Jesse Aycock Self-Titled Horton
This, Tulsa-based, musician has long been a part of the productive roots music scene that exists there. These Oklahoma musicians often play on each other’s records and stages. Aycock again steps out and upfront here for his latest release. First off, if you don’t know him, Aycock has a distinctive nasal vocal that, at times, reminds me of John Lennon. Passing Days and A Day In The Life particularly. Both of these days tell a story in a way that is unveiled in a fashion that is akin to watching clouds float slowly. Likewise, Aycock skills reveal themselves across these thirteen songscapes, as an arranger, writer, player and vocalist. It is perhaps difficult to pin him down to any specific genre, which is not a bad thing, once you take the time to get acquainted with his songs.
As one might expect there are a number of players here from that local scene and beyond, as Aycock is a member of the Todd Snider led band Hard Working Americans. Here he works with John Fullbright on keyboards, alongside an understated rhythm section and some additional strings and keyboards. Other than the backing vocals, Aycock plays guitars and steel, as well as keyboards including Mellotron. He co-produced with Jason Weinheimer (who with others, including Allison Moorer, add backing vocals) to achieve this particular sound. There are moments where the tempo increases and the band loosen up to allow a little rock into the process such as with High Hopes, Past Life and Shed The Light. More often though the mood is mellow and downbeat. A track like Wreck Like You (“I’m a wreck like you”) is sympathetic to the lassitudes of life. The nature of the songs and the deliveries makes it, on occasion, a little harder to define the lyrical directions. However, the overall mood of the songs are a pretty good indication of that.
There are a couple of immediate stand-outs here with Sadder Than A Sunset and Under The Gun. These make for memorable performances, the former is a melancholy reflection on using time in the best way possible, as it is limited. The latter has a great melody underpinning the song about living under a burden of iniquities. It could easily have been recorded in the 60s when, in the UK, there was a spate of country-rock albums released. That vague hint of psychedelica is present on many of the tracks too.
It is an album that has reportedly seen its maker deal with some difficult situations. So this self-tiled album deals with many of these issues while at the same time offering hope for others, as it did for him. It has the potential, as the song says, to shed some light.
Review by Stephen Rapid
Doug Hoekstra The Day Deserved CRS
It’s really been too long. A temporary time out turned into time away, a prolonged break from the business of making sweet, internally driven music soundscapes. In between writing and performing, Hoekstra decided to shift the creative process to more immediate family matters and his honey toned and whispered vocals took a merited rest after a run of eight albums since his 1994 debut.
However, since his last release in 2008 (BLOOMING ROSES), Hoekstra has developed the obvious talents he has for communication and produced two books of fiction and poetry, THE TENTH INNING (2014) and UNOPENED (2019), with another publication of short fiction, Ten Seconds In-Between, due for publication in June of this year.
On this new release, Hoekstra is making up for the absence by penning ten songs that run over a period of fifty-three minutes, with three of the tracks circling the seven-minute mark. These are relationship songs; of friendship, fatherhood, romantic love, unrequited love, alienation and fellowship… Overall, it’s about a sense of community, even in our individual isolation, and being there for each other, whenever we can. As you would expect, Hoekstra has a lot to say, after being so long away.
Using Dave Coleman as co-producer works well and his contributions on lead guitar, mandolin, organ, synth guitar, percussion and vocals, cannot be understated. He colours these arrangements and melodies with different hues and adds symbiotic layers to the superb musicianship of Hoekstra, who shines on a selection of rhythm guitars, piano, organ, melodica, Wurlitzer and xylophone, together with those refined lead vocals.
Further enhancement to the songs is provided by Hannah Fairlight (vocals on four tracks), David Henry (violin and cello on two songs), Jimmy Bowland (saxophones on three tracks), plus an appearance from son, Jude, to whom the album is dedicated, guesting on clarinet for the sublime Late Night Ramble, in a way the cornerstone of this album.
At every turn, the songs are beautifully anchored by the rich and sensitive playing of Chris Benelli (drums, percussion) and Paul Slivka (bass). There is also a guest appearance by Preacher Boy on co-vocals for the superbly illuminated Gandy Dancer, another key song, detailing the relationship between a navvy worker and his gangland friend who offers a tempting job, ‘In a day he’d make more money, Than a year as a working fool.’ There is a bold arrangement with some mean guitar grooves and a sax blowing sparks above the co-vocals of Hannah Fairlight and Preacher Boy.
Elsewhere, there are numerous subtle touches throughout, such as a gentle violin melody, or a cello part to enhance the atmosphere. Keeper Of the Word looks at the relationship we often take for granted on visiting our favourite bookstore and bouncing conversation back and forth with the regular staff who lovingly keep the shelves stocked with a sprinkle of fairy dust in the air. The big sound of Wintertime is a throwback to old RnB memories and the heady days of Muscle Shoals artists in Alabama, juxtaposed with the deep wounds of history, rooted in the Civil War past, and the hardships endured by the black communities that continue to bubble, just below the surface; a reminder that racism is always ready to show its ugly face, ‘Storm clouds blow away, Winter of the day.’
There is a light pop sensibility, incorporating soft folk nuances, running through some songs; with an arthouse feel to the music, occasionally nodding towards Beatlesque arrangements. The scoreboard keeper on Outside Looking In, is an observer on life passing him by and the girl that he monitors from his hidden view, ‘Sunlight paints her graceful hands, Holding a pencil, keeping score while she tans.’
The immigrants of Unseen Undetected have a fragile relationship with the locals and do what they must to survive, a quiet dignity pitched against the hate and bigotry of the racist communities. Higher Ground hints towards climate change but also looks at childhood, memory and regrets, ‘The fields I used to roam, Are an underwater plain, We danced one more time, In the eye of the hurricane.’
Carry Me is a beautiful song that looks at the love between a parent and a child, the passing of time and the need to lift each other up along the way, ‘Please remember when, Everything was new, And if you’re ever feeling blue, I’ll be there to carry you.’
Seaside Town imagines the loss of a local painter who disappears from her local town into her own vision of the American dream, while Grace, looks at a relationship in need of a health check and a time to reflect on what is, ‘Look at what we have, instead of what we lack.’
Perhaps the message in Late Night Ramble sums it all up in the lines, ‘Some people skate the surface, Others go just deep enough, To feel any kind of feeling, That isn’t mindless and numb.’ The message of live-and-let-live runs through these songs, however fractured and in need of support we all may be. The gaps between are not as great as the potential for love and understanding in these troubled times. Welcome back Doug, we missed you!
Review by Paul McGee
Kolby Knickerbocker Over and Over Self Release
A singer-songwriter who is new to me, but who has been releasing music as far back as 2004, when a debut album, Kitty’s Musicbox, first appeared. Kolby subsequently released music in collaboration with Nate Donnis, as Rodello’s Machine, and a self-titled EP arrived in 2009, followed by a full album release in 2015. After a further EP in 2016, the duo began to focus on other projects and this resulted in a solo EP of six songs from Kolby in 2019, titled Kindness and Courage.
So, fully updated, here we are with another EP, this time just four songs, all of which speak in terms of loving commitment and dedication to his role as both committed husband and father. Kolby has a very soulful voice and sings with both conviction and passion. His vocal tone reminds me of the great Marc Coen and there are also signposts to Zack Williams of The Lone Bellow in the gospel-tinged, soulful delivery.
Prayer is clearly a love song to his wife with the lines, ‘And when the years have gone, Watching the setting sun, May these memories, Of her, Stay beautiful.’ The next track is Over and Over, a soulful ballad, delivered with great emotion, assisted by backing vocals, resembling a gospel choir, ‘‘There is nothing you could say, Nothing you could do, to turn me away, I will love you in every way, Over and over again.’
Everything I Am follows with more soulful harmonies, gentle strings and a reflection, ‘It’s your smile, when we’re dancing, It brings me back to who I am, When I am old and faded, This love, these memories, will bring me back again and again.’ The final track is Grace and it’s a prayer sent out to the universe to heal our troubles. Equally it could be a song that is dedicated to his daughter as she grows into adulthood, ‘May you find a song that eases all your pain, May there be a friend to help you through your troubled days, May you realize the world conspires to love you in every way, May you find grace.’
What better sentiment to conclude a very enjoyable set of songs? Kolby is blessed with all the attributes to succeed in an industry that’s in need of honesty, integrity and real emotion, all of which he displays in his talent as a songwriter. Just like a knickerbocker glory, that delightful ice cream sundae, layered with different sweet tastes, this talented artist gives fair warning that the best is yet to come.
Review by Paul McGee
Los Brujos Alchemy Inseam
Sometimes the best surprises come later in the day, just when you thought that you had already opened all the presents that were under the tree. Just now finding its way out of the review mountain, this debut EP is the creation of multi-instrumentalists Michael Spaly (Green Monroe) and Chuck Melchin (the Bean Pickers Union).
The five tracks were recorded remotely last year with the aid of some additional musicians on certain songs. Carla Ryder adds beautiful backing vocals on both Bronco and Everything I Can, with Jim Larkin also playing drums on the latter track. Chris Coughlin contributes backing vocals, organ and piano on High Times and all other instruments are played by the dual talents of Spaly (acoustic guitar, violin, mandolin, bass, drums, synth) and Melchin (acoustic and electric guitar, mandolin, violin, bass). Both the playing and production is quietly compelling throughout, with superb musicianship and lovely melody lines.
The opening song, Reckoning, has a haunting quality to the arrangement, with ghostly guitar effects from Melchin adding a sense of menace, as the superb harmonies weave around a tale of an old house, recessed in the woods. There is the hint of evil in the lyrics that speak of eleven bodies underground and a line of trees that block off the view.
Bronco follows and is a song about a relationship gone wrong and a need for the girl to break away from an unwanted role of homemaker, driving into a new life, leaving the guy behind, wishing she had stayed. There is a sad air to the melody, where violin and mandolin raise the heartache involved with some creative interplay.
Everything I Can is another tale of relationship woe; with the guy this time deciding to leave and seek out new experiences. ‘Didn’t mean to say it’s over, I just need a different sky, This old town is growing smaller, You don’t need to throw a clock to see time fly.’ With both Spaly and Melchin contributing on mandolin, the sound is richly melodic, augmented by evocative violin and a nice electric guitar run by Melchin.
High Times is a song that tackles the reality of having moved to that new place and trying to integrate into the pulse of a new environment. Be careful what you wish for as things don’t always turn out the way you envision. As the lyric says, ‘I feel so afraid living around here, My worst habits have become my best friends.’ Some nice banjo playing on the arrangement and a distorted vocal part that heightens the disillusionment of having to wake up with yourself every day, ‘You can change your outlook, you can change your plans, You can’t shake that weight off, God knows I’ve tried again and again.’ The shared vocal on this song is also very effective, with Splay and Melchin highlighting what superb singers they are.
The final song, Bitter Blue, is a look at mistakes repeating themselves, no matter where we move to; a new place doesn’t change the feeling of being just a day away from where you want to be. This is a very enjoyable mini release and certainly leaves the listener wanting much more. Quite why the multi-talented duo stopped at just five songs is something we can only ponder, but I suspect that we may not have heard the last of their creative playing and song writing. A great addition to your music collection.
Review by Paul McGee
Will Overman The Winemaker’s Daughter Self Release
In 2017 this singer-songwriter released a debut EP of five songs that brought him to the attention of a wider market. Born in Charlottesville, Virginia, his course through life has been defined, like many of us, by his changing experiences and relationships; growing up, attending college and taking time to travel before settling into a career. Along the path, he met his future wife and in charting their time together, Overman writes from a personal perspective, as these nine songs reflect his experiences over recent years where life has taken a few unwanted turns.
His wife, Janey, has battled and survived cancer on two separate occasions and during this deeply stressful time for both, Overman was also grappling with his own parents split and divorce. Trying to establish a career at the best of times is not an easy road, but with all these added pressures, it’s a credit to the bond he holds with his wife that both can endure and look to move forward. Financial constraints alone must seem overwhelming.
The album has touches of a contemporary Folk sound, mixed with Country and a little bit of Americana Roots, influencing the arrangements. Overman plays acoustic and electric guitar, plus harmonica and sings lead vocals in a very convincing performance and assured style. Eric Knutson adds his talents on vocals, acoustic and electric guitars, banjo and mandolin; joined by Butch Taylor on keyboards, Sam Wilson on pedal steel, Jason Kapp on bass, Paul Rosner on drums, Chris Pandolfi on banjo and Genna Matthew and Carl Anderson on backing vocals. The ensemble knit well together and support the arrangements with an easy understanding that highlights the great melodies.
Overman writes all the songs, four of which are co-writes with Knutson and the album was recorded at Monkeyclaus Recording Studio in Roseland, Virginia. Dave Stipe produced and the songs follow a timeline that includes renting a first apartment together in younger times, Bad Apartment, getting married, despite parental misgivings, The Winemaker’s Daughter, and a heartfelt tribute to Janey on Something To Hold. It’s a love song that highlights the deep emotions Overman has for her as together they grapple with their challenges.
Living Wage chronicles hard times when the struggles of a musician require support from a caring wife, despite the occasional personal slips and mistakes along the way. Elwood is the story of a local musician that drank his career away and ended up with no hope of changing at the end of his road. It’s inclusion here is almost as a warning not to follow such a well-worn path.
Mercer Street details the illness that Janey battled and the need for unconditional support during a fragile time, ‘ My baby’s fighting a battle of her own, I’m just here to keep the wolves at bay.’
The final three songs are also linked with his wife Janey; Little Things observing the daily minutiae that make a relationship work, coffee in bed, chores, beer on the porch, sitting under a tree in the backyard; Traveller’s Promise is about the perspective gained in touring the world together and the growth felt, taking back home all those memories and life experience; Miss California is a memory back to before cancer came into their lives and the easy way that their time was spent in L.A. on Venice beach, hanging out with friends. The final sentiment says it all, ‘City of Angels, city of devils, Went through hell in paradise, But darling I’d do it all over, If it gets you here alive.’
And, so say all of us. Hopefully Janey is now in a period of remission and life can go forward with renewed purpose. These songs are honest, from the heart and a chronicle of a time in their lives that will be survived with the benefit of fortitude. An album that delivers, with fine performances, some great songs and plenty of grace.
Review by Paul McGee
Janet Simpson Safe Distance Cornelius Chapel
This is the first solo album that Simpson has released in her own name. A well-respected member of the vibrant music scene in Birmingham, Alabama, she has been a key influence on numerous recordings over the years since moving there in the 1990’s. Previous projects included her solo work under the performing name of Delicate Cutters, plus spells with friends in bands such as Teen Getaway, World War Four and Wooden Wand.
Her various talents include singer, songwriter, composer, and multi-instrumentalist and the involvement on this album of Will Stewart, her writing and touring partner, is very influential. They also have an ongoing connection as the performing duo, Timber. Stewart contributes on guitars and vocals, joined in the studio by Robert Watson on bass and Tyler McGuire on drums. There is a guest appearance from Jody Nelson on the track, I’m Wrong, and his guitar playing is inventive and telling on a song about long distance love. With Nashville Girls, Simpson a look at the fake allure of the bright lights on Broadway and the type of person that is drawn to the shiny surfaces that are never all they seem, ‘They hold their hats and smile so easily, tattoos and bubble-gum, worldly and naïve.’
The talent of Simpson is very evident as she shines on guitars, keyboards, synthesisers, percussion and sings in a richly warm vocal tone. Her delivery recalls different singers and, without making lazy comparisons, she displays an ability to change her vocal style across the songs, in order to suit the particular colours required. The album was recorded at the Communicating Vessels studio in Birmingham and was engineered and mixed by Brad Timco. The players are all beautifully understated with a less-is-more approach to the arrangements and some terrific, melodic interplay, never more so than on the slow, haunting Ain’t Nobody Lookin’ - a song that gives a sense of separation, of holding on, hiding away from the glare of the crowd.
Elsewhere, the County noir feel of Slip, deals with the boredom of routine in small-town America and the urge to just get away and reinvent the future. Reno is a similar theme but with dysfunctional partners who are at odds with what course of action is best. Talk of going ‘back to the bottle’ sums up the angst and regret expressed in the vocal delivery.
The title track talks about safety and measure, of misunderstanding. Mountain is very atmospheric with great keyboard sounds and a road trip captured in a dreamlike moment, a sense of dislocation, of being at the mercy of night. Silverman is a look at relationship woes and the need to seek attention, being submissive and feelings of being cheated. Black Turns Blue is centred around distance and a lack of communication, with the denial summed up in the lyric, ‘I’ve been drinking all my feelings, cause it’s so much easier than dealing.’
The last track, Wrecked, brings all the angst and self-doubt full circle with a flirty and light delivery, a song that ultimately speaks of living life for yourself and being independent of all opinions. There is a sense that the long, lonely journey and relationship constraints have disappeared and the battle between façade and real feelings has been fought and won. A very engaging album and one that will continue to garner praise as the year unfolds.
Review by Paul McGee
David Leask Voyageur in Song Factor
Voyageur is the name of an acoustic guitar and the stimulus behind a project titled Six String Nation. The guitar’s make up is a reflection of over sixty pieces of Canadian culture and history and the initiative, created by Toronto based writer and radio personality Jowi Taylor, is to tell the story behind the guitar’s inception through words and imagery. Numerous musicians across Canada have bought into the initiative, performing live shows with material reflecting the instrument’s history.
Born in Scotland but residing in Canada for nearly thirty years, David Leask is a singer songwriter and teacher whose work has earned him numerous awards over the years including the Mississauga Performing Artist of the Year. An interesting concept album, VOYAGEUR IN SONG, finds Leask addressing the stories behind the guitar’s biography to construct six imagery provoking songs, with the songs all written by him with the famed instrument.
Opener Against The Grain, calls to mind the three-hundred-year-old golden spruce tree, a carving of which was worked to create the guitar’s top. A fisherman noted for his oyster shucking expertise is remembered in The Legend of Joe Labobe, his prized shucking knife having been used as the seat for the strap post on the guitar. A grain elevator, built by Christian pacifists in Saskatchewan, having fled persecution in Russia, inspired Spirit Wrestlers. A single piece of timber taken from the grain store was used in both the interior and exterior of Voyageur.
The sound is very much classic singer songwriter styling. The songs combine Leask’s compassionate thoughts and messages alongside some fine playing by the host of musicians that contribute. He appropriately signs off with Les Chansons Du Voyageur, which considers the history and culture of Canada inspired by this simple instrument. As you might expect that final track was recorded with only vocals and the famed guitar.
Review by Declan Culliton
Sam Phelps Talking To A Friend Self Release
A native of Kentucky but presently residing in New York, TALKING TO A FRIEND is a three track EP and introduction to the music of Sam Phelps. Like many other artists Phelps put his time spent in COVID-19 -19 quarantine to good use, reflecting on life’s struggles and tribulations and working his inner feelings into songs.
The title track is a contemplation on a past relationship and the need to know when it’s time to move on, for better or worse. An old acquaintance close to the heart of the writer is recalled fondly in Choices and the third composition is the soul searching and forthright I’m Weak.
Phelps’ sound is brooding Americana delivered with a cracked vocal, crisp guitar playing and some mournful pedal steel. This compassionate three song taster is an impressive starting point which should open a number of doors for Phelps
Review by Declan Culliton
Chris Roberts Red Feather Self Release
After a background in athletics in his younger days followed by a chequered career that included bruising work on construction sites, carpet laying and other manual back breaking earners, the Austin born Chris Roberts founded a hat making business, Aspen Hatter. The successful latest venture creates handmade and bespoke hats for guys and gals, expertly designed and crafted by Roberts and his team. As the business flourished, Roberts was in a position to hire additional staff and used the down time to write and play music. He is on record explaining his entry into his side career as saying “I never tried to become a musician. I never thought I would play music. I never desired to play music. It’s just that music kept falling into me and out of me until I had no choice.”
RED FEATHER, his six track EP, was recorded in Joshua Tree in California. With all his shows cancelled, he and his band quarantined there and used the time to complete the recordings for this album. Those band members are Eli Wulfmeier (guitar), Adam Arcos (bass), Jake Abernathie (keys) and Jason Ganberg (drums). The tracks are a blend of hard-nosed Southern Rock (Get Down, On My Own) and melodic Americana ballads (Coming Down Ain’t Easy, Remember That It’s Me). The sixth tune Hate When You’re Gone is a soulful bluesy affair.
With a strong soulful vocal range, a band operating at a very high level and a suite of quality songs, RED FEATHER is a worthy introduction to an artist we’re likely to hear a lot more about in the future.
Review by Declan Culliton