Crys Matthews Change Makers Self Release
Creating music for the past ten years, Washington DC resident Crys Matthews has released a powerhouse of an album that leaves one in no doubt as to her views on the acute need for social justice and humanity in her beloved USA. But unlike most of her like-minded campaigners, she manages to do so with a level of positivity and hope that is truly uplifting. From the opener Exactly Where You Are “no us and them, just me and you” to the closing Hope Revolution she attempts to reunite “we the people” by emphasising their similarities over their differences. Possessed of a powerful voice, Matthews draws on soul, folk, country and pop influences to realise her twelve empowering anthems. She’s aided by the uncluttered production values of Mark Williams (also contributing guitars) and by calling on the veteran folk/grass duo of Marcy Marxer (mandolin) and Cathy Fink (banjo) to help her to musically illustrate her vision. Ben Tufts on drums anchors them all and Wes Lanich on keys emphasises the soul vibe.
In For The Women With Steel In Their Bones, Matthews pays tribute to “the ones with titanium skin” and appeals that we teach “all little boys to respect and believe women”. Amen.
Another highlight is the upbeat acoustic guitar-driven Time Machine where she reminds Americans that “we are a nation of immigration but oh how quickly we forget” and there is “a new kind of trail of tears”. As a black lesbian woman she is acutely aware of homophobia, racism and misogyny but she still manages to believe that love will conquer all.
The well designed digipak is illustrated with photos of Matthews at the Lincoln Memorial. Highly recommended and already added to my Best of 2021 list.
Review by Eilís Boland
J.P. Harris Don’t You Marry No Railroad Man Free Dirt
In a move that seems appropriate to these straitened times, J.P. Harris has made an album of stripped back old-time music that consists of nothing more than claw-hammer banjo and his ageless vocal delivery. Producer Chance McCoy joins him on fiddle and backing vocals. The two had, in the past, toured together and created a lasting brotherhood, bonded by the music they listened to and played. Music that came from an earlier time but sent echoes right through to this present day.
As his main non-musical work as a carpenter, the opening song and oft-recorded House Carpenter may have a special meaning for Harris. It is also not the only song on the album that relates to this means of creative employment. Likewise the professions is referenced inThe Little Carpenter, a song that was learned from a John Lomax field recording from 1933. Although Harris misplaced the original cassette on which he had encountered a version of the song, he was able to remember the tune if not all the words, some of which he had to improvise for his version. It is a slow mournful droning lament that is very heavy-hearted in overall delivery. By way of contrast Otto Wood is a “bandit ballad” which is a lively tale of lucky escapades and misadventures that is matched by the pace of the music. Wild Bill Jones is likewise the tale of an outlaw that was again a song learned from another version, but one that in the recording revealed a variation that worked for this, its final, second take. Closer To The Mill (Going To California) is another song heard over time and adapted to the duo’s delivery. The title comes from a line in Mole In The Ground where the protagonist wishes he was a mole in the ground or a lizard in the spring (in the later case to hear a woman sing) as well as delivering the advice to never marry a railroad man, as he would kill you if he could and drink the blood as if it were wine. It is a traditional song that today may seem to contain something an archaic folk tale logic something that one encounters with the inherent story that has passed down through the ages from a much earlier era and source. Yet these tales seems to translate to a ready understanding of their meaning and metaphors.
Harris tells these traditional story-songs in a way that is as enduring as it is relevant. He notes that prior to his involvement in the classic country mode that was the focus of his band the Tough Choices, this was the world in which Harris had been immersed and after they had finished touring and the electric guitars and amps stored away, it was the banjo that was then his instrument of choice. So, when the opportunity came about during this enforced lockdown, he went to West Virginia and while there helped McCoy set up a studio in an old sharecropper’s shack where they recorded this material. Old time, old values, old friends and an old honesty in the songs and performances.
As with all of J.P. Harris’ music it is a case of following one’s heart and making the music that feels right at that time. Something he has always done despite any prevailing trends and fashions. It has, in that sense, a pureness that is intuitive and is the measure of the man.
Review by Stephen Rapid
Dave Clancy The Path Self Release
This is a debut album from Galway musician, singer-songwriter and session player, Dave Clancy. He has been a part of the creative music scene in Ireland over a number of years now and his experience in knowing what he wants from a song arrangement is very evident on this very impressive solo outing.
Clancy has been able to call on the many talents of musician friends that he has met over his career to date. Included are Noelie McDonnell, Nicola Joyce and Noriana Kennedy (The Whileaways) on guitar and backing vocals, together with Matthew Berrill (Irish Memory Orchestra) on clarinet, flute and saxophone, Will Merrigan on Double Bass, Fergal Scahill (We Banjo3) on Fiddle, Tom Portman on dobro, Gerry Paul on electric guitar, Shane O'Donovan on drums, Pauline Scanlon (Lumiere, Sharon Shannon) on vocals. Clancy is front and centre on all the tracks, adding acoustic and electric guitar, piano, pedal steel and superb vocals to elevate the experience.
There are drums used on two tracks, (Shane O’Donovan), with the remaining eight songs delivering gentle, sensitive playing; all wrapped in an easy, laid-back style. The production and engineering duties are handled by old music friends of Clancy. Both Liam Caffrey and Eamon Brady, who helped shape some of the original versions of these songs in their infancy, wrap the arrangements in soft colours and hues throughout. Brady also contributes on selected tracks, with some piano and synth bass, plus Wurlitzer and bouzouki, to elevate the overall sound.
Opener, Sunrise, sets the tone with some superbly understated interplay between the musicians and the warm vocal delivery of Clancy. The melody drifts along on a beautiful lilt and a reflective concern, ‘Where are we going now,’ - a look, perhaps, at where a relationship is heading; although it could equally be a cry for clarity in these challenging times we are experiencing and the lack of direction felt.
They’re Leaving follows and the soothing vocal tone belies the message of loss; barren country towns where the youth face the reality of leaving in search of bigger dreams. A tale of migration to the cities and away from those left behind, missing their daily presence. Title track, The Path, follows in a similar vein, with some atmospheric pedal steel, linking with clarinet and flute, to sooth the spirit and give reassurance, ‘Something tells me, We will find our way.’
The River Clare has another gentle arrangement with dobro and violin adding bright tones and a message to ‘cast our fears away’ and learn to dream again. Don’t Try To Hide Your Tears Away is a song that introduces drums for the first time and the sway of piano, with pedal steel and sweet harmony vocals, delivers another lovely melody.
The Welcome speaks of ‘A candle in the window,’ with the acoustic guitar and dobro parts a real highlight. Some fine playing also, from Willie Merrigan on double bass, always supporting the songs in a simple yet tuneful style and Pauline Scanlon sharing vocal harmonies with Clancy. All I Ever Knew is a standout among all these excellent songs; a love song to a hometown that is beautifully delivered and an evocative homily to the past and the carefree days of youth.
Be Yourself is a pep talk to banish self-doubt and to move forward, with lines like ‘You have to be yourself, although you may feel blue’ and ‘Your heart will keep you true’ pointing the way. Clarinet and dobro playing off each other as the troubles of the past melt away on the positive message. Surrender is another highlight with some tasteful piano and saxophone parts ‘the wine we once drank is from some other time, And the time we once spent is forever on my mind’ – what a great couplet to capture that feeling and a place that is so familiar - we’ve all been there.
The final song, Hold On, is another tender message to stay true to your feelings. The clarinet and saxophone adding to the acoustic guitar in a melody that celebrates the gift of childhood in all its innocence and bright optimism. Folk music with a distinctly Irish twist, these songs have come to fruition over a few years and the time spent has been well worth the tender loving care shown. This is a fully rounded album, filled with great song-writing, musicianship of the highest order and, most importantly, a real authentic mood and feel. As a vibrant young Irish artist, this points towards a very bright future.
Review by Paul McGee
Turner Cody and the Soldiers Of Love Friends In High Places Capitane
New York City is where Turner Cody called home, the place from which his artistic inspiration evolved, stretching back to the late 90s and presiding over the fourteen albums that have been released over this time. Cody has seen his East Village indie ethos develop and grow, into a more nuanced approach to music making, and the many interests and influences that have coloured his creative muse now find their way into this new album.
Cody introduces the talents of the Soldiers Of Love, the band of Belgian singer songwriter Nicolas Michaux, who also produces the project. They played a few shows together, back in 2017, and enjoyed the experience so much that it developed into a full European tour during 2018.
Turner Cody delivers a clear, unhurried vocal in a reflective mood, as the songs unveil themselves. There is the regret of The Beginning and wanting to return to something now lost. Lonely Days In Hollywood is just that, a reflection of days spent in isolation. The Four Thousand Dollar Days hints at better times when money was no object and life was lived high on the crest of a wave. Perhaps the character in Boozing and Losing has seen it all crumble down to dust, now living rough and aimlessly drifting.
On a separate note, Mr Wrong appears to be a bounty hunter song where someone is tracking a wanted man – of course that man could very well be the writer of the song, in search of his own identity, buried deep within? Telling Stories is a look at the little white lies that we all tell each other, just to keep on believing that we make a difference, as opposed to simply ignoring each other every day as we pass along in our busy lives. Self-delusion in order to endure?
Love In Vain follows a different path in speaking of unrequited feelings and what gets lost. Similarly, Nothing But Regrets, looks at ‘A lifetime of living, with nothing but regrets.’
On the other hand, What I Tell You, is a song about domestic bliss - a love song about being home and feeling happy in the company of another. The final track, Drink A Toast In Heaven, hints at the enduring power of love beyond the thin fabric of life, to pull back that curtain and keep a weather eye on those whom we love. The title track, Friends In High Places, sums it all up really with the lines, ‘I’m short on tomorrow and I’m long on yesterday’ with a focus on the past running through these songs; however, one can look forward to tomorrow with renewed optimism and a fresh beginning.
There is an understated approach to these eleven songs, with very fluid musicianship among the players who display a great understanding of the song dynamic and exactly what is required. At just thirty-five minutes long, this is the perfect album to chill out with, either in the car or just listening at home after a busy day. It’s a good companion that delivers some sweet music. Cody is now living in St Louis with his family and if you want to catch up with his back catalogue, then I recommend two compilations; SIXTY SEASONS (2000 – 2005) and the other, THE GREAT SHADOW (2000 – 2017), but this fine album is also a great place to get acquainted.
Review by Paul McGee
Annie Keating Bristol County Tides Self Release
This Brooklyn based musician, performer and teacher has been very active since 2004, when her debut album surfaced. Before taking up music on a full-time basis, Keating was involved in non-profit education at various levels, something that she still maintains as a passion today. She has been delivering consistently strong albums over the years and her relative lack of widespread media attention remains something of a mystery. Now, on her eight full release, plus a couple of EPs and a ‘Best Of’ collection in 2018, we find Keating in reflective mood since her last outing in 2016.
She retreated to her Mother’s home in Bristol County, Massachusetts with her family during the pandemic lockdown, taking time to look at her life and pouring her meditations and reflections into these songs. Over a five-month period, Keating wrote the fifteen tracks that are included on the album and, no doubt, a few more besides. The running of some fifty-four minutes demands quite a commitment from the listener, unless you are already an admirer, in which case this is no real imposition at all.
These are songs all about spending quiet time with family, slowing down and connecting with the simple pleasures - boat trips, walks by the river, drives in the country. The gentle, acoustic feel of a number of these songs show the contemplative nature of days and time spent in quiet reflection. Looking at the past and trying to learn lessons into the future (Nobody Knows), resolve to keep going in life’s journey (Blue Moon Tides) and being kind to yourself when doubt beckons (Half Mast).
There are also some fine examples of the power of the studio musicians that Keating called upon, with their restrained playing and stellar musicianship a real highlight on songs like Third Street, Marigold, High Tide and Hank’s Saloon, where letting your hair down and going for sweet oblivion is as good a cure as anything, during these challenging times. Lucky 13 is another example of the musicians in full flow, a deep groove that echoes the sense of having a good time and just being in the moment.
Keating covers both the personal and the universal in her themes and recalling days gone by, she delivers songs that evoke feelings of nostalgia for the past and gratitude for all that she holds dear. There are also hints of a broken relationship in these songs, with perhaps the Covid-19 lockdown providing the backdrop to escape a difficult situation, time for quiet contemplation and to rediscover what is important, as a way to move forward.
The core band is comprised of Richard Hammond on bass, Steve Williams on drums, Todd Caldwell on organ, piano and melodica, with Teddy Kumpel on, 6 and 12 string acoustic guitar, electric guitar, baritone guitar, bass, banjo, mandolin, percussion, backing vocals. Kumpel also produced the album and there are guest appearances from an additional seven musicians across various tracks.
There are a few songs that reference a friend made along this sojourn, someone who helped get perspective on everything and support the process of renewal. Tracks such as Kindred Spirit, Kindness and Song For A Friend all look towards connection and ‘Trying not to worry about not having plans.’ The use of pedal steel on two of these songs evokes the sense of the glow of friendship over time and in not being broken by life experiences.
The song, Doris, is a warm tribute to her beautiful Mother, who ‘Came to New York in 1959, an immigrant with a bright and brave smile.’ Bittersweet is a heartfelt goodbye to Bristol County and the community of friends that helped Keating through her months of new beginnings. It’s a sad song for the leaving, but also one of hope for the time to come, ‘It will not be goodbye, just the ending of a time, Salty sweet smiles and fish caught on the line.’
It would have been an appropriate way to end the album but Keating adds a further two songs that reference a broken relationship and the chance to rebuild from the damage suffered. Both, Shades Of Blue and Goodbye seem to come from a personal space and lines like ‘I’d seal the lid on you so tight, and walk away so I just might, Not feel these shades of blue today,’ plus the sense of loss, ‘Days of sadness that I walked through, Now I’ll try to wish you well, Will you think of me on occasion? Maybe smile to yourself.’
Perhaps the abiding message can be taken from the final track and the words, ‘Hope for kindness and connection, Try to stay clear of the doubts, There’s a little light now on the inside, Not going to let it burn out.’ This is a really strong statement from a consummate artist who returns with another shining example of her song-writing talents. And it is well worth the wait.
Review by Paul McGee
Naomi in Blue An Experiment Self Release
An award-winning humanitarian journalist, Naomi Larsson has released a four track EP which lands somewhere between experimental folk and psychedelic rock. Her writing career in 2020 earned her listings in Forbes ‘thirty under thirty’, having also been shortlisted for an Amnesty Media Award. As a musician, she was a regular solo performer prior to Covid - 19 lockdown and fronted the house band at Jambalaya’s Honky Tonk Thursdays at The Betsy in Trotwood, London.
With those live performances shelved throughout the best part of 2020, Naomi concentrated on recording these four songs, engaging Andrew Harwood, who produced and engineered the album at Reservoir Studios. The co-producer was Joe Harvey Whyte, who also contributed pedal steel and the mastering was undertaken at Abbey Studios by Miles Showell (The Beatles, Eric Clapton, Underworld, The Sugarbabes).
Both Drunk Again and the title track enter Jesse Sykes and The Sweet Thereafter territory. Haunting pedal steel guitar adds to the atmosphere of self-loathing and mortification on the former, while the latter would not be out of place on a neo-noir David Lynch movie soundtrack. More conventional is the acoustic folk-tinged Homeless Man, a wistful and lyrically poetic new British folk song, complete with imposing layered vocals and acoustic guitar. The seductive and melancholic final track Bottom Of My Glass is quintessential British folk-rock but with a fetching edginess to it.
It remains to be seen if AN EXPERIMENT is a launching pad for Larsson’s recording career or a distraction from her day job. Either way, it’s a most impressive and beautifully produced introduction to a multi-talented individual.
Review by Declan Culliton
Shannon Mc Nally The Waylon Sessions Compass
The musical career of Shannon Mc Nally as a performer and songwriter reads like a ‘who’s who’ of Americana, Roots and Blues music. Her early journey found her opening for Ryan Adams, Stevie Nicks, John Mellencamp and Son Volt, while she began to establish herself as a headline artist. Appearances on Letterman, Leno and Conan soon followed, as she cemented her reputation as a prolific and talented songwriter.
SMALL TOWN TALK, released in 2013, was her seventh studio album since she began recording 2002. It was a musical collaboration with Dr. John and a tribute to her long-time friend Bob Charles, who is a native Cajun and the king of swamp pop rhythm and blues. That project may have given her a further appetite to visit the songbooks of her musical heroes, leading to this recording.
It’s not an understatement to suggest that THE WAYLON SESSIONS was a labour of love for the New York born Mc Nally. In a similar vein to Jennings, she has always been a fiercely independent and free-spirited artist. A leading light in the male dominated Outlaw country movement most popular in the 1970’s and 80’s, it may come as a surprise to find Jennings’ back catalogue being explored by a female artist. However, on the contrary, the feminine representation of the songs by Mc Nally does not in any way diminish their muscle or indeed their messages. It may be sacrilege to suggest that some of her reconstructions improve on the originals, but a few spins of Mama Don’t Let Your Babies Grow Up To Be Cowboys, aided by the all-star band she gathered around her, leaves the listener in little doubt as to how well these cover versions work.
Those masterly players included Kenny Vaughan on guitar, Bukka Allen on keyboards, Chris Scruggs on bass, Derek Mixon on drums and Fred Newell on pedal steel. Guest appearances were also made by Buddy Miller, Jessi Coulter, Rodney Crowell and Lukas Nelson. The tracks were recorded live over a five-day period and any listener unfamiliar with Jennings’ war chest could be forgiven for assuming that the songs were written by Mc Nally. As a single mother and divorcee, she makes her own of songs such as I’ve Always Been Crazy and Black Rose. She finds room for rapid fire selections (I’m A Ramblin Man, Only Daddy That’ll Walk The Line) alongside the more considered ballads (Help Me Make It Through The Night, We Had It All). A duet with Lukas Nelson, You Show Me Yours And I’ll Show You Mine, also features. Rodney Crowell joins the party on I Ain’t Living Long Like This, singing a verse from the song he wrote with Waylon back in 1979.
Mc Nally bookends the thirteen songs with Waltz Me To Heaven. It’s a tasteful and fitting conclusion to what is a sublime delve into the songbook of one of country music’s finest songwriters. I’ve no doubt Waylon is looking down and tipping his hat.
Review by Declan Culliton
Jack Ingram Miranda Lambert Jon Randall The Marfa Tapes Vanner/RCA
Located in the high desert of the Trans-Pecos in far West Texas, Marfa has been a preferred location for Texans Jack Ingram, Miranda Lambert and Jon Randall to seek isolation and inspiration, resulting in some of their finest songwriting in recent years.
The ACM Song of the Year Tin Man, which featured on Lambert’s 2016 album THE WEIGHT OF THE WORLD, was written by the trio at Marfa in 2015. They returned to the same location on this occasion, not only to write but also to record the material they collectively fashioned. The three Grammy Award winners spent a five-day retreat in November 2020, writing and recording the material for THE MARFA TAPES. With the exception of a couple of the fifteen tracks, such as Tin Man and Tequila Does, the songs were written and recorded outdoors over those five days. Recorded in single takes, the album is very much a ‘fly on the wall’ experience for the listener, capturing the rawness, intimacy and magic of the songs, which were constructed around a campfire with the aid of three voices, two microphones, acoustic guitars and little else but nature’s surrounding elements.
One of the highlights of the project is the opportunity to hear Lambert in such a stripped back environment. She has been voted Vocalist of the Year in nine successive years by the ACM and her contributions on the album are a reminder of her vocal finesse. That aside, Lambert is also an exceptional songwriter, one of the finest of her generation of new country artists. Unfortunately, her writing has often been overshadowed by the pop country treatment which has, at times, overwhelmed much of her output.
THE MARFA TAPES captures the three artists at their most relaxed, laughing at and with each other and most of all, enjoying themselves. Lambert takes centre stage, providing powerful lead vocals on Geraldene and Two Steps Down To Texas. The latter, which pays homage to the dance halls in Austin, sounds as if it was recorded late at night after the cocktails had been finished and includes laughter, hand claps, whoops and the whistling wind in the background. She also leads out on the gorgeous Waxahachie and the aptly titled The Wind’s Just Gonna Blow. The trio dampen down the campfire with the closing track Amazing Grace - West Texas. It’s a tender and fitting recognition to the guiding light that inspired the project.
Ironically, given the typical work schedules of the three, the recordings might not have been brought to life without the pandemic. Given its raw condition, the outcome is an album that works spectacularly well and although Ingram and Randall deserve the kudos and credit for their input, the real winner is the unguarded performance from Lambert. Let’s hope it gives her the hunger to further pursue some more roots based output.
Review by Declan Culliton
Peter Doran Voices Self Release
The fifth album release by Peter Doran finds the Mullingar, Westmeath native sticking with the template that has served him well in his musical career to date. It’s a sound that embraces the best elements of folk music, delivering a well-constructed and considered suite of songs, ten in total, on his latest recording. His career path has served him well to date, resulting in headline shows locally, across Europe and in New York.
VOICES was recorded at Arthouse Studio in Co. Kildare, where Doran was joined by multi-instrumentalist Lenny Cahill, whose contributions include piano, bass, organ and drums. Harmony vocals come courtesy of Portland, Oregon singer songwriter Haley Heynderickx and frontman from Irish indie band The Prayer Boat, Emmett Tinley.
Doran recalls his musical mentor Vinny Baker on Blue Mountains. It was the first song he wrote when he acquired Baker’s acoustic guitar, following his friend’s passing away. It features that guitar alongside Doran and Heynderickx’ vocals and tells a tale of a mythical paradise nestled deep in the Blue Mountains. The opening track Slow is the most up-tempo track on offer, with the remaining songs more stripped back.
Childhood acquaintances are recollected in None The Wiser and the life journeys, often unexpected, that we navigate. Similarly contemplative is Dark Days which features imposing strings courtesy of Mary Barnecutt and Gerard Toal. Both songs are reflective of the gentle pace and consistency of an album from the deft wordsmith.
Review by Declan Culliton