Valerie Smith Renaissance Bell Buckle
Valerie Smith has reached that fortunate stage in life where she feels comfortable in her own skin, as she proclaims joyously in the opening self-penned song, I’m Fine Being Me, on her new record - ‘No need to prove myself anymore, trying’ to get my foot in the door … who says I need more?’
It’s a slight move away from the bluegrass that she is well known for, towards a more americana sound. While still using her core touring band, Liberty Pike, for the recording, she has added some special guests on this album, which has been expertly co-produced by herself and Tim Carter at his Treehouse Studio in Ridgetop, Tennessee.
There’s an acoustic rockabilly feel to Heartbreak Hill (written by the late Gary Scruggs), with mandolin from band mate, Lisa Kay Howard-Hughes, and bass supplied by Johnny Cash’s bass player, Dave Roe. Roe’s bass is also prominent on The River Whispers, where Smith pays homage to the comfort and healing powers of rivers, and she credits her regular bass player, the truly legendary Tom Gray, with introducing her to the benefits of river kayaking. Two slow ballads from the pen of Jude Johnston are perfect fits for Smith’s deep and slightly husky vocals: On That Train poignantly expresses the pain of life’s regrets, while the closer Unchained, famously recorded by Johnny Cash towards the end of his life, is an uplifting slow blues, featuring Rob Ickes on resonator guitar. Smith pays homage to her great grandmother on the only other self written song here, A Dollar Looked Mighty Good. The folky bluegrass ballad chronicles the fascinating story, based on Smith finding her journal in an old trunk, of how Maggie Brooks escaped from domestic abuse and went on to become a successful business woman in Missouri. Another inspired choice is a gospel song, The Great I Am, where the band were joined in the studio by The McCrary Sisters (Ann, Alfreda & Regina) for a stomping rendition, with a powerful banjo accompaniment from Tim Carter. It’s enough to almost turn an atheist towards the light!
Sammy Shelor (banjo) and Stephen Burrell (fiddle) contribute on the upbeat bluegrass number Heart of Sorrow and, in a nice twist, the writer of Dancing with the Stars, Jerry Salley is brought on board with Donna Ulisse to sing harmonies on this swing number.
The standout song for this reviewer is I Found, a song originally performed by indie rock band Amber Run, featuring regular band member, Wally Hughes, on fiddle.
There are many more delights to be discovered on the fourteen track album, which clearly demonstrates the power of choosing songs that express deeply personal sentiments. It’s just a pity that most of the current crop of ‘successful’ bluegrass bands haven’t realised this yet.
Review by Eilís Boland
Jason Boland & The Stragglers The Light Saw Me Thirty Tigers
Concept albums are not that common in country music, but in recent times we had one from Sturgill Simpson and now comes this new release from Jason Boland. The theme is alien abduction and has its roots in the tale of a supposed alien craft crash landing in Texas in 1897. In this story a cowboy is abducted and then the aliens return him to Texas in the 1990s. That was the decade that Boland released his fine debut with his band PEARL SNAPS. It was the first in a series of releases that established him at the head of the Red Dirt posse.
Even with that knowledge and with the exception of a couple of spoken word tracks, this plays out very much on the same track as his previous releases, except maybe calling at a couple more stops on the line. That Shooter Jennings is the producer should come as no surprise, as there are hints of Waylon throughout as well as the presence of Hank Williams Snr. The title is a take on his spiritually designated song I Saw The Light. So the elements of hard core country are very much in evidence, alongside those of the red dirt rockers.
Boland and his band The Stragglers seem to have taken on this concept to allow themselves the opportunity to explore the parameters of their sound without ever moving so far away from their roots that it will confuse or conflict with their many fans. It is an album that requires several listens to really appreciate the achievement in terms of offering a cohesive theme and sound. Boland and Jennings and their crew have created a certain space as well as spaciness in the overall mix that adds much to the sound,without veering into an overuse of “alien” sounds, though the synth is a factor alongside the steel, and guitars.
There is a questioning about events, myths, legends, falsehoods and beliefs. “Having visions of things that bear explaining, no answers in religion or the law / Sending thugs out to call it all illusion, doesn’t change belief in what I saw” the lyrics offer this viewpoint, often expressed by those who have had such close encounters. Or the solid certainty of “ … Hank Williams singing with the conviction of a man who had seen the light”. There is also the consideration of even closer encounters when it comes to this planet we call home. “Flying out over an ocean of time / Our dear mother earth has since been forsaken / Could humanity be in decline?” These lyrics raise a number of points for contemplation while listening to what will be perceived as a “country” album.
Boland has made his mark with his music by releasing a series of satisfying albums to date and THE LIGHT SAW ME further enhances that body of work by taking some chances and experimenting with both the format of a country concept album and the boundaries of their own take on red dirt country.
Review by Stephen Rapid
Kiely Connell Calumet Queen Self Release
There are singers and songwriters and every now and then an artist arrives with a debut release that excels in both categories - Connell is one of those. It is the type of album that would work with just voice and guitar (as witnessed by the solo performed Slow ’N’ Low) but it has been recorded with a set of musicians, adding a broader perspective to the songs’ often darker tones. “A lot of the songs on this album are about overcoming my struggles with depression and anxiety”, Connell notes. It also looks at those around her who often turn to self-medicating with alcohol and drugs to help deal with destructive issues.
However, the power of the performance rises above that and creates something that has an uplifting sense of hope, despite the negative themes. The sound, while being understated, is never sparse enough to feel lacking and is underpinned by a deep emotional connection that the artist and musicians have achieved. Producer Don Bates has brought the material to a cleanly understated but thoroughly effective place by allowing the spaces to happen. Connell is also joined by guitarist Drew Kohl, who worked with her in a band called Zografi Music who released a digital album The Driver earlier this year. So there is a bond between the two which is clearly a strong one. The two recorded much of the basic tracks in the producer’s home studio and then added overdubs of additional textures such as fiddle, cello and steel guitar to the recordings.
The title track refers to the area where Connell grew up and more specifically to the Calumet River. Its course can change and have many tributaries as can life and, indeed, as the move to Nashville doubtless did. That move has brought her more in line with the indie side of the city’s musical activities than the more hollow mainstream.
It is then the power, personality and inner perception Kiely Connell exudes vocally that immediately makes these songs stand-out. Nothing here is taken for granted, neither her path nor those of others, like the person whose life in Turning Tricks has left her as something of a shell and her nightmares are now a reality. These songs are akin to listening to the blues as she writes in Nobody’s Business But Mine, wherein she is “listening to the blues to forget about mine”. Things get a little more deep into the South with Something Evil In The Water where its twangy guitars have a definite David Lynchian affinity. Lost love and unrequited truth are at the heart of Wasting My Time, a song that uses the harmonica as an effective counterpoint. Caroline’s Corner Cafe has the ability to conjour up a complete picture of a time and place, as well as of the people who frequent its tables. There is nothing here that one would ignore in passing, but in many ways it leaves the best til last.
Disappear has a starkness, with the fiddle and acoustic instruments telling the listener of the endgame faced by a person “drowning in my tears.” But the crux of the mindset and desperation is summed up in the devastation of “I’m not afraid to die, I’m afraid to disappear.” That, though, may paint a picture of Kiely’s debut solo album as it marks a special talent and one that I have listened to more than most this year, as its undoubtably one of this year’s best.
Review by Stephen Rapid
Pistol Annies Hell Of A Holiday Sony
Christmas albums can be very much a hit-and-miss affair. If I’m honest, I can count on one hand the ones that I take down from the shelves to revisit during the holiday season. More often than not they feature festive season standards that have been covered over and over again.
In their defence, Miranda Lambert, Ashley Monroe, and Angaleena Presley, better known collectively as Pistol Annies, have written ten of the thirteen tracks that feature on their first seasonal recording HELL OF A HOLIDAY. Rather than a throwaway affair, the original material is extremely listenable, much of which is up tothe standard of their previous three studio albums. As you might expect, the vocals and harmonies are exquisite as they manage to infuse light-hearted humour into their customary free-flowing and razor-sharp lyrics.
Snow Globe, complete with gilt edge bass line and handclaps, is instantly addictive and Harlan County Coal is a sassy jewel. The country flavours are particularly dominant on the ballads MakeYou Blue and Believing, elsewhere the pop infused Happy Birthday and the jaunty title track also impress. The non-original tracks that feature are the closer Auld Lang Syne, Sleigh Ride, and an admirable makeover of Merle Haggard’s tearjerker, If We Make It Through December.
Unlike INTERSTATE GOSPEL, the Pistol Annies 2018 album, HELL OF A HOLIDAY is not going to be nominated for a Grammy. However, as alternative Christmas albums go, it’s one that I’m likely to return to in the coming years. Give it a spin, you’re likely to concur.
Review by Declan Culliton
The Fretless Open House Birthday Cake
This is the fifth album from a Toronto group that released their debut album back in 2012. They have been acclaimed for their musicianship at the Canadian Folk Music Awards on more than one occasion, also winning a Juno along the way. Their sound is very exciting and full of inventive ensemble playing as the musicians soar and dive around the melody and the rhythm. They have a percussive element in their playing that provides a base from which they weave their magic and fashion their instruments to colour the song arrangements.
The production on this album is really wonderful – very much alive and bright with lots of dynamism in the playing, the vocal layering and looping effects. Karrnnel Sawitsky (fiddle, viola), Trent Freeman (fiddle, viola), Ben Plotnick (fiddle, viola), and Eric Wright (cello) have created a very compelling and hypnotic sound on these tracks. There are different guest singers on every song and the collaboration works spectacularly well, with amazing versions of songs by Steely Dan, Bruce Cockburn, Feist, The Bros Landreth, William Prince, Red Tail Wing, and others.
It’s a diverse mix of covers and the vocalists chosen to participate are also an eclectic selection of talents, including Rachel Sermanni, Taylor Ashton, Dan Mangan, Celeigh Cardinal, Nuela Charles, Ruth Moody and Freddy & Francine. It all works so well, despite any misgivings that may have been originally present for such a different project. The arrangements break away from the original recordings and this leads to really dramatic results in most cases. Full marks to production wizardry by The Fretless & Joby Baker, who recorded everything at Baker Studios, located on Vancouver island. Baker is a multi-instrumentalist and producer who really captured the essence of this very talented group.
Stand-out tracks like Retrograde (James Blake) and Earthly Days (William Prince), are wonderful performances by the vocal talents of Ruth Moody and Celeigh Cardinal respectively. Other tracks like My Moon My Man (Feist), sung by Rachel Sermanni, and Wondering Where the Lions Are (Bruce Cockburn), sung by Lady Phyl, are further examples of the successful blending of original song with inspired guest vocal. This is a highly recommended album and one that will bestow carefree joy upon repeated listens.
Review by Paul McGee
Brandon Isaak Modern Primitive Self Release
The acoustic Blues is alive and well, when it comes to honouring the tradition, with superbly constructed albums such as this new release. Brandon Isaak hails from Whitehorse, which is situated in the Yukon and his debut album first brought his talents to the attention of a waiting music media back in 2011.
He released an excellent follow-up album in 2014, titled Here On Earth, and has also played in a jump-swing band called The Twisters. His soulful vocal tone is full of character and ‘lived-in’ qualities that make these stripped down tunes all the more authentic. For this recording, Brandon headed to Vancouver and checked into the Rosewood Hotel with his friend and fellow musician, Keith Picot. Together, they spent just one day recording the eleven songs featured, with the help of engineer/producer, Conrad Hillis.
The results are just sublime, with organic playing and a real sense of feel and groove in such an intimate space. The hotel was built in the 1920s and the room chosen was the very one that hosted CKWX broadcasts during the period 1930 – 1941; the most popular radio station in British Columbia at the time. You can also imagine the inspiration that gripped both musicians when they paid homage to the fact that such luminaries as Elvis Presley, Louis Armstrong, Nat King Cole, Frank Sinatra and Bing Crosby had all stayed in this very room at different stages. You can just feel the ghosts in the room, tapping along and swaying slowly to the addictive groove.
Brandon Isaak plays guitar, harmonica, banjo lap steel, piano and drums. He also sings superbly and with real passion. Keith Picot is a terrific upright bass player and he supports Brandon on back up vocals. In looking back to the past, we are given fresh direction towards the future and the path is paved with hope and sunshine as we step forward.
All the songs are written by Brandon Isaak and the sense that they already exist as genre standards is the highest praise that I can give to his creative muse. The songs all drip with character and titles such as, One Too Many Blues / Lost Love and Loose Women / Walk That Road Alone / Valentine Blues and Back To New Orleans all give a strong sense of the authentic spirit that the arrangements contain. There is the swing of, Something New and Lucky So n’ So, that conjure up the old days of big band sounds and the light jazz touch on Six Little Letters, with such an easy flow and sweet melody. The Folk Blues of, I Wish I Did What I Said, is a real highlight, summing up the dichotomy between feeling sad over a woman and the sweet release of singing out the pain and turmoil – a superb track.
I’m reminded of the roots that such music calls upon – the deep south was the originator of the blues, from the chants of cotton field workers, into the gospel sounds of the churches and back onto the front porches of simple shanty shacks in the evenings as communities gathered to eat and to share the vicissitudes of life through music and dance. Before the early acoustic blues was replaced by the migration to the big cities and the adoption of electric blues, you had the influence of such greats as Charley Patton, Son House and Willie Brown to influence the legend that became Robert Johnson.
With this wonderful new album, you can almost trace a straight line back to those early days of hardship and on through the swinging 20s as city life turned the fate of rural communities into something that would never revert to the small-town values of before. Brandon Isaak captures it all here; a truly inspiring project that is deserving of the highest praise. I strongly suggest that you purchase this one.
Review by Paul McGee
Bruce Cockburn Greatest Hits (1970- 2020) True North
One of the true legends of the Canadian music scene since he first appeared, back in 1970, with the release of his self-titled, debut album; Bruce Cockburn has since forged a career that has seen him achieve global fame and recognition for his body of work. He has received thirteen Juno Awards and in 2001, Cockburn was inducted into the Canadian Music Hall of Fame.
Over the last fifty years of performing and recording, he has seen close to forty albums find their way into the world and he has walked a path that has highlighted the issues of human rights exploitation, political corruption, environmental abuse and third world debt. He also continues to be an outspoken critic of corporate and governmental apathy towards the plight of indigenous peoples in many parts of the world.
Bruce Cockburn certainly has the courage of his convictions, and is not afraid to place himself in the way of real danger and life-threatening situations as a champion for those without any voice of their own. He is a practicing Christian, having always been interested in our spiritual journey through this life and in 2014 he released his memoir, Rumours Of Glory, which is a compelling read; full of insightful wisdom, and giving a fascinating glimpse into a world that we could never imagine. It is a highly recommended autobiography.
This is a true greatest hits compilation, even if the title is somewhat tongue-in-cheek, (you would never find his music in the pop charts or played on commercial radio), in that it has been curated by Bruce himself. With a generous thirty tracks, he selects songs from every stage of his illustrious career. Beginning with that 1970 debut, he has chosen nine songs from the first decade, across the first seven albums that he recorded. There is a certain charm reflected in the very early songs, which is quickly replaced by the more resonant subject matter of the songs, as he awoke to political awareness. One of the highlights is a live version of Mama Just Wants To Barrelhouse All Night Long, which really turns up the heat a few notches.
The next decade sees a further nine songs included from six album releases, as he continued to mature as both a social commentator and a critic, through his song writing. What has never been in doubt is his skill as a guitar player and his impressive technical ability is very evident here. His live shows are a real tour de force and having experienced a few over the years, he can make his guitar sound like several instruments in building both rhythm, tempo and soloing dynamics.
A further ten songs are represented from his third decade, across seven more releases and the remaining songs are taken from a singles compilation from 1987, and a more recent album, Bone On Bone, which was recorded in 2017.
Highlights for me, from the early years, are Wondering Where The Lions Are / Rumours of Glory / Lovers In A Dangerous Time / Call It Democracy and If I Had A Rocket Launcher. As you progress through the succeeding years and the list of albums, there are tracks like, Waiting For A Miracle / If A Tree Falls / Night Train / Pacing The Cage / Last Night Of The World, all of which are worth the price of purchase and filled with stirring performances and song arrangements.
On his more recent releases Cockburn occasionally displayed a softer side and wrote some relationship songs, such as, Put it In Your Heart and Different When It Comes To You. Included also is, Call Me Rose, a song about reincarnation that name checks Richard Nixon and also delivers a telling punch on social inequality, with the lines “I'm back here learning what it is to be poor, To have no power but the strength to endure.”
This is a very well-balanced look back through time at a career that has questioned and challenged at every turn. His talents were never in doubt and his social conscience is something that Bruce Cockburn has to be admired and revered for. If Folk music was originally created as a channel to highlight and reflect the times in which we live, then there is no better example. If you are new to Bruce Cockburn and his work, then this is a perfect place to start getting acquainted.
Review by Paul McGee
Jane Willow Burn So Bright Self Release
This is a very accomplished debut album from a Dutch musician that has made Ireland her home over the last ten years. Janneke has now become a fully integrated member of the honorary-Irish musicians club, earning respect among her peers with her consistently high- quality output and hard work ethic. Her debut EP arrived in 2018, Onward Still, and she has been building a solid base of admirers ever since, with her lovely vocal tone and her expressive song writing skills.
As with her debut EP, Jane has called on the talents of Dave Hingerty (Josh Ritter, Glen Hansard) on drums, and he provides a creative and subtle axis from which the other musicians can colour the rich melodies on these ten superbly crafted songs. With Alice Grolerro providing warm bass tones on six tracks and Joe Csibi adding double bass on another two; the rhythm section is very much the anchor as the arrangements take flight. There are the sensitive keyboard creations of Scott Flanigan on all the tracks and a string quartet that comprises Gerald Peregrine on cello, Karen Dervan on viola, Lynda O’Connor and Deirdre Reddy on violins. They really excell in bringing bright hues and calming tones to the songs, with string arrangements created by Joe Csibi (Head of RTE Concert Orchestra) on five songs, and Marco Francescangeli on three others. Their rich talents elevate the songs to deliver a new dynamic and with the soprano vocals of Jane intertwined, the results can be really haunting and expressive. It could be viewed as veering towards Chamber Folk, but it is much more than just that.
Jane has a whispered tenderness in the delivery at times, stripping everything down to pure emotion, and then soaring high in other moments, as the song structures build into something more. There is an endearing quality to her delivery, and also a certain longing on songs that touch on affairs of the heart. Unfailingly, has a meditative tone and the theme that love endures is perfectly mirrored in the string arrangement that sees the musicians soar. Equally, Up Here, lifts the spirits with a love song that moves from a simple acoustic start into a fuller sound as the string arrangement builds.
Pat Byrne guests on co-vocal for the love song, In Your House There, giving meaning and perspective to the tale of days spent together as a couple in a growing commitment. It is a very strong inclusion here. On the flip side, The Fool, reflects upon a former lover who was self-absorbed, selfish and who could only take from a relationship. Another song, Give It Time, provides comfort for someone trying to get beyond a failed romance and hoping to heal the wounds suffered while being vulnerable.
Hand On My Hips asks a lover to live in the moment and stop looking for quasi-answers to outside issues. Steve Wickham guests on fiddle and the playing is really excellent. Linger Here looks at the sweetness of desire and not needing anything more than feeling close to someone. The title track shows an attraction that was not followed through upon and a flame that continues to burn, despite the reluctance to act.
In a break from relationship themes, This Free Life, is a cutting commentary on the rental trap that so many have endured in trying to live in Dublin city over recent times. The inherent greed of the landlord system and the short-sighted myopia of the authorities to the misery that is caused. As Jane sings; “What Free Life?”
However, the abiding message is one of remaining positive and facing life’s challenges; even if, as the song, Let There Be Light, muses, “In the commotion it’s getting hard to know, What really matters and what’s worth letting go.”
This is a very enjoyable album and one that confirms Jane Willow as a both a creative and significant presence in the Irish music scene; poised to build upon her talents and carry her momentum onto greater things.
Review by Paul McGee
Tim Easton You Don’t Really Know Me Black Mesa
On Tim’s website there is an entry under the Journal section that highlights the musicians involved in making this album. There is a collage of nine photos, from the musicians to the producer, and there is also mention of a few people who were involved, but did not make the photo box. It’s a nice touch by Tim, a visual depiction of the team-based approach that is involved in the collaborative process of bringing any new album release from creation to completion.
Tim Easton has been around the block a few times. He was born in New York and grew up in Ohio, before taking to the life of travel and playing music for a living. In fact, when it comes to trains, planes and buses, he can tell plenty of stories from the road. His career has seen him in constant motion, chasing the next gig across the continents, as he strives to make enough income to warrant the full-time demands of a musician’s nomadic life. Not so easy with a family back home and the body slowing down after all the years of feeling like you would stay “forever young” - to quote a famous musician you may have heard of!
Tim’s debut record appeared back in 1998, and he has released a steady flow of albums since then. His career has taken him on many twists and turns, from a deal with New West records and touring the world, to relocating in Nashville and starting a family. This new collection of tunes comes on the back of his recent albums, Campfire Propaganda, Volume One (2020); Exposition (2019) and Paco & the Melodic Polaroids,(2018), which was a stripped down, solo-acoustic album celebrating 30 years of companionship with "Paco," his Gibson J-45 acoustic guitar.
The title track, You Don’t Really Know Me, opens the album and it’s a mid-tempo band workout that is in step with Tim’s reflective message about can we ever really know someone fully. It appears to be a personal song that references his parents and six siblings; about growing up and the lessons learned, expressed in the lines, ‘sometimes you learn from your mistakes, other times you stubbornly nurse the pain.’
Real Revolution is a song about coming to terms with internal struggle and growing to the awareness that significant personal growth takes place in your heart and in your mind. Again, we find Tim in pensive mood on the song, Speed Limit, with the lines ‘when the pain of staying the same, outweighs the strain of making changes.’ We all have our own cruising speed and our brakes for stopping when we feel things getting weird in our lives.
I guess that like many musicians who experienced the isolation of Covid lockdown, time at home was balanced against the need to communicate with people and get in front of live audiences again. These songs grew out of such a reflective time and Son My Son is a slow Blues song that resonates with anyone who reached out to help another during these unparalleled times.
Anchor is a sweet song that looks at the troubles of being constantly on the move and never knowing, ‘if I‘m leaving, or going home.’ Festival Song is one for the memories of getting into the van with a bunch of friends and sharing the buzz of a music festival, with all the trappings of the unspoken rule book; come together, stay up late, share your drinks and smokes, wake up with strangers, get nice and dirty, get some sun and pick up your trash! The final track, River Where Time Was Born, is a gentle acoustic groove that looks at going with the flow, doing a bit of fishing or taking a swim.
Ten tracks to warm the spirit, all played and produced with the knowing hand of a real veteran who knows exactly what he wants from his band of gypsies. Tim Easton does not make mediocre albums. They all carry the mark of a consummate craftsman and the playing on this latest release is of the highest order. As with the back catalogue, which warrants closer investigation, this album is a real pleasure to explore.
Review by Paul McGee