Dallas Moore The Rain Sol
Another fine effort from Dallas Moore, who keeps developing and refining his musical output. Moore is a striking vocalist in the big voice/big beard mode of operation. He writes again here about the life he leads on and off the road. These are a new set of original songs - two are co-writes with fellow musician Ted Russell Kamp. After a time off the road Moore began to write in lockdown and the inspiration flowed. He went back into the studio with producer Dean Miller for a two-day session to lay these songs down and to capture the energy in a way that was both relaxed and focused, benefitting from the process of recording live with the musicians.
Moore’s road guitarist and friend Chuck “Lucky Chucky” Morpurgo brought his guitar expertise to the session, along with some players who show that they are fully conversant with what the music and personality of these songs should be. These included Steve Hinson on pedal steel and a rhythm section of Chad Cromwell and Lex Price. It serves as a timely memorandum of where and what Moore was thinking of at the time. Songs that relate to what he missed about being on the road include tracks Every Night I Burn Another Honky Tonk Down, On Through The Night and California Highway.
Other songs such as Blue Jean Jesus are reflections on people he has encountered along the way. The song is a scripture quoting a long-haired individual who receives the brush-off from a conservative community, who consider him something of a freak, although Moore counts him a friend. A broader perspective on life is at the heart of Better Days wherein he proclaims his pride in the family he has raised, even if he himself has previously seen better days. Locked And Loaded takes note of the situation so many are in right now with the pandemic restrictions in place worldwide and being unable to do what they would have done in “normal” times.
What is apparent here is that although recorded swiftly, the results capture the ensembles playing and energy. This is done in a way that not only does justice to the material, but also sees Moore deliver nuanced and naked vocals that show he is increasingly growing on that score. His recent albums have all entertained as indeed THE RAIN does. But beyond that, with the parameters of playing country music, outlaw or otherwise, Dallas Moore is doing it this way and should gain praise for the redemption that it has offered him and to what the end result offers his listeners.
Review by Stephen Rapid
Jason Ringenberg Rhinestoned Courageous Chicken
After a period of reflection following the release of his last album STAND TALL, Ringenberg is back revitalised and ready to face the world with his music again. Those who know him will be aware of what to expect from his storytelling songs and his utterly recognisable vocal twang. His comrade-in-arms George Bradfute again sits in the production chair, as well as bringing his multi-instrument ability to bear, creating the bedrock of these songs. The many vintage electric and acoustic guitars that feature are listed in the liner notes. The songs were all recorded in Bradfute’s Tone Chaparral studio which is situated in the basement of a house once owned by Jim Reeves. Therefore, the recording location as well as the song themes are largely rooted in history.
Also involved are old friends, vocalist Kristi Rose and Fats Kaplin, who added his skilful pedal steel and fiddle contributions. Both feature on the open track Before Love And War, which asks that very question of a time when there were “no suspicion, no demands.” I Rode With Crazy Horse is a case in point wherein the song’s subject speaks of his allegiance to the famed Native American leader for better or worse. More recent history is the subject of The Freedom Riders Weren’t Free. It is set at a time which was, conversely, tinged with both demands and suspicion. It is a remembrance of those courageous souls who took part in the Freedom Riders, to highlight the injustices of apartheid and to protest segregated bus travel in the South.
Nashville Without Rhinestones and Stoned On Rhinestones both look back at a time when that particular garment ornament was a part of an overall symbol that allowed the audience to be transported by the event that they were witnessing. Where they were allowed, for a short time to forgot their individual troubles. Those performers, who seem electric on stage as well as in the light, where the embroidery and rhinestones of a tailored Nudie (or other suit) were an indelible part of country music. These days it is often a clear cut signal of a particular artist’s allegiance to the deeper tenants of country music’s history. Think Jim Lauderdale, Marty Stuart and some more recent artists like Joshua Hedley as well as Jason Ringenberg
As Ringenberg has done in the past, he has recorded some specifically chosen cover songs to include on this album. There’s the public domain hymn Christ The Lord Is Risen Today, a song that would also underline his own spirituality and faith. Another long held faith in the power of song is recognised with the choice of Hank Williams Snr’s You Win Again. The Ozark Mountain Daredevils Time Warp also gets a spirited workout which is totally suited to Ringenberg’s methodology. All represent different periods of country music’s ever changing and evolving history.
In some ways Jason Ringenberg’s basic game plan hasn’t changed too much through the years. He has had a notable confidence from the start that has been developed, refined and is totally recognisable. In that light this will be a welcome new chapter for those of us who were always attracted to his honesty and enthusiasm. It can be hoped that the others might also get rhinestoned and fall under its spell. Another Nashville scorcher.
Review by Stephen Rapid
Brit Taylor Real Me Cut A Shine
For every artist that manages to survive and earn a crust in Nashville, there are hundreds of equally gifted artists that have their dreams and hopes crushed in a drastically over crowded market. Many arrive in Music City with stars in their eyes and bags of prowess, but discover that talent alone is no guarantee for establishing themselves. Without the support of family and friends, the end game can often be a return to their home State after years of rejection and struggle.
Brit Taylor could very well have been one of those statistics. Performing from the age of seven in her home State of Kentucky, she possessed the skillset to follow in the footsteps of her fellow Kentuckians Loretta Lynn, Patty Loveless, Dwight Yoakam and Chris Stapleton. Her career path found her relocating to Nashville after high school graduation, where she gained a college degree and a publishing contract with Caliv Entertainment. She co-wrote alongside touring with her own band, got married and settled in Nashville. What seemed like the faultless career path went off the rails when her marriage failed, the bank sought repossession of her house and she lost her backing band.
Following a harrowing period of self-doubt and depression, she dusted herself down and channelled her sunken and unfulfilled dreams into a catalogue of powerful songs, fuelled by some seriously impassioned soul searching. The stimulus for REAL ME was born out of a songwriting session with producer, Black Keys front man and winner of several Grammy Awards, Dan Auerbach. A two-day session with Aurbach yielded eight songs, five of which feature on the album. Other writers who contribute are Pat Mc Laughlin, Will Hoge and Dave Brainard, who also produced the album having previously worked with like-minded talented songsters Brandy Clark and Sunny Sweeney. Notwithstanding that the songs are co-writes, they read as unguarded and self-confessional admissions by Taylor from the opening Bobby Gentry flavoured Back In The Fire to the upbeat Western Swing closer Go Down Swingin’.
Waking Up Ain’t Easy recalls rock bottom, with tear inducing lyrics emphasised by stinging pedal steel. Married Again is a honky tonk hoot, both from the heart and tongue in cheek, it mirrors Loretta Lynn at her most feisty. The gorgeous ballad Leave Me Tomorrow uncovers Taylor clutching at straws as she comes to terms with a crumbling relationship. The autobiographical and gentle title track finds Taylor accepting who she is moving on to a better place.
With a ‘lonesome as they come’ country voice and music flowing freely from her studio partners, REAL ME is pure unadulterated country, without a hint of stepping into the dreaded pop/ mainstream crossover. It’s also a triumph over tragedy for an artist alongside others Nashville survivors such as Kelsey Waldon, Kristina Murray and Ashley Ray, who are recording bona fide country music on their own terms and not at the behest of a record label executive committee.
Review by Declan Culliton
Peach & Quiet Just Beyond The Shine Self Release
Welsh born Heather Read and Canadian Jonny Miller are Peach & Quiet and JUST BEYOND THE SHINE is the husband and wife’s debut recording. Currently residing in Pender Island, just off Canada's West Coast, the album was recorded during the pandemic with various tracks cut at Pender Island, Nashville, Toronto and Vancouver. The final mixing was undertaken at Henhouse Studios in Nashville by multi-instrumentalist Steve Dawson (Birds of Chicago, Kelly Joe Phelps, Tim O’Brien, Del Rey), who also performs on the majority of the tracks.
Not to be confused with the Miami prog soul band Peace & Quiet, Read and Miller’s songs are tender, unfeigned and very much written to each other, a reflection of their romantic and spiritual relationship. Country duets such as For My Love and There’s A Very Good Chance, sit comfortably alongside the jangly Byrds like Empty To Fill.
They share vocals on the love song Lucky In Love and Read takes the lead vocal on the dreamy California Way and the soulful Shoreline After a Storm.
Given the origin of much of the material, the end product could have been overly personal and inward looking. Instead, the end product is a rewarding listen of unhurried and patient songs, with lyrics that perfectly capture the moment.
Review by Declan Culliton
Langhorne Slim Strawberry Mansion Dualtone
‘’I called a healthcare professional, wanna speak to someone confidentially, don’t know just how I’m feelin’, but I’m feelin’ feelings exponentially’ confesses Sean Scolnick aka Langhorne Slim on Panic Attack, the second single from STRAWBERRY MANSION, his tenth recording. Noted for his enthralling live shows which are laced with humour, eccentric lyrics and rootsy songs, the admission is a reflection of the Pennsylvanian born singer songwriter’ state of mind while he struggled with prescribed medication, having previously overcome alcohol and substance abuse issues.
The album is also his most soul-searching undertaking and presents the listener with no fewer than twenty-two tracks to investigate. With touring and performing not an option in 2020, his East Nashville neighbourhood ripped apart by a tornado and a global pandemic, Slim used the downtime in the Spring to write the material for the album. Having not written a song for twelve months, his purple patch of creativity was born out of advice given to him by a mental healthcare professional, who suggested that, at the onset of panic attacks, Slim should reach for his guitar as a means of distraction. Accepting that guidance, he began penning a song each day, not necessarily intending them to form the material for a studio album. The end result is material forged by streams of consciousness rather than created with an actual studio recording in mind.
With the songs completed by May 2020, his record label Dualtone Records, to his surprise, supported the recording of the songs on a single album, rather than a second volume of songs to follow from his LOST AT LAST VOL.I, which was released in 2017. The recording took place at Daylight Sound Studio in Nashville in June, supported by his long-standing confidantes Paul DeFigilia (Avett Brothers) and Mat Davidson (Twain).
The upshot is a highly listenable suite of songs that suggests a lot of serious introspection. More laid back and fresher than its predecessor, Slim reflects on bygone wayward days on Summer Days while also expressing hopefulness going forward on Something Higher and Colors. Alright To Hide finds room for his trademark humour and self-deprecation and his insecurities and anxiety are laid bare on the aforementioned Panic Attack.
STRAWBERRY MANSION takes its title from a neighbourhood in Philadelphia where both of Slim’s grandfathers grew up. He describes the area as ‘‘dirty but sweet, tough but full of love’’, which probably best describes this immensely enjoyable and possibly Langhorne Slim’s finest recording.
Review by Declan Culliton
Geoffrey Miller All Night Honky Tonk Man Self-Release
The album cover and title leave you in no doubt as what to expect from Californian Geoffrey Miller’s debut release. Weaned on the music of Waylon Jennings, Hank Jnr., Willie Nelson and all things Bakersfield, Miller has digested all those influences and rebranded them on an album that zealously fuses rockabilly, country and swing.
Miller has paid his dues over the years, playing Fender Telecaster guitar and singing in a number of bands. Playing and touring with the rockabilly trio Twilight Drifters, the high energy western swing band The Sactown Playboys and Buck Ford’s Pure Country Band all created the ammunition for ALL NIGHT HONKY TONK MAN, which plays out like a jukebox loaded with classic tunes from another era.
‘The first thing I wrote about you was a cheatin’ song’ is the opening line from the album and from the song of the same name. It’s the first of twelve tracks, a toe tapping treat and a taster for what follows. It’s Not The Fallin’ and The Stars Are Talkin’ are rich in Bakersfield musical lore but Miller is anything but one dimensional. He’s equally happy crooning on the old timey laments Haunted Home, Neon Stars and the aptly titled If The World Ever Starts Again, or rocking out with the swaggering dancefloor jewels Honky Tonk Sin and All Night Honky Tonk Man.
With his deep-rooted musical DNA, the album plays out as one that Miller was destined to record, paying homage to the numerous styles of country music close to his heart. Despite the pandemic, he completed the album in 2020, with a combination of socially distanced sessions and remote recordings. He called on a crew of like-minded and crack players to contribute. U.K. born boogie woogie and jazz pianist Carl Sonny Leyland is on top form, as is fiddler Scott Joss, whose previous employers include Dwight Yoakum, Merle Haggard and Kris Kristofferson. Lee Jeffries (Big Sandy and His Fly-Rite Boys) is one of two pedal steel players credited, the other being Nashville session player Travis Toy who is a regular player with Rascal Flatts and Lee Ann Womack. Both Larry Carr and Jim Frink provide drums, and bass guitar is played by Zack Sapunor, who has toured with Wayne Hancock and Hot Club of Cowtown.
The recordings were overseen by another Country music stalwart and long-time guitarist with Merle Haggard, Jim Baughman. The final mixing was carried out by Deke Dickerson at his Ecco Fonic Studios in California.
Review by Declan Culliton
Mac Leaphart Music City Joke Self Release
Tarred with the same brush as his icons John Prine, Guy Clark and Hayes Carll, Mac Leaphart is a storyteller with a gift for transforming his tales of bad luck, poor life choices and broken dreams into song.
Currently based in Nashville, Leaphart spent a decade playing bars and honky tonks around South Carolina, honing his craft, playing his humour laced sets and supporting himself by also working as a bartender. His gravelly vocal, rich in emotion, is evidence of those smoke-filled rooms and honky tonks on MUSIC CITY JOKE. It’s an eleven-track album and Leaphart, who won the prestigious Grassy Hill Kerrville New Folk Competition in 2018, surrounded himself with a team of crack Nashville players on the album. Produced and engineered by Brad Jones, who also plays bass guitar, the other contributors include Fats Kaplin on pedal steel and violin, Will Kimbrough on electric and acoustic guitar, Logan Todd on drums and Matt Menefee on banjo and mandolin.
It’s no surprise that the playing throughout is exemplary and Leaphart has the songs to match. The title track Music City Joke is a racy tongue in cheek recount of survival as a musician in Nashville (‘Big shoes we’re trying to fill, a beaten path up a worn-out hill’). Altogether more hard hitting is the acoustic Division Street which graphically paints a picture of those left behind, living on the streets of Music City with broken dreams and spirits (‘Dead grass and broken glass, nobody’s checking on a checkered past…you’ll find each night feels like the last’).
We hear of an underused acoustic guitar on the witty lament Ballad of Bob Yamaha or a Simple Plea in C Major. Every Day is a touching tribute to the dedicated stay at home wives and partners, who juggle endless balls in the air keeping relationships alive. The opening track El Paso Kid is an affecting tale of a character abandoned as a baby and his luckless existence thereafter. It’s very much from the John Prine style of songwriting and a standout track.
MUSIC CITY JOKE presents the listener with a number of snapshots that define the less glamorous aspects of survival in Nashville, while also tipping its hat to the numerous working musicians knocking out a living in an overcrowded market. It’s also a striking collection of plain-spoken songs, very much in the present, from an artist with an eagle eye for the minor detail.
Review by Declan Culliton
Pony Bradshaw Calico Jim Self Release
A latecomer to his art, Pony (James) Bradshaw’s performing career did not kick off until he was in his mid-twenties. CALICO JIM follows on from his 2019 recording SUDDEN OPERA. A gothic country debut album, the latter was laced with songs that visited isolation, passion and no shortage of regret. Similar but somewhat darker themes emerge on his latest album, which explores the society, environment and history of North Georgia, where he has resided for the past fifteen years. A self-confessed recluse and avid reader, Bradshaw creates seriously graphic impressions on the album with songs that demand the listener’s attention from start to finish.
His composed and controlled vocals are well supported by uncluttered instrumentation, which enhance the tracks without ever distracting from the narratives. It’s laden with simple yet catchy hooks. Lap and pedal steel, fiddle and banjo, percussion, guitar and bass lines all appear at the right time and in the right places. Brutal at times, there’s little to cheer about on the ten tracks or in the characters that feature on CALICO JIM. What it does achieve is a raw and faithful representation of life on the margins and survival against the odds.
A case in point is the evocative Dope Mountain, a song which reveals a once flourishing coal mining town, now offering its residents little by way of promise. It plays out like a composition by Jason Isbell at the top of his game, and this similarity recurs elsewhere on the album. Equally bleak is Jimmy The Cop, where the weather-beaten protagonist laments ‘‘I was born already dead’’ as he considers his aimless existence, alone, having been long since deserted by his wife. Hillbilly Possessed is a novel in itself, a raw and gripping tale of religious ambiguity, self-destruction and pent-up anger. Although there are no implied connections between the characters that appear in the songs, you’re left with a lasting impression on CALICO JIM that you’ve encountered the back bone of a community left behind to fend for themselves, with some barely surviving and others not even achieving that.
There are no shortage of singer songwriters recording quality music these days and it takes something special to stand out from the crowd. Pony Bradshaw most certainly achieves that on this hugely powerful and compelling album of songs that is Americana with a Capital A.
Review by Declan Culliton
Cassandra Jenkins An Overview On Phenomenal Nature Ba Da Bing
An album that evolved from observations and impressions formed while conducting self-guided tours of her native New York, AN OBSERVATION ON PHENOMENAL NATURE is the second album from artist and songwriter Cassandra Jenkins.
Her musical journey has travelled in a multiplicity of directions, from guesting on albums by Kevin Morby and art-rockers Muzz, and touring as a guest band member with Craig Finn, Lola Kirke and Eleanor Friedberger. She was also due to tour as a member of David Berman’s band Purple Mountain, prior to his death in 2019.
Produced by Josh Kaufman (Bonny Light Horseman, Muzz, Taylor swift, Josh Ritter), it was recorded in a week at his studio in New York. Kaufman also contributes guitar, harmonium, banjo, synthesizer, bass, piano and organ. It is somewhat more experimental than her 2017 alt-country tinged PLAY TILL YOU WIN. The ten tracks on the album read like chapters in a short story book, with each instalment presenting a range of characters. One of the songs The Ramble, features in three different formats, an instrumental and versions with both a long and short intro, both of which contain spoken word that reads like a cinema movie script. Hard Drive plays out like a series of overheard conversations featuring a security guard, a driving instructor and a psychic, all delivered with spoken verses and choruses delivered in song.
Michelangelo, was written as a mark of her admiration of Lucinda Williams. ‘’I’m a three-legged dog looking for what I’ve lost’, she sings gently alongside strummed guitar, before being joined by a thumping bass line as the song comes alive with a nod in the direction of Aimee Mann. The metaphor mirrors the trauma Jenkins was enduring while writing the album, recognising the challenge of putting yourself back together while surrounded by life changing events. Escape and resurrection continue to be sought on the jazzy New Bikini, and Crosshairs is beautifully melodic and equally fragile.
Difficult to characterise, Jenkins’ captivating album will appeal equally to fans of chamber pop as it will to alt-country or indeed jazz enthusiasts.
Review by Declan Culliton