation. Twisted Metal is a full-on raunchy anthem with a killer guitar break and depicts an uncontrollable and passionate coming together. Described by Darien as two people uniting like cars in a demolition derby, she sings ‘Shine like gold, we’re strong as steel, honey just keep your foot on the pedal.’ Low Road is a smoky barroom blues number, with controlled and throaty vocals adding to the piano driven tempo. She can do soul as impressively as blues and she strains every vocal cord on the splendid Insanity.
You can sense Darien has poured her heart and soul into LEVEE, leaving no stone unturned and creating a body of work that she can be deservedly proud of. It’s difficult to categorise - Americana would be a lazy description as it’s closer to mainstream than anything left of centre. It is the musical direction that many of the acts that feature on the C2C tour take, though it’s not anything resembling country music to my ears. Either way, it’s a most impressive recording from an artist that ticks all the boxes as one who should carve out a successful commercial career going forward.
Review by Declan Culliton
Nocona Los Dos Mule Kick
Husband and wife team Chris and Adrienne Isom front Los Angeles based Nocona, playing guitar and bass respectively. Loosely classified as an Americana band, Nocana also includes Justin Smith on drums, Elan Glasser on harmonica, Dan Wistrom on steel guitar and Xander Hitzig on fiddle. Noted keyboard player Carl Byron (Jim Lauderdale, Michelle Shocked, Anne McCue) also came onboard for this album. Slotting them into the Americana pigeon hole is somewhat casual, giving the musical bases they cover, which embrace old timey, punk, blues and psychedelic rock. Not surprising, given their stated influences of The Kinks, 13 th Floor Elevators, X, Link Wray, Townes Van Zandt and Californian country music.
LOS DOS is their third and most ambitious recording. The contrast in musical directions across the album is staggering, yet works a treat. They flit between the country/bluegrass delight Never Come Back - complete with some killer fiddle playing by Xander Hitzig - and the full-on psych rockers Chester and Unseen Hand. Both Post Apocalyptic Blues and Too Much To Lose recall EXILE ON MAIN STREET-era Rolling Stones.
The rugged musical edge on the album is also reflected in the lyrical content and subject matter. Stabby Mike, the album’s opening statement, depicts a deranged fictional character who cruises the streets, randomly stabbing unsuspecting strangers (‘Everyone, anyone, everyone you know is gonna die and that’s amore’). The melodic delight and previously noted Never Come Back disguises an equally dark undercurrent (‘And that person’s just crazy, send you running to the hills, slit your throat for fun, kick your dog for thrills’)
The production duties on the album are credited to Adrienne Isom and engineer Jay Braun (Norah Jones, Magnetic Island) who also co-wrote the aforementioned Post Apocalyptic Blues with Chris Isom. All other songs came from the pen of Chris Isom. They recorded the tracks in their own garage, under no time constraints, resulting in a gutsy, raw and punky sonic trajectory. To complete their ‘hands on’ approach, they have released the album on Mule Kick Records, a label formed by Adrienne Isom and H.P. Hawthorn, who is also a member of the husband and wife band, The HawtThorns.
Nocona are a genre rotating outfit that wear their heart on their sleeve, coming from musical directions of their choosing, rather than following trends. LOS DOS is a reflection of this and is best described as controlled chaos, a mutant strain of traditional American music and rock. Few bands, with the exception of The Sadies, can fluently and effectively integrate a wide range of musical orientations. Cocona have certainly achieved that with flying colours with LOS DOS.
Review by Declan Culliton
Robert Jon and the Wreck Last Light On the Highway
This band is based in Orange County, California and they have a very big sound that is stoked up by the superb bluesy vocal of Robert Jon Burrison. There are ten songs included here, the final track and album title, Last Light On the Highway, comprised of two parts; the slow acoustic strum that prefaces a slow-burn build up that reaches a climax and then mellows out into the distance.
In addition to the vocals and guitar playing of Burrison, the band is made up of Andrew Espantman (drums/background vocals), Steve Maggiora (keys/background vocals), Henry James (lead guitar), and Warren Murrel (bass). They are joined by an impressive supporting cast of Jason Parfait (saxophone), Ian Smith (Trumpet) and classy, sassy backing vocals from the superb Mahalia Barnes, Jade McRae, and Juanita Tippins.
The big sound grabs you from the opener, Oh Miss Carolina, and it just does not let go of that head lock that you are caught in. When you are down on the canvas, these guys are not in the mood to let you up for air, as the songs keep coming out of the traps with attitude and impressive performances all round by the ensemble. There are many highlights, but the guitar prowess of Henry James just about shades it with some blistering feel and fretwork across the tracks.
Guitars meet piano and soulful vocals on Work It Out and there is a sense of Bob Seger meets Skynyrd circa 1980’s on a few of these songs. One Last Time and Gold slow things down with some tasty blues sounds that resonate. It’s loose and it’s tight, swirling keyboards pumping up the power while the rhythm section play with great dexterity in providing a steady base to the arrangements. Tired Of Drinking Alone, a prime example.
The rich organ sound of Do You Remember brings back memories of youthful carefree days with nothing more to do than hang out with your friends. Don’t Let Me Go has a sting right out of the ZZ Top songbook with slide guitar and backing vocals stirring up a storm. The sound of string arrangements on Last Light On the Highway helps to build that aforementioned crescendo, with the band hitting the after burners. Americana, Blues and Southern Rock with attitude and a big welcome back to days gone by and old memories for this writer. Stirring stuff.
Review by Paul McGee
Callum Easter Green Door Sessions Moshi Moshi
Folktronica or Electrofolk first came about during the 1980s when a new generation of musicians began to experiment with added sounds, in order to colour the traditional formats which had survived for decades past. One could look to the very innovative work of John Martyn in the 1970s as a point of inspiration, with his Echoplex machine, which introduced a tape delay effect that could be looped and repeated as a backing rhythm.
The introduction of electronic drums allowed further innovation with solo artists now freed from the need to employ added players in their quest to discover new frontiers. The simple accordion has never been seen as a principal instrument during the history of Folk traditions, more bridesmaid at the wedding feast, something to add layers to the overall sound rather than be expected to appear front and centre. Part of this may have been down to the unwieldy nature of the instrument and the complex construction involved.
This new release is a new take on the original notions held and a redefining of the role that the accordion can play in creating innovative and challenging music. The true definition of independent music lies in the ability to not only engage the listener but to push the boundary of what was considered original. Callum Easter uses drum machine and drone effects to accompany his accordion tunes on this album and delivers much t be admired across ten tracks that clock in just shy of 33 minutes.
Four of the tracks are reworkings from his debut album, HERE OR NOWHERE (2019), with Fall Down, Back Beat, Tell ‘Em Boy and Only Sun, included in this engaging project. The album was recorded on the basis of one take only, no overdubs and captured straight to tape. Also included are the tracks, Pop Goes the Weasel, Lonely World and Promises from the 2017 mini-album DELETE FOREVER together with Want It Sometime and Feelings Gone from the 2016 mini-album, GET DON’T WANT.
It all sounds very cohesive, impressive and peppered with little moments of magic as the hypnotic melody builds around the backing tracks. The slower, reflective tracks like Lonely World, One Thought and Back Beat balance with the more up-tempo numbers like Promises, Pop Goes the Weasel and Feelings Gone, while the spoken word delivery to much of the lyrics fall somewhere between an axis of Lloyd Cole and Adrian Moffat. The tracks, Tell ‘Em Boy and Only Sun are highlights in their intensity and delivery but really, the introspective nature of the entire album is the key factor in making this a very worthwhile affair and one that is deserving of your time.
Review by Paul McGee
Andrew Tuttle Alexandra ROOM40
Instrumental albums run the risk of not appealing to the music listener for any number of reasons. The lack of perceptible hooks, be it a key vocal or lyric, can leave the music sounding somewhat flat and/or lacking in dynamic. Those artists who can rise above such challenges are usually blessed with the gift of musical composition that never gets repetitive and challenges us to peel back the layers of arrangement around the often-simple original ideas.
This is the fourth release since his 2015 debut and his minimalist soundscapes are gentle, relaxing meditations to soothe the senses. The term ‘new age’ artist has been used to describe such music and it sometimes appears to be a derogatory term, used to make the musicians feel on the outside of accepted musical norms. This is reflective and relaxing in a way that conjures up a sense of travel and of movement and invites you in to share in the experience.
The musicians that Tuttle called into the project are Chuck Johnson (pedal steel guitar), Gwenifer Raymond (microtonal electric guitar and fiddle), Joe Saxby (saxophone), Joel Saunders (trumpet), Sarah Spencer (piano), Tony Dupe (cello, piano, pump organ). They all contribute their parts with great attention to detail and play with understated grace.
The album title refers to the place where Tuttle grew up and a number of the nine tracks reflect local memories and places, such as Hilliard Creek, Finucane Road, Burwood Heights Convenience, Tallowwood View, Vienna Intersection and Cambridge Drive Shopping Centre.
Andrew Tuttle lives in Brisbane, Australia and he produces music that is both hypnotic and soothing, mixing with elements of electronic sound and symbiotic instruments that weave into air and space. He contributes on banjo, resonator guitar, acoustic guitar, piano and signal processing.
There are moments of pure traditional playing, whether simple piano or banjo motifs from Tuttle, or a hint of pedal steel, fiddle or cello in the distance. Alternative, intimate and serene, this is a thinking man’s map to chilling and letting all those noisy disruptions from the outside world just fade away.
Review by Paul McGee
Ben Bedford Portraits Cavalier
Bedford is a storyteller of some calibre. His songs are often historical in context and are rooted in time and place. PORTRAITS is a compilation of songs previously released on his first three albums, that were released between 2007 and 2012. However, none were released in Europe in any direct capacity. Overall, I am reminded of some of the folk-based artists of the late 60’s (and earlier). With his writing skills Bedford also possess a voice that has a quality entirely suited to the songs; the words are sung clearly and with empathy and understanding. The backing is largely acoustic but is enhanced by some propulsive percussion, that give the songs an added momentum. Similarly, the bass adds depth and a solid grounding that brings an added space to the recordings. Peter Young is the drummer and Ron de la Vega and David Spicher are the bassists. The subtle and effective guitar parts (acoustic and electric) are played by Chas Williams. Additionally, there are cameos including cello, Hammond organ, dobro and accordion. The harmony vocals are in the main from Kari Bedford. However, it is the song themselves that are the centre of these recordings.
All are written by Bedford bar one where Kari Bedford is the co-writer. The album opens with the Civil War song Lincoln’s Man. A song which doesn’t take sides but instead is rich in detail of the life of an ordinary private in the Union Army. Twenty One is another song from a similar point of view, with the soldier wondering what he is doing facing battle, when he would rather be at home ploughing his land, yet feeling the need to do his duty as he sees it. Equally Amelia follows the flight path of Amelia Earhart, revealing Bedford’s in-depth knowledge of his subject matter and his ability to condense elements of the journey into a satisfactory and lyrical song - as he does throughout his work. Perhaps even more poignant is Land Of Shadows, which details the awful plight of Emmett Till, a young African American who was accused of nothing more than offending a white woman but that act (true or not) resulted in his beating, mutilation and murder in Mississippi in 1955. His murders were later acquitted.
One Night At A Time details a more personal relationship and is sung by Ben and Kari Bedford with some tenderness that is timeless rather than some recent past. A sense of place is also the common theme of songs like The Sangamon. It depicts the flow and ebb in a relationship which is mirrored by that of a tributary of the Illinois River. Bedford is an Illinois native who has brought his music to many noted venues throughout the US and Europe. His most recent album THE HERMIT’S SPYGLASS was released to favourable reviews (including Lonesome Highway) and marks Ben Bedford as an intelligent and tasteful singer/songwriter whose sense of writing is that of a person deeply rooted not only in history but in the resonances that those stories still have today. These are portraits that will linger for some time.
Review by Stephen Rapid
Karen Jonas The Southwest Sky and Other Dreams Self Release
With the title focusing on the landscape of the American Southwest, Jonas fifth album captures the contrast between what is reality and what is an imagined reality. But it is in many ways an upfront and personal album, taking in to account the tales of characters she has come across in real like or created from an amalgam of people and places. What stands out is the progression that is evident in the writing and voice of Karen Jonas on the album. It also marks the continued relationship and important pairing of Jonas and long-time guitarist Tim Bray - a similar relationship to that Jerry Miller and Eilen Jewell - which has turned into something special in musical terms. The pair are joined here by bassist Seth Morrissey and drummer Seth Brown. Also on board and making his mark is co-producer (with Jonas) E.P. Jackson who also adds some additional instrumentation on the album.
The opening song here is The Last Cowboy (At The Bowling Alley) a song that skewers an ageing bowling alley lothario whose moment has well a truly faded. The aspect of place is considered in the next song Out In Palm Tree Paradise wherein she tells of her enchantment with the Mojave Desert and the man she explored it with before both no longer held her interest. There is detail described in the words here that evoke lifestyle and longings. Pink Leather Boots explores a long-distance fantasising about one of the girls in a strip club, imagining how they could build a life together, until the real world steps in and leads him back out to his truck and the lonely journey ahead. That sense of dreams, hope and possibility abound but are often dispelled by a harsher sense of the everyday.
The sound is a clear mix of exploring the parameters of Americana with a healthy respect and take on country music in its hard life mirroring heyday. There are moments of subtle interplay as on the aforementioned Pink Leather Boots. This song and others contain a sense wherein the rhythm section and guitar lines perfectly suit the mood of the song.
Maybe You’d Hear Me Then has a quality that seems at odds with the downbeat lyric but is all the more effective for that. Farmer John has some ambiance attached to it that seems again to fit and contrast with the age-old tale of the wandering man and the frustrated complaints of the long-suffering wife at home. This seems to be a settled band that has been working with Jonas both on the road as well as in the studio. That shows in the way the album component parts gel to create a modern day take on a bunch of characters, who all in their own way make the most of their lot. There are enough moments to generate an interesting and varied listen which is proof that the direction Jonas is one which follows her musical journey from Oklahoma (and its lottery) to those who live and work under southwestern skys.
Review by Stephen Rapid