Bran Sanders This Old House Self Release
Bran Sanders originally moved from his Ontario roots to live the life of a travelling musician. Listening to the old traditional music and rural banjo tunes of those who went before, he hoped to make his own mark and follow a dream to acknowledge his teachers.
Now based in Westbank, British Columbia, Bran has reworked a selection of timeless tunes and fashioned them in his own style. His prowess on guitar and harmonica is unquestioned and he sings with a clear and confident vocal. The album title is very appropriate and evokes images of where he has travelled from on a journey to appreciate the purity in simple Folk songs played, with a real resonance and reverence.
Red Rocking Chair opens the album with acoustic guitar, harmonica and piano, covering of the traditional song that appeared on Doc Watson’s album of the same name back in 1981, one he recorded with his son, Merle. This sets the atmosphere and mood of the rest of the project that includes covers of Hills Of Mexico (Trad/Roscoe Holcombe), Little Maggie (Trad/Ralph Stanley), Moonshiner (Trad/Clancy Bros), Roving Gambler (Trad/Various) and I’ve Been All Around This World (Trad/Various).
The interest in keeping these traditional songs alive in modern culture is something that is both enduring and important as they contain not only a link to the past but also a guiding hand to the way in which we shape our actions and lives into the future. Authenticity is the key word that runs through the arrangements and the playing is quietly superb.
The three original tracks, Let It Go, Welcome Back, and Sparrow, knit very well into the spaces between these old-time Folk tunes that are dusted off and polished with a new sheen. The use of violin and harmonica on Sparrow is beautifully judged in a song about relationship honesty and the hope to ‘take me as I am.’ Another, Let It Go, is about being able to let go of situations that tie us up in knots, while Welcome Back, tells of an intermittent friendship and the off-on nature of its comings and goings.
A very engaging and enjoyable listen. Songs played with a refreshing openness and delivered with an honest spirit and truth.
Review by Paul McGee
Heather Anne Lomax All This Time Self Release
In 2014 this artist was recording under the name of Michael-Ann and her album Heavy Load was very well received by the music media, including a positive review on this very site. Well, she is back 6 years later with a different persona and a new album of eleven very engaging songs. The album arrived at the end of last year, when most reviewers are compiling their ‘best of’ lists.
The liner notes reference November 2019 on the release so I cannot speak for the slow arrival, all this time later. However, it’s certainly been worth the wait and opening track, All This Time, has real Country swagger, with some nice guitar lines and piano, coupled with a driving rhythm and a message to get out of a toxic relationship.
Relationship woes continue on the bluesy Prison Cell with thoughts of breaking free and moving on. The Gospel groove of Better Luck is coupled with a rocking beat underpinning the arrangement and Country fiddle riding the wave of the melody. On the song, My Dog, Heather Anne nails her true colours to the mast when it comes to relationships with the lines ‘He never wears me out from talkin’ - It isn’t always about him, And when I speak, he truly listens - I think I’ll give my love to him.’
Lomax has a very expressive vocal style, full of character and inflection. She can sing a slow Blues as well as anybody (Crumbs) and also handle the best of Country styled Honky Tonk (Six Foot Under) too.
The Heart Don’t Lie is straight Country with all the charm of a Saturday night dancefloor waltz whereas Oh Mama is a tribute to her Mother who died too early and the influence that she still has, coupled with the everyday pain of missing her. Final track, Just Like Yours, is a fine Blues vocal that mixes attitude with defiant guitar runs as the melody builds around a soaring pedal steel and atmospheric rhythm section. This collection demands your attention and delivers a very entertaining eleven-song treat.
Review by Paul McGee
Mitch Dean Holding Back the Levee Self Release
Melbourne is home to this singer songwriter who has been active on the local music scene for many years. This is his debut solo album and his sound is rooted in the Americana genre with ten songs that are well produced and express a love of up-tempo rhythm and a vibrant band dynamic. A Face In A Long Line is about mass employment in factory towns while His Fathers Gun is a story song about how one isolated act of madness can change a life forever.
It's In the Stream has a rockabilly rhythm that bemoans the changing nature of life and the loss of innocence where games played in the streets have been replaced by online fixation. On a number of tracks, the guitar work of multi-instrumentalist Damien Cafarella and the harmonica of Dean are driving points in the song arrangements.
The title track is a fine blues-based groove with great ensemble playing, Sam Lee on organ providing a great atmospheric swirl and guest Kevin Bennett (The Flood) providing the vocals. Dean sings on all the other tracks and the bass of James Gillard, along with the drumming of Damien Cafarella, is very creative and engaging throughout. Cafarella also plays mandolin and acoustic guitar, on top of his tasteful electric guitar runs.
Please Don’t Wake Me is another story song that reflects on a car smash and the loss of a daughter and girl-friend, the driver forever missing her and looking at the pain caused to the grieving parents left behind. What Can Go Wrong looks at young love wanting to escape and live life, despite having no money or prospects, thoughts of saving for a rainy day is not part of this plan. Broken Wing speaks to the vulnerable and fragile in life and final track, Far Above My Head, shows the band in full flight with great melody and power. This collection is worthy of your time.
Review by Paul McGee
Ellis Delaney Ordinary Love Self Release
A Minneapolis-based singer who grew up in Texas and is well respected as a contemporary folk artist. This is Delaney’s tenth album and her Buddhist philosophy on life is strongly evident across the eleven songs that are included here. The release is attractively packaged and presented, with the array of studio players in perfect alignment with the gentle expression and sensibility of the artist.
Delaney delivers an honest and open perspective when it comes to reflecting on life’s vicissitudes. It can be a cold world, populated with people in the habit of putting themselves first – no matter what the cost to others. However, in the vision of Delaney, we should grasp the pleasures of living in the moment and enjoy the simple things in life, perfectly captured on The Finest Adventure. Her views on sticking at a relationship and working through the hard times are addressed on the title track and our ability to smile and break some self-imposed rules is the message on Pie For Breakfast.
The instrumentation across the twelve songs includes violin and cello on three tracks (The Finest Adventure, Paper Wings, Now Is the Time), plus Ellis solo with acoustic guitar on another two tracks (Start Where You Are, Better Angels), which are all very engaging and melodic. Bird On a Wire addresses the plight of our planet and our need to act as a caring human race.
Happy Life shows a deep contentment with her life soul mate and the easy way ‘we laugh out loud at the smallest things.’ You Got This is a love letter to her daughter, a parental wish to give her a moral code for life and to ensure a path is forged from the correct values. Gun control and school shootings (Now Is the Time), exercising tolerance and understanding (Start Where You Are), missing someone close (I Think About You and Somebody Misses You), celebrating connection across the distance (Paper Wings), all leave a strong impression.
It is her abiding message to let life in, be true to yourself and try to live in loving awareness that highlights the heartfelt view of this fine artist, fully captured in Better Angels, a song that appeals for our more enlightened selves to come forth and flourish. Impressive and insightful.
Review by Paul McGee
The Annulments Dead Preservations Self Release
This band was formed by student friends while at University College Dublin and they released a debut album in 2015, Everything I Lost. The core group includes Claire Fitzgerald on vocals, Stephen Coyle on guitar and vocals, Richard Gill on bass, Shane Keeling on drums, Nick Cooper on violin and viola, Peter Moran on piano and keyboards. All songs are written by Stephen Coyle.
There are also featured performances from Cillian Murphy on saxophone and Ray Martin on trumpet, in addition to producer Tom Cosgrave providing electric guitar on the track Animal, along with recording engineer, Chris Barry, also adding his talents on electric guitar. The first two tracks were released separately as singles this year and feature lead vocal from Clare Fitzgerald and Stephen Coyle respectively. Each track, Reckoning and Difficult Things, highlight the violin of Nick Cooper to good effect and there is a sense of easy melody that populates all eleven songs included on this project.
The Calm Before and Pilot Light follow a similar route with both Clare and Stephen featuring on lead vocal while the band play around the melody with some fine lines. The light jazz feel of one song is balanced by the reflective acoustic sound of the other. And so it continues, with Clare singing the next two songs about perspective and reflection, To Get Me Through and Into the Dark, her warm vocal echoing the instrumentation and melody.
Stephen delivers What Did You Want To Say To Me before Clare returns with Another Vice, joining Stephen on a co-vocal about the complexities of relationships and true romance, harmonica featuring, along with viola, in a style and tempo that recalls Paul Heaton and Jacqui Abbott. Animal is a quirky tale about selling out to the dark side of our basic instincts, sharp suits and even sharper lifestyles, with a rhythmic, taut arrangement.
Behind the Lines calms it all down again with a slow café-blues feel, all late-night piano and brushed drums. Final song, You and Me, brings it all home with an acoustic arrangement, Stephen ruminating on mistakes made and a lovely violin part to soothe the way towards the morning. This is a very enjoyable set of songs which impress more and more on repeated plays.
Review by Paul McGee
Araluen And There It Is Kaloo Kalay
Recorded at The Reservoir Studios in North London and self produced, AND THERE IT IS delivers a thirteen-track recording from songwriter and guitarist Paul Lush, under the byname Araluen. Lush has been a member of the celebrated U.K. roots band Danny and The Champions of The World for the past decade, alongside working with Trent Miller and The Lost Sons of Littlefield.
He uses the Araluen channel, rather than a rigid band formation, to record his own songs. This project found him knocking on the doors of a number of musicians he’s worked with over the years. Pride of place goes to Magic Numbers vocalist Angela Gannon, whose soulful vocals are impeccable on twelve of the thirteen songs, the other track being an instrumental titled Oh Yeah!
The majority are the songs are ‘lost in love’ laments, most suited to a female vocalist. In fact, given the confessional composition of the songs, you could be forgiven for assuming that the material was actually written by Gannon, as the tales of woe and regret unfold. The other seasoned players called on by Lusk include his Champs associates Steve Brooks (drums) and Henry Senior (pedal steel) and they are joined by Alan Greg from The Mutton Birds on bass and Dave Collison on keyboards.
The Girl Will Do is classic country soul with stinging guitar and swirling keyboard breaks and the broody title track is equally impressive. What Made You Change Your Mind marries Gannon’s sultry vocals with mournful pedal steel and the crunching Only For Tonight raises the tempo a few notches. The Only Hearts Alive Tonight recalls Dusty Springfield and the band rock out gloriously on the aforementioned instrumental Oh Yeah!
Make no mistake, this is country soul of the highest order and delivered to perfection both vocally and instrumentally. Imagine Tift Merritt backed by (Graham Parker’s) The Rumour and you’ve got it in one!
Review by Declan Culliton
James Ellis and The Jealous Guys Country Lion Self Release
Hailing from Melbourne, Australia, COUNTRY LION is the second release from honky tonker James Ellis and his band The Jealous Guys. His 2018 album IT AIN’T TEXAS (BUT IT AIN’T BAD) found Ellis wearing his heart on his sleeve and he confirms his devotion to traditional country on this eleven track and hugely impressive album.
In an attempt to get the perfect sound on the album, Ellis tracked down some heavy hitters to work with. An introduction to keyboard maestro and producer Micah Hulscher by fiddle virtuosa and country artist Lillie Mae, while she was touring Australia, proved to be an invaluable contact. Hulscher, who has been a touring keyboard player with Margo Price, Emmylou Harris and Wanda Jackson, was chosen as producer and he in turn recommended bringing multi-instrumentalist Alex Munoz (Nikki Lane, Margo Price, John Hiatt) on board to co-produce. Hulscher’s and Munoz’s influences are heavily stamped on the album, which blends classic country with twists of more contemporary Americana. Lillie Mae and her brother guest on the album alongside their East Nashville neighbour Erin Rae. Ellis wrote all the songs and they’re laced with heartache and regret, essential ingredients for a signature county collection of songs.
The pedal steel intro on the opening track Sixteen Hours leaves you in little doubt as to what’s to follow. Ellis’ vocal - fortunately making no attempt to mask his native accent - is pure country and the icing on the cake are the backing vocals from Lillie Mae. Support vocals are a feature that work to perfection throughout the album and in particular the contributions from the honey voiced Kelly Day. Kelly is also a member of Melbourne duo Broads and adds vocals on seven of the tracks.
A Little Soul gets the Gram and Emmylou treatment and A Tiny Grain Of Sand is an impressive tear in your beer duet with Erin Rae on acoustic guitar and backing vocals. They ramp it up rockabilly style on Forever Close and find space for a Countrypolitan gem with Take Me Back In Time. The album closes in fine country funk style with Wandering Man.
Ellis returned from a month long stay in Austin back in 2016 with a vision to form a honky tonk band and he has certainly achieved that. It remains to be seen whether this venture, similar to ones undertaken by Daniel Romano, is a life journey or simply a moment in time. Either way, it is mission accomplished by Ellis and a cracking album.
Review by Declan Culliton
Natalie D-Napoleon You Wanted To Be The Shore But Instead You Were The Sea Self Release
A lot of water has passed under the bridge since the last recording of a full-length album from Australian born singer songwriter, poet and author Natalia D-Napoleon. LEAVING ME TO DRY, which she released in 2012, featured her long-time sidekick a Kenny Edwards (since deceased), alongside a host of big hitters which included Greg Leisz, Dan Phillips and Victoria Williams and was produced by David Piltch (Bonnie Raitt, Rosanne Cash, k.d Lang, Randy Newman).
The surroundings, environment and equipment were altogether sparser for this recording, which took place using a single microphone in an ancient wooden chapel in the hills behind Santa Barbara, California. The songs had been written by D-Napoleon on the front porch of her one-hundred-year-old cottage in California and are deeply personal, visiting intimate spaces both real and imagined. The production duties were overseen by James Connolly, who also plays bass guitar and Dan Phillips adds splashes of piano throughout. Doug Pettibone guests on guitar, pedal steel and mandolin.
Escaping an abusive relationship is detailed on Thunder Rumor and the piano led No Longer Mine rejoices in the new found freedom of leaving a doomed partnership. Second Time Around cautiously celebrates new found independence. Mother Of Exiles rejoices in an America that once welcomed immigrants with open arms. It’s a powerful song and a reminder of more compassionate times. The title track revisits childhood suffering and the after effects and painful memories that can be impossible to discard. The equally agonising Reasons confronts the emotional trauma of losing an unborn child.
YOU WANTED TO BE THE SHORE BUT INSTEAD YOU WERE THE SEA is anything but an easy listen. A melancholic mood prevails throughout, as D-Napoleon navigates her way across a variety of sensitivities. However, her tales are insightful, sympathetic, beautifully constructed and conveyed by a gifted storyteller.
Review by Declan Culliton
Aaron Lee Tasjan Tasjan! Tasjan! Tasjan! New West
Never one to sit on his hands for too long, Aaron Lee Tasjan is an artist that is seldom off the road or out of a studio. Hugely respected by his peers, he has worked alongside or collaborated with Jack White, B.P. Fallon, Clem Burke, Sean Lennon, Tim Easton and Lilly Hiatt. His musical skills earned him the role as lead guitarist in The New York Dolls early in his career and as a touring player in Kevn Kinney’s Drivin ‘N’ Cryin’.
He moved to Nashville in 2015 following spells spent in New York, California and his home state of Delaware. The move to Nashville found him swiftly integrated into the East Nashville music community and he released his debut full length album IN THE BLAZES in 2015 followed by SILVER TEARS the year after. KARMA FOR CHEAP and KARMA FOR CHEAP REINCARNATED followed in 2018 and 2019.
Though often pigeon holed as a folk/Americana artist, his template is far wider than that and crosses over seamlessly to traditional rock and more. This latest release is further confirmation of his skillset in delivering melodic power poppy gems and glorious glam influenced broadcasts, often laced with his trademark humour. As a self-confessed non-conformist, the album is dedicated to souls like himself, who were considered ‘unconventional’ growing up and the target for ridicule as a result.
The self-deprecating Feminine Walk is a case in point. It’s a tongue in cheek essay of his musical journey from New York to Nashville, to follow in the musical footsteps of Todd Snider. Up All Night enters Tom Petty territory with an addictive melody and in contrast the gentler Another Lonely Day displays Tasjan’s knack for also knocking out killer ballads. The relentless outpouring of bland formula music is addressed on Cartoon Music.
TASJAN! TASJAN! TASJAN! was co-produced with Gregory Lattimer and recorded at Make Sound Good Studios without the knowledge of his record label. It’s possibly Tasjan’s easiest album to access, yet beneath the catchy melodies and waggish lyrics he also touches on a number of difficult personal issues. All in all, it’s another gem of an album from a raconteur of endless talents.
Review by Declan Culliton