Michelle and Jason Hannan Cheater’s Waltz Waiting For Lester
This husband and wife duo have released a number of records under the band name of Michelle Hannan & One Blue Night, as well as a couple of solo releases. Their previous collection, released last year, was titled YOU CAN GO HOME: The Quarantine Sessions and that speaks for itself. They are back now with this new album that has band mate and pedal steel guitar player Howard Parker’s name on the cover alongside theirs. He does sterling work here, adding additional emotion and fluidity to the album’s fairly straight country direction.
It is a concept album largely written by Jason, Michelle and some other co-writers. Jason also produced, mixed and mastered the undertaking. Not only that but as a multi-instrumentalist he played everything other than the accordion on one track and fiddle on another, not forgetting his vocal contribution sharing the lead and harmony vocals with Michelle. The primary acknowledged inspiration was Willie Nelson’s REDHEADED STRANGER. It tells the story of a luckless woman who, after previous failed relationships, encounters a stranger in a bar. In the end the tale follows from infatuation, to heartache and then to something much darker.
So let’s join our protagonist as she takes stock of her life of broken one night stands and a surfeit of alcohol fulled dreams. Nothing Left To Lose just about sums up her thinking as she enters yet another bar room and sees the possibility in another equally lonely person. Michelle takes the lead vocal and sings in a clear voice that conveys the dilemma. Before I Met You switches focus to the smooth talking of the man in question. It is full of promises and a false sense of “right man, right time”. It is an older song, one of the few songs not written by the team, previously recorded by Carl Smith among others. Here Jason takes the lead, backed vocally by Michelle and Parker. What follows is a thoughtful instrumental Loren’s Lament (written by Parker) that sums up a nagging sense of doubt that this may not be all it seems once again.
By track four the rot is setting in and in Here We Are In December “everything is cold and grey.” The title track follows and again Jason takes the lead to enunciate this male’s propensity for philandering, something he can’t seem to shake “ …the old cheater’s waltz / It’s the only song I’ve ever know.” However, on the other side there is a swift realisation that this is going downhill fast, even when its hard to admit, as is expressed in If You Won’t Say It’s Over. But old habits die hard and it’s not long before he’s back in the game for Livin’ On Barroom Time.
Everything I’ve Got’s In Tennessee takes things to the point of murder and a shallow grave. The murderess then hits the road, as the traditional song Leaning On The Everlasting Arms marks a point in time and purpose, before an awareness of what has occurred and the reasons play on her mind, much too late to change what has happened. Eddie Adcock’s song The Sentence is an appropriate choice where she is sentenced and will be setting out on “… a voyage that I’ll never return.” The title track is reprised before the song cycle closes with a (mainly) vocal rendition of the traditional song Feel My Time Ain’t Long.
Throughout, the performances are strongly centred and evocative of traditional country to the degree that if you were told that this was a release from several decades ago it wouldn’t be too surprising. The sound however is both fresh and fulfilled and deserving of compliments for the accomplishment of putting it together as an enjoyable body of music.
Review by Stephen Rapid
The Bean Pickers Union Greatest Picks Self Release
The name here to remember is Chuck Melchin, who is the head honcho of the Bean Pickers Union and this album, as its title suggests, is Melchin’s pick of tracks he has recorded under the band name through 15 years of music making. That includes choices from three albums, an EP and an additional four songs produced for this collection. As well as coming from a diverse set of time periods, it also covers a wide range of roots rock from acoustic picking, meaningful ballads through to full on alt-country rock and a lot in between. All of which makes for a varied listen from which its very diversity will both appeal or perhaps confuse, as the playing time for these eighteen songs clocks in at over an hour.
The opening song 16 Pounds Of Mary is a guitar-driven song about getting away with a certain amount of drugs to help on the journey. Next up, there is a very different feel to the desert Tucson-style arrangement and Spanish guitar of Burning Sky. Reaper opens with the crackle of a needle on vinyl for an acoustic blues tale of friendship and fate. Move along to I’m So Sorry and we have a lively apology, delivered with Telecaster twang and cowpunk energy. Another song, Tranquility, has brushed drums and banjo as its core in a song of seeking calmness, that picks up its pace as it progresses. Philemon is a atmospheric song with lap steel adding a highly effective ache to the story, searching for something to survive the end of a world that never happened after all. Grittier in tone, with organ and guitar distortion, is Independence Day. Another of Melchin’s tales of blue collar, small towns and hard scrabble existence,songs that balance hope and hopelessness, redemption and regret. Perhaps one of the most effective is the song of a returning veteran and the ongoing problems he encounters, and its effects on those around him. The words in Warrior are matched by the hard-edged telling guitar riffs that underline the subject’s loss and despair, and so it is through one strong song after another.
These are all held together by the power in Melchin’s voice and his lyrical awareness. The overall umbrella of Americana may well cover the different aspects of what exists in this collection. But there is throughout an intimacy that indicates the humanity at the heart of his words and arrangements. Not that one should undermine the various contributions of the other 22 players involved with these recordings. Different hands have also helped with the production duties, yet there is a consistency of vision throughout, something that marks out a performer more focused on the music than on fame. It may also explain why I have not encountered The Bean Pickers Union previously.
Greatest Picks is then something of a worthy primer for the released work under that collective banner. Much to admire. The four recently home studio recorded bonus tracks indicate that Melchin is far from finished in his endeavours and collaborations. A good time to join the Union.
Review by Stephen Rapid
Bard Edrington V Two Days In Terlingua Self Release
The title of this album pretty much gives you the basis of the recordings. Edrington V assembled five like-minded players in a church in Terlingua, Texas on March 1st and 2nd in 2020 to lay these songs down in an acoustically interesting live setting. One of those players was Bill Palmer, who had played bass on a track on the last Hoth Brothers album and on Edrington V’s last solo outing, ESPADÍN. His brother Jim here joins him on drums to provide a solid and inventive rhythm section. Add Karina Wilson on vocals, viola and violin (she also played on the last solo album) and Alex McMahon’s pedal steel, guitar and banjo, as well as Zoe Wilcox, another associate, on vocals and you have a team who are intuitive and inspired. It is however Edrington’s vocal presence that is central to the songs, all of which he had a hand in writing either solo or with others, bar one written by Mabel Edrington (Dog Tags 1942).
There was also a pretty open policy here to allow the material to find its place. The players worked without headphones or any obstructions to seeing each other in real time. That means the music can be acoustically based or it can utilise something closer to an electric guitar fulled ambient soundscape across twelve songs and a running time of just over 55 minutes. However, I never felt it outstayed its welcome and engaged throughout. This is essentially down to the group of players and their commitment to capturing something special in a unique location and timeframe that doesn’t allow the participators to overthink the process, but rather to capture the music in the moment.
From the opening Ramblin’ Kind Edrington’s voice has the necessary emotional resonance to draw you into the lyrics and to feel embedded within the music. Many are story songs that lay out a tale of hardship and high jinks. One of the best of these is Property Lines, where the electric guitar sets a tone that mixes with the violin to create a tension that brings the story to life. From then on the material covers as much ground as it can from the strangeness of Strange Ballon through to the folky old time backdrop of Dog Tags 1942. There are many moments were you are taken with the interaction of the musicians to bring the song to a slightly unexpected place, although from very early on that particular place seems natural and fundamental. The lineage of old time traditions and Appalachian narratives are the starting point, but Edrington allows the songs the be as relevant to today as they may be to the past. The ups and downs that life brings get equal prominence and consideration. There seems to be little judgement of the people who inhabit these songs, rather Edrington allows the song to reveal this as the account unfolds.
Bill Palmer also engineered and mixed the album and suggested the hundred year old church as a location. The end result adds to Edrington’s cannon of his solo and Hoth Brothers recordings and may be easily considered something special that celebrates the collective spirit and contributions of all involved, for whom the music is the message. It also marks Edrington as a musician who can celebrate life in all its ragged glory, as well as the nature which surrounds it. These songs are as much about place as they are about people and so it may be high time you spent some time in Terlingua, or someplace similar, as well as with this particular album.
Review by Stephen Rapid
Our Band Bright As You Wavy Glass
A husband-and-wife duo, New York based Our Band features first generation Russian - American and classically trained pianist Sasha Papernik and North Carolina born multi-instrumentalist Justin Poindexter. Their debut album BRIGHT AS YOU showcases their musical prowess together with their striking harmony vocals, across thirteen tracks that explore the roots of American music, with nods towards country, folk and contemporary. Their comprehensive skills both vocally and instrumentally rewarded them an extensive tour of Europe pre-pandemic, where they performed in Germany, Poland and Estonia as ambassadors of American music, at the behest of the U.S. State Department.
Lazy comparisons have been made with The Civil Wars, mostly fuelled by the couple’s physical appearance somewhat matching that of Joy Williams and John Paul White, who broke up back in 2014. Musically the duo cover quite a number of bases and, with a host of guest musicians, do so with aplomb. They drift effortlessly from the breezy poppy opener Priscilla to their take on the traditional song Wildwood Flower/ Wildflowers. Painting, inspired by the French artist Toulouse Lautrec, recalls Simon and Garfunkel and the tender love ballad More Than A Feeling features harmony vocals that both caress and soothe. The country ballad Roads That Rise (Gayle’s Song) sounds like a long-lost song from the past that has re-entered your horizon. The joy of parenthood inspired the catchy Hazel, written after the birth of their first child and they close the album with the prayer like I Find My Peace.
Intricately arranged and beautifully produced, BRIGHT AS YOU offers a polished set of songs, all delivered by inimitable vocalising and most impressive musicianship. It’s also very radio friendly and will appeal to a broad range of listeners. So, don’t be surprised if a number of these tunes are streaming from your favourite radio station in the near future.
Review by Declan Culliton
Nobody’s Girl Self-Titled Lucky Hound Music
An eleven-track album of melody laden songs that lands somewhere between folk and power pop, NOBODY’s GIRL is the debut full - length album from the three-piece band of the same name.
The members are accomplished recording artists in their own right. Austin singer songwriters BettySoo, Grace Pettis and Rebecca Loebe formed the band as a side project and recorded their EP WATERLINE in 2018. They toured extensively for almost two years both in America and Europe, before recording this album at Lucky Hound Studios in Texas Hill County in September 2019.
As was the case with WATERLINE, they engaged Grammy winning producer Michael Ramos (Kris Kristofferson, Patty Griffin, Paul Simon, John Mellencamp) to oversee the recording and also contribute keyboards and percussion. Other players on the album read like a who’s who of talented Austin session players including bassist Glenn Fukunaga and drummers J.J.Johnson and Conrad Choucroun. Celebrated guitarist Charlie Sexton, David Grissom and David Pulkingham all contribute.
Without ever attempting to reinvent the wheel, the trio have recorded a collection of intricately arranged, easy on the ear and hook laden songs with the emphasis on their honeyed harmonies. Standouts include The Promised Land, which totally captures their gorgeous vocal talents, the crunchy opener Kansas and the dreamy pop ballad The Morning After.
A slick affair from start to finish, NOBODY’S GIRL will no doubt further enhance the reputation of this gifted three piece.
Review by Declan Culliton
Robert Jon and The Wreck Shine A Light On Me Brother Robert Jon Music /CRS
Based in Orange County, California and ten years on the road, Robert Jon and The Wreck’s fifth album finds the five-piece band in fine form. Sticking with their core sound, SHINE A LIGHT ON ME BROTHER navigates its way around the key elements of classic Southern rock with rasping vocals, swirling keyboards, razor sharp guitar licks and a rhythm section that has Muscle Shoals stamped all over it.
The band members are Robert Jon Burrison (lead vocals, guitar), Andrew Espantman (vocals, drums), Steve Maggiora (vocals, keys), Henry James Schneekluth (vocals, lead guitar), Warren Murrel (vocals, bass) and the self-produced album was recorded at Sonic Groove Studios, Burbank, California.
They burst into life with the opening and title track. A throwback to the early 1970’s, its groove recalls the sound perfected by The Stones on EXILE ON MAIN STREET. It signposts the sound of the album and is matched by similarly pulverising rockers Ain’t No Young Love Song, Movin’ and Radio. They do take a breather mid album with three less muscular brooding ballads. Slowing things down somewhat with Chicago, they follow with the mournful and gorgeous Hurricane and the laid back and gloriously loose Desert Sun.
These guys continue to produce music that begs to be performed live and with a tour of Europe scheduled for the autumn, you’re well advised to check out their dates. If the sounds from The Black Crowes, The Allman Brothers and Black Oak Arkansas float your board, strap on your life jacket and get on board SHINE A LIGHT ON ME BROTHER. Satisfaction guaranteed.
Review by Declan Culliton
Dallas Burrow Self-Titled Self-Release
SOUTHERN WIND, the 2019 release from Dallas Burrow, was my introduction to the Texan singer songwriter. That album articulated the somewhat nomadic and often traumatic lifestyle of a young man who appeared to be finding his way out of an emotional wilderness. This self-titled album is a continuation of that journey. If that previous recording was a closing chapter on a potentially self-destructive existence, the new songs find Burrow nestled in a settled and contented life style, buoyed by sobriety, love and fatherhood.
The songs are mostly slower in pace than on his previous album, which is not surprising given their backstory. Burrow’s vocals are distinct, upfront and perfectly convey the messages within the songs. He’s got a story to tell and he wants you to listen intently.
His new found devotion kicks the album off with the gorgeous country ballad Country Girl (‘I love my country girl in all four seasons, on different days for different reasons’). The autobiographical content continues with American Dream, which lauds the simple yet central constituents of personal contentment. Like the opening track it is catchy as hell, lyrically sharp and holds the listeners attention, also displaying some seriously impassioned personal soul searching.
The spirituality that accompanied his sobriety is articulated on both Holy Grail and Easter Sunday. Both songs, in prayer like fashion, contemplate previous misdemeanours and the triumph of leaving the hell raising days behind for a more fulfilling existence. ‘Keep on Trying’, he advocates on the song of the same name. Complete with soaring guitar solo, it’s a kick back to the classic pop sound of the mid 60’s. He returns to his country roots with the swampy Born Down In Texas. It’s a reflection of the country blues Burrow has been dishing out in his side project El Saddle, a collection of friends from different bands that get together to perform.
Touring the southwest with Charley Crockett resulted in an introduction to Bruce Robison, who, impressed by the storytelling songs of his fellow Texan, offered his assistance in producing the album. Interestingly the last of the fifteen tracks on the album is a conversation with Bruce Robson. This bonus track tells the tale of their meeting and the analog recording process that followed, which was initially nerve - wracking for Burrow.
Quite a departure from his previous recordings, it’s not surprising that Burrow opted to self-title the album. He pours his heart and soul into each and every track, on an album that is very much a personal homecoming and re-birth for the writer.
Review by Declan Culliton
The Outlaw Orchestra Powercut Voodoo Queen
A British band who mix a little bit of roots rock into a gumbo of cajun and country music. This is their fourth release and it has quite a vibrant sound across the eight tracks. In reality, it’s six tracks as the mini album (twenty-two minutes) is bookended by a simulated radio broadcast from imaginary American station 982.5 which experiences a power outage, just as the band are due to play live in the studio.
As all good DJ’s would do, the band are asked to play acoustic and over the six songs they demonstrate their serious chops with some dynamic arrangements. There is the reworked Send Some Whiskey Home and Chicken Fried Snake from their last release, Pantomime Villians (2020), with the joys of cooking placed against the relationship woes of a woman who cannot be predicted.
Back To Georgia, taken from an EP released in 2018 is a high tempo song that highlights the tight playing among the band members with David Roux (guitars and lead vocals), Ryan Smith (drums, percussion, vocals) and Pete Briley (banjo, lap steel and vocals) impressing at every turn. Got It Made is a slower melody and a love song to the girl that has changed the ways of the singer, while God Knows, was another track on that 2018 EP and speaks about the Lord coming down to a house party to ask that they keep the noise down.
Some great lap steel from Briley and a new song that opens the proceedings, Rattlesnake Sour is a drinking song about lining up a series of shots and just playing the music nice and loud. There are some additional vocals from Trish Burke Manser and the idea of the radio show is something different, with tuning fade in on the dial and fade out to the weather, after the band has saved the day with an unplugged tour de force. It’s all very engaging and fun to listen to – the American sound is definitely authentic and one would never guess that they hail from Southampton in the UK.
Review by Paul McGee
Graber Gryass Late Bloom Self Release
Having played music for most of his life in various combos and styles, Michael Graber decided to record his first solo album to mark his first half century on the planet. Even though he hails from Memphis, Tennessee (known as the home of blues and soul) he has chosen bluegrass - or more specifically a looser, jam band, new grass version of that genre - as his vehicle. He pulled in a total of fourteen local musicians to create a fun album comprised of twelve of his original songs. Despite the excellent musicianship here, these guys don’t take themselves too seriously and the result is an enjoyable run through the gamut of life experiences, with many an unexpected twist and turn!
Devil’s Got Your Name ‘tattooed on his arm, in the same damn place as mine’ recounts the sad tale of a man whose wife cheated not only on him, but also on the devil, which they both discovered when drinking in the same bar. In a similar vein, the hapless protagonist in Fool Living Wrong ‘stares in from the cold at the house that he built’, which she now shares with her new husband.
Graber uses a variety of non-bluegrass instruments, along with the expected guitars, banjo, mandolin etc to stretch the musical palette - when did you last hear a bouzouki, a harmonium, a jug or an erhu (a ‘Chinese fiddle’) on a bluegrass record? Equally, the attractive artwork would not suggest ‘bluegrass’ at first glance.
When The Water’s this Low is a rather disconcerting tale of four guys paddling a canoe who unfortunately stray into the breeding grounds of cottonmouth snakes, with dire consequences. I think this song actually gave me nightmares! Michael Graber claims that this is based on a true story, except for the fatal ending. Less frightening is the country blues Drinking 40s (very large bottles of beer, I believe) where much alcohol is consumed in response to a broken heart. The bawdy lyrics are suitably accompanied by off-kilter guitar, mandolin and dobro playing - one senses that much fun was had during the recording. Another hint at what might be to come on the next album is the trippy A Fable, opening with a 12-string guitar and progressing to an altogether psychedelic dream-like experience. Marijuana makes the case for the health benefits of that plant, especially now that it has been legalised in many US states. The traditional bluegrass/country theme of yearning for home, however, features in the two closing numbers Forgotten What I Call Home and Oaks & Pines, but listen out for the twist in the end. A most enjoyable album.
Review by Eilís Boland