GRANT NESMITH DREAMS OF THE COAST Self Release
Despite the fact that he has spent most of his life living in the beach community of Myrtle Beach, S.Carolina, it is evident that the novelty has never worn off for Grant Nesmith. His second solo album covers the gamut of genres from surf psychedelia to country to rock and pop, and the influence of the ocean is never far away. Dreams of the Coast is a mid-tempo country rock affair, lush layered vocals sing the praises of the sea, enhanced by the masterful slide guitar of Sadler Vaden (Jason Isbell, Drivin’ N Cryin”), another Myrtle Beach native. Seizing the day is the theme of Another Day which gets a psychedelic rock treatment, dominated by the freely riffing fiddle of Gene Elder (Lyle Lovett, George Strait). Elsewhere is evidence of the unsurprising influence of the Beach Boys and the Beatles (Kaleidescope, Souvenir). Recorded in the studio of Ed Dennis, he adds his sweet pedal steel playing on most tracks, particularly outstandingly on the love song Haunt. Nesmith’s falsetto vocals invite inevitable comparisons with a youthful Neil Young and on the closer Such a Dream he indulges this with a whole eight minutes of fuzzy guitar driven psychedelic rock - ‘the ocean kisses outer space, the moon would like to get a taste’. Chill and enjoy.
Review by Eilís Boland
Israel Nash Topaz Loose
Missouri born Israel Nash’s last recording was LIFTED, released in 2018. It was conceived in his fully functioning custom-built studio named Plum Creek Sound in Dripping Springs, Texas. An expansive affair, it was created with layer upon layer of vocals, horns, strings, guitars and percussion, as Nash relished the freedom to experiment in his treasured home studio environment. Co-produced with Ted Young (Kurt Vile, Rolling Stones), it featured a number of Austin based musicians and garnered, quite deservedly, very positive feedback in the music press.
TOPAZ finds Nash taking complete control on this occasion. The album was self-produced and recorded in isolation between touring over the course of a year, with only minimal input from other musicians. The sound retains the sonic laminations, soaring vocals and harmonies of its predecessor with the addition of a full horn session, courtesy of Austin funk band Hard Proof.
Despite being the recipient of a Master’s Degree in political science, Nash’s writing has more often concentrated on the intimacy of relationships and his love of nature. There have been political sentiments expressed previously but seldom to the extent that emerge on TOPAZ. He hasn’t totally abandoned writing about matters close to his heart, though. The ballad Closer speaks of loneliness on the road many miles from home and similarly evocative is Stay, where the reality of leaving the nest to tour once again beckons. Though written a while back, the swirling opening track Dividing Lines is very much a song of its time, as the writer reflects on the politics of recent times that promote division rather than unity.
The worst mass shooting in an American place of worship that took the lives of twenty-six people in 2017 is recalled on Sutherland Springs. It’s a quite beautiful and heartrending song, the sadness is further emphasised by mournful pedal steel guitar throughout. Down In The Country places its emphasis on ‘rock bottom’ rather than the escapade that its title might imply. It riles at the empty promises by politicians over the past decade which have done little to assist families whose farms face repossession, or factory closures and crumbling small towns dotted across America. The first single taken from the album Southern Coasts, is a sun-drenched triumph, coaxed along by a thumping bass line. The album closes with Pressure, which reflects on the struggles which face the growing numbers of helpless and marginalised people and families, simply attempting to survive.
Nash’s superb 2011 release BARN DOORS AND CONCRETE FLOORS was a breakthrough album for him, gaining him universal acclaim. Many of those accolades made reference to him being firmly rooted in Neil Young sounding territory. In successive albums Nash has distanced himself from pretender status to develop his own unique recognisable sound. He achieves that and more on TOPAZ, which gifts the listener with further listening treasures on each subsequent play. Headphones recommended.
Review by Declan Culliton
Esther Rose How Many Times Father/Daughter
‘I don’t grapple with fate, I accept my bad luck and my good luck equally’ confides New Orleans based Esther Rose, discussing her third album HOW MANY TIMES. That simple sentiment goes a long way to define the background of this ten-track album where distress and jubilation are greeted equally and channeled into some extremely listenable songs.
Rose is the possessor of a silver-toned vocal range that’s often closer to spoken delivery rather than full blown, in a similar style to Laura Cantrell. It works spectacularly well on this album where she’s in the company of crack musicians and quality songs. Those players are Matt Bell (lap steel), Max Bien-Kahn (electric guitar), Dan Cutler (upright bass), Cameron Snyder (drums) and Lyle Werner (fiddle). With this team and under the co-production of Rose and Ross Farbe, the album was recorded live to tape at The Tigermen Den in New Orleans.
Fiddle player Lyle Werner has featured prominently on all of Rose’s albums and he’s first out of the blocks on the opening and title track. It’s the perfect introduction to what follows as Rose confronts reality and a painful break up head on, drawing a line in the sand and preparing to move forward. Given the album’s soul-searching content, the track sequencing is carefully arranged, with each song reading like a personal diary entry. Keeps Me Running, which follows the opener, is very much a ‘note to myself’ reminder to steer clear of a rebound relationship while the wounds from a previous fall out remain unhealed. Refreshed and energised, the gorgeous glass half full Coyote Creek finds Rose in a carefree state.
The buoyant Good Time is a self-deprecating and cheerful jaunt, disguising the fact that it was conceived when, after a sixteen-hour drive, Rose’s car died a death five hundred miles from her home in New Orleans. Less stressful recollections surface on the sprightly Mountaintop and the mellow ballad Songs Remain.
Rose signs out on the hugely impressive HOW MANY TIMES with Without You, the first song written for the album. It’s an apt closing statement and recognition that there are no quick fixes to rebuilding your life and that acceptance is the best starting point.
Review by Declan Culliton
SomeRiseSomeFall No Simple Highway Fitzz
This twelve song collection features some of the finest Irish musicians reinterpreting songs by a host of artists from the Americana, folk and indie genres. An extremely worthy project, it was undertaken to further raise awareness of the ever-growing issues relating to mental illness in Ireland. All proceeds will be directed towards Aware Ireland, who support those struggling with anxiety, depression, bipolar disorder and other mood related conditions. The recording is particularly timely, given the increasing crisis in mental health related issues, intensified by the ongoing Covid-19 pandemic.
The artists that contribute include quite a few that have featured previously on Lonesome Highway, in album reviews, interviews and/or our radio show. The silky voiced Anna Mitchell provides four songs, showcasing her range of vocals on the haunting Beth Gibbons /Paul David Webb composition Funny Time Of Year and Eliza Carthy’s delicate Fallen Leaves. Anna also performs Thought Dream penned by Country Joe Mc Donald and Roy Wood’s The Rain Came Down on Everything.
John Blek has established himself as one of the leading lights in the new folk movement, not only in Ireland but also in Europe and the United States. His contributions include Blues Run The Game, written by American singer songwriter Jackson C. Frank in 1965 and Greg Trooper’s Biologically Blue. Breathing new life into the former and in typical fashion, John performs with minimal support, joined only by Brian Casey on Hammond organ. The latter also features Casey, on this occasion adding piano and electric guitar. John also remoulds the bluesy I Remember You written by Eilen Jewell.
Noted guitar player Kevin Herron chose Dave Ball’s When The Thought Of You Catches Up With Me and Jimmy La Fave’s The Beauty Of You for inclusion. His delightful guitar skills shine through on both, supported by a relaxed vocal delivery. The Grateful Dead may not be considered the obvious selection by the Choice Music Price nominee Marlene Enright. However, accompanied by pedal steel maestro David Murphy and adding vocals and piano herself, she injects even more heartache into Stella Blue, the Robert Hunter/Jerry Garcia classic, while remaining faithful to the original version.
Cork indie band Rowan dipped into Joanna Newsom’s songbook and selected Swansea from her debut album for their input, adding a degree of depth to Newsom’s version. Also included from Rowan is a stripped back rendition of Years Gone By from The Milk Carton Kids. Like so many of the selected songs, the lyrics perfectly capture the theme of the project.
The project was the brainchild of Michael Fitzgerald, founder of Fitzz Records, which funds community artistic ventures, the proceeds of which go to support organisations that provide aid to those suffering mental health issues. Particular mention is also merited for producer Brian Casey, graphic designer Riona O’Regan and Richard Dowling of Wav Mastering in Limerick, who mastered the final mix. Other musicians that contributed include Brian Hassett, Davie Ryan, Dylan Howe, Fionn Hennessy, Kealan Kenny and Hugh Dylan.
Cover albums can often be hit and miss affairs. However, in the case of NO SIMPLE HIGHWAY there is a fluent connectivity from start to finish. Setting aside the most worthy cause that inspired the album, it stands on its own two feet as a treasure chest of well-chosen songs, beautifully performed. Hopefully, at some stage in the near future, the collective will be in a position to perform the album in a live setting, both as a fundraiser and to display the wealth of talent that brought this project to life. Highly recommended and well worth your attention and support.
Review by Declan Culliton
Hjalte Ross Waves Of Haste Self Release
Following on from his 2018 debut, Hjalte Ross releases a follow-up album of nine tracks, recorded in Dreamland Studio, Sebbersund, Denmark. Ross has again employed the services of producer John Wood (Pink Floyd, Nico, John Cale, Cat Stevens, Nick Drake, John Martyn, Bert Jansch), together with the talents of Steve Turner for all brass and string arrangements. It’s unclear whether Ross used studio musicians during the recording process, although I know that he has previously worked with Who Killed Bambi, a string ensemble trained in classical music and experienced with folk, jazz and improvisation music.
The pace never gets beyond the gentle, melodious slow-tempo of almost all the song arrangements, with the notable exception of Thinking About You which has a busier, up-tempo feel, perhaps reflecting the part of the recording process that Ross spent in NYC, as a contrast to the isolation of Northern Jutland. The use of understated brass works well as an atmospheric bedrock upon which Ross can layer his soft, almost whispered vocals and if the lyrics are difficult to make out, it is the atmosphere created that carries one along on a wave of sound, almost akin to somnambulism.
Nordic Folk music with a twist, the opening, Accidents, announces itself with minimal acoustic guitar and piano, along with subtle strings, certainly reminiscent in overall feel of Nick Drake in spirit. Adrenaline introduces brass and an easy percussion beat over which strings set the emotion and an electric guitar plays a restrained solo. Off My Mind is another restful vocal performance, almost slipping into an easy jazz vibe with plucked bass, quiet piano parts and a saxophone to compliment the crooning delivery. If Norah Jones had been offered to duet, you could see a perfect symbiosis.
How Am I Supposed To Feel has an almost breathless, vocal tone and a slower treatment, hinting at the Neil Young classic, Tell Me Why. The aforementioned, Thinking About You, is a welcome break with its driving beat, female backing vocal and an almost Pet Shop Boys groove, complete with brass instrumentation giving a bigger sound. The title track reverts to simple acoustic guitar with background piano sounds, occasional trumpet and minimal string support.
The sense of sweet isolation continues on the atmospheric Holidays with talk of procrastinated time wrapped around haunting strings and minor acoustic guitar progressions. Passes By has an arrangement that would fit in a Hovis advert from years past but also introduces a downtempo drum beat and keyboard swells.
The closing song, The Truth, complete with the sound of waves lapping, (that link the previous song), consolidates the sense of trying to just go with the flow of the natural world. There is a quiet, compelling tug on the sleeve that has one returning to these tracks, with the calm of the music providing an ideal evening companion.
Review by Paul McGee
Jim Ghedi In the Furrows Of Common Place Basin Rock
Sheffield in South Yorkshire is home for this Folk artist who delivers his third album, since he first appeared on the music scene, back in 2015. Ghedi finds his passion from exploring themes of social politics, history and environment, with the titles of his previous releases signposting his focus; HOME IS WHERE I EXIST, NOW TO LIVE AND DIE (2015) and A HYMN FOR ANCIENT LAND (2018).
This time out, we are given eight songs with a sound that is rooted as much in the distant past, as it is seeking a new direction for English Folk music. The atmospheric and organic instrumentation fits perfectly with the vocal delivery of Ghedi, which is full of passion and frustration, and aimed at the universal themes that speak to a time once filled with the challenges of hard manual labour and the need to survive. With this in mind, opening song, Common Thread, addresses the generations of agricultural and industrial workers who filled the English landscapes and who toiled for greedy profiteers. You can also find relevance in the present economies of both England and beyond, where industrial jobs have disappeared and heavy labour has made way for technology in ghost towns filled with the grim reality of unemployment.
The harmonium drone of Lamentations Of Round Oak Waters, laced with violin, presents a stark backdrop before both trumpet and flugel sounds are added in what almost constitutes a prayer that greed and avarice to be punished. It asks that the lives of the poor to be given a dignity, that stretches not only back to tenant land workers, but also forward into current economic injustice and social deprivation. Centred around the area where Ghedi grew up in the Yorkshire midlands, these are authentic songs of great feeling and passion where the twin industries of Coal and Steel dominated the landscape for generations and shaped the lives of so many.
Instrumental, Mythlom, winds its way into a rousing acoustic guitar display of tone and tempo. It is set against the quietly gentle delivery on Stolen Ground with its traditional Folk tunings that recall a young John Martyn in the full, compelling power of delivery. Ah Cud Hew is a traditional coal mining song that originated in North East England and is delivered with both an urgency and a sense of anger running through it. Beneath the Willow has haunting violin, playing over the beat and the impassioned, nuanced vocal of Ghedi venting in honour of his working-class South Yorkshire brethren who paid such a high price for their lives of hardship and poverty. There is an additional instrumental piece that forms an addendum to this track where guitar, fiddle, harmonium and double bass combine to great effect. Final song, Son David, runs for eight minutes and is a traditional Scottish ballad that confirms the quality and strength of musicianship running through these songs, conjuring up visceral images of the past and the future - a sense that the old ways point the direction for future challenges.
Dan Bridgwood-Hill plays violin, Neil Heppleston plays double bass, with Sally Rowan Smith on flugel and trumpet. Jim Ghedi plays guitars and harmoniums while singing with a fire and with strong vowel annunciation. Ed Pickford originally wrote Ah Cud Hew, and the John Clare poem, Lamentations Of Round Oak Waters provides the lyrics for the song of the same name. Otherwise, Ghedi wrote the songs and produced the album which was recorded in Scotland at the Black Bay studios in the Outer Hebrides. A very impressive work and one that grips the listener throughout.
Review by Paul McGee
KB Bayley Little Thunderstorms Self Release
Reflective, contemplative, contemporary Folk sounds from guitar player, songwriter and composer KB Bailey. He is a London-based musician who grew up in the North-East of England and this is his second album. There is a strong sense of intimacy across the tracks and Bayley displays his great range of playing skills on acoustic, cigar box and lap steel guitars, dobro, piano and vocals.
Bayley recorded at home during lockdown last year and the tracks were mastered by George Shilling, who also worked on his debut album from 2017, Rivers and Rain. He reached out for contributions from a group of musicians who recorded their parts remotely and included Charlie Jonas Walter (pedal steel and banjo), Dean Parker (electric guitar), Simon Small (percussion), Brin Heywood-Snell ( trumpet), Gavin Thomas & Glen Vaal (harmonica), Adiescar Chase (violin), with Ben Glover, Jim Cozens, Claudia Stark (vocals).
Bayley has cited the influence of Tom Waits on his writing approach, but it’s not very evident here, as the overall feel is that of roots music with a hint of Americana on certain tracks. These are relationship songs, where reaching out for simple communication and companionship is sometimes the hardest thing to do. Blood Red Lullaby is a song about loss, in its different forms, people gone from our lives and others whose innocence has slipped away. Some beautiful guitar playing from Dean Parker lifts the sombre mood, whereas Night Dogs looks at lonely isolation and the muted trumpet of Brin Heywood-Snell sits comfortably with the understated melody of Bayley on keyboard and Parker on electric guitar, ‘streetlights burn bright in the darkness, whisky burns cold in the glass.’
Pedal Steel on Time To Leave Town is played with subtle atmospheric touch by Charlie Jonas Walter in a song about wanting love to last, whereas North Coast Girl is a memory of younger days, with the harmonica of Gavin Thomas echoing a distant sense of reminiscence, against lap steel playing from Bayley. Wistful and yearning. Crazy About Me is a song about feeling lost and not coming to terms with the end of a relationship. It can be a dark world if you let it but for all the sadness contained in these songs, there is a light of understanding and empathy that shines, giving perspective and hope for better days. Melancholy keeps its own company. North Shore Road speaks about a Church and the memories contained within its walls. Harmonica from Glen Vaal and banjo from Charlie Jonas Walter both beautifully intertwined with the acoustic guitar of Bayley and the clear vocals. Wayfaring Stranger is a traditional tune that also appeared on the debut album, but here it’s given a fresh interpretation in instrumental form with the violin of Adiescar Chase particularly atmospheric.
Cheap Suit ends the album and it’s a cover of the Jeffrey Foucault song which captures a memory of his Father playing guitar in the living room, ‘I see him from the doorway, I see that look in his eye, And I know I’m going to go there, Where My father’s dreams lie.’ A fitting way to end what is an album about simple dreams and longing for a better sense of connection. Worth your time for the simple grace of the song arrangements and the superb musicianship running throughout.
Review by Paul McGee
Martin Simpson Home Recordings Topic
This consummate musician is something of a living legend within English Folk circles. Over the years, since his arrival in the 1970’s, his talent as a guitarist, singer and songwriter, has seen him in great demand, not only as a session musician but also as a collaborator on various projects. His live performance has always carried a hypnotic quality and Simpson has not only released instructional DVDs, but also published a book. His many honours in the folk music industry place him at the very centre of all that continues to represent this genre of music, both the past heritage and future direction.
Armed with just guitar, banjo and ukulele on this stripped-down project, this constitutes an arsenal of formidable weaponry in the hands of a master musician. The flavour of the album is captured on the instrumental, Lonesome Valley Geese, punctuated by the background sound of honking geese and the soft laughter of Simpson as he exclaims, “Geese”, at the end of his home recording, proving that it was indeed entirely live and in the moment.
These songs were recorded during the early pandemic lockdown and a wide array of influences are woven through the song choices. There are covers of songs by Lyle Lovett (Family Reserve), John Prine (Angel From Montgomery), Bob Dylan (The Times They Are A-Changin’), Robin Williamson (October Song). There is a tribute to Mike Waterson with the inclusion of Three-Day Millionaire, coupled with Don’t Put Your Banjo In the Shed Mr Waterson, the former appeared on a Waterson’s album back in 1975 and the latter is an instrumental piece written on clawhammer banjo by Simpson.
Separately, it is the atmospheric and dynamic playing on Plains Of Waterloo that really captures the imagination, an instrumental that was first recorded in 1997 by Simpson for his COOL AND UNUSUAL album. Equally, the traditional and long-time favourite, House Carpenter, was one of the songs that appeared on 2005 release, KIND LETTERS and is included here to great effect. An Englishman Abroad has all the hallmarks of classic Richard Thompson and was featured in 2009 on the TRUE STORIES album.
The fingerstyle playing is so good across these selected tracks that there appears to be more than just one musician playing. His ability to move effortlessly along the frets and strings is equalled by his unwavering strum and tempo, which generates a rhythm that adds a bottom layer of percussion. Admiral Benbow is a fine example of this and the instrumental, Augmented Unison, has Simpson showing his prowess on ukulele, with beautiful spacing and note perfect flow.
Fourteen tracks and forty-plus minutes of real pleasure in the company of a master craftsman. His star has always shone brightly and his inclusion alongside such folk icons as Davy Graham, Bert Jansch, John Renbourn and Richard Thompson is fully earned and justified. This is a quiet gem and one that would stand tall in any music collection.
Review by Paul McGee
David Olney & Anana Kaye Whispers and Sighs Schoolkids
When David Olney passed away just over a year ago, the world lost another first-rate singer/songwriter who, while he may not have been that well known in wider circles, deserves to be considered as a member of the higher echelons of respected and revered songsmiths. So, it was something of a surprise when this album, recorded on equal terms with Anana Kaye, arrived. It opens with My Favourite Goodbye (after a short instrumental prelude) which finds Olney’s writing and distinctive vocals still resonating. It has the feel of a track from one of his more recent albums. Kaye is of Eastern European origin and shares many of the writing credits along with Olney as does Irakli Gabriel. There are also a number of co-writes with Olney’s long-time writing partner John Hadley. Gabriel is not only a co-writer and co-producer but also the guitarist on the project. He is the husband of Kaye and both are now based in Nashville where this album was recorded. Brett Ryan Stewart is the fourth member of the production team and also mixed, engineered and helped with the arrangements on the album.
Given the circumstances of subsequent events there seems a somewhat melancholy feel to some of the songs which take in reflections on life, love, death and departing. The material here can move from the emotional, to the historical, to the more existential thoughts on existence. The dozen musicians, some who have worked with Olney in the past, involved with the recording add much to its depth and range. While in the past on occasion Olney’s music has had a sparse feel, here there is much to enhance and develop the sound. Strings, brass and an ever-present forward-thinking rhythm section are all a part of the thoughtful arrangements here. Some of the tracks like The Last Days Of Rome also manage to set the pulse racing and rock out and are testament to the change of mood and tempos that run through this rewarding album.
The lead vocal is often taken by one or other and it should be noted that Kaye’s voice has a distinctive edge to it that is in harmony with Olney’s elder statesman voice. There was an obvious interaction and respect between both artists and it provides, in many ways, a fitting bookend to Olney’s career. It displays his willingness to explore his writing, and the subject matters therein and the way these songs are to be recorded. It was completed just as the news of his passing was announced. These songs and arrangements do justice to the talents of all involved. They captivate from the first listen and then manage to reveal further, with each play, its stories imputed with a sense of imagination and craftsmanship, that is important to the memory of this most individual of artists, as well as to the growing reputation of Kaye and Gabriel.
Review by Stephen Rapid