Erin Rae Lighten Up Thirty Tigers
Jackson, Mississippi, born Erin Rae has been an integral part of the East Nashville music community for several years, and LIGHTEN UP is her second solo recording following her fine debut album PUTTING ON AIRS from 2018. In a previous life, she fronted the indie-folk band Erin Rae and The Meanwhiles, whose studio album SOON ENOUGH was released in 2015, having been recorded live over a two-day period. Its core sound was very much Laurel Canyon country folk of the purest kind, introducing a singer possessing a striking vocal range. PUTTING ON AIRS followed suit, while also further reinforcing her reputation as a songwriter of note.
Her somewhat more experimental latest album was recorded at California’s Topanga Canyon. Jonathan Wilson (Father John Misty, Roy Harper, Conor Oberst), who oversaw the production, invited Rae to his Wilson's Five Star Studios to record in February 2021. Cramming on the music of a diverse range of artists, including Kevin Ayers, Scott Walker, Judee Sill, Feist, Gene Clark, and Jesse Winchester, drew Rae out of her comfort zone, the result being this twelve-track album that embodies a range of styles from baroque pop to indie rock, together with some country folk inclusions. It’s also a change in her songwriting direction, abandoning the self-analysis of her previous work and replacing it with more positivity and an endorsement of simply accepting the hand that one is dealt.
Awash with silky strings, the Scott Walker influence is unmistakable on the quite beautiful Cosmic Sigh. The radio friendly True Love’s Face, flirts with the U.K. glam rock sound of the early ‘70s. That decade is also brought to mind on the vibrant Candy and Curry. Written at the onset of the pandemic, Rae’s unhurried layered vocals on this song reflect the slowing down process of that time and the scope for personal reflection. From a likewise similar comes the contemplative Drift Away. The self-explanatorily titled Lighten Up and Try was co-written with close friend and neighbour Andrew Combs. Modern Woman, the first single from the album, celebrates the advancement in what is considered ‘gender normal.’
Like so many others, the pandemic presented Rae with the opportunity to wind down and reflect. She put that period to good use, resulting in an album of musical styles from different times and locations, lyrically impressive, beautifully arranged, and presented by the possessor of a unique voice. Lovers of Rae’s previous work may not have seen this coming, I certainly did not. But rest assured, with one song tumbling effortlessly into the next, this is a standout album, very much of its time.
Review by Declan Culliton
Rob Aldridge & The Proponents Mind Over Manners Self-Release
The second album from Muscle Shoals, Alabama rock band Rob Aldridge and The Proponents is a fusion of southern rock, riotous blues and hook-filled soul. Uplifting and charged as the album may be, the release of the twelve-track collection follows a challenging period for the band. The album was recorded in Green Hill, Alabama, with Aldridge co-producing with Jay Burgess (The Pollis). Following that, tragedy struck the band in April 2021 with the sudden death of bass player Stone Anderson from an accidental drug overdose. A long time and close friend of Aldridge, his passing was a major shock to his bandmates and the Alabama music community.
The band line-up that featured on this recording is Aldridge (vocals, guitars), Rob Malone (guitars), Nick Recio (drums), and the late Stone Anderson (bass). Guests included The Pollis keyboard player Clint Chandler, cellist Caleb Elliott and violinist Kimi Samson.
While many recent albums were fuelled by the pandemic and Presidential matters in the U.S., the album’s title and the opening track were derived from the Black Lives Matters Movement. Rather than jump on the bandwagon and decry the movement based on the riots that occurred, Aldridge addresses the issue by asking ‘If you’re being honest with yourself about the history of racism in this country, how can you blame them for rioting?’ It’s a less muscular and more minimalist track than many of the fully blown rockers which follow. Twangy guitar riffs and smooth country grooves impress on Twisted Blanket, alongside the more classic rockers Explaining To Do and Loneliest Of Company. It’s not all blood and thunder and also noteworthy are the more chilled and gentle shuffles that surface on Mean Grass and Devil On Sunday.
If fellow Southern Rockers Drive By Truckers and the more polished sound of Tom Petty rock your boat, this will be right up your street. Maximum volume advised.
Review by Declan Culliton
TK & The Holy Know-Nothings The Incredible Heat Machine Mama Bird
Another album released in late 2021 which we are only now getting around to review comes courtesy of this expansive hard-edged country album from TK & The Holy Know Nothings. In describing their sound as “psychedelic doom boogie,” frontman Taylor Kingman has created yet another sub-genre in the rock and roll field. It may be simpler to brand their sound as simply ‘good time rock and roll,’ and this eleven-track album is certainly packed to the gills with down to earth rockers and some smouldering and less rugged ballads.
The five-piece band consist of Portland locals and working musicians Jay Cobb Anderson (lead guitar, harmonica), Tyler Thompson (drums), Sydney Nash (keys, bass, slide guitar, cornet), Lewi Longmire (bass, guitar, pedal steel), and bandleader Kingman. THE INCREDIBLE HEAT MACHINE more than lives up to its title, by dishing up a potent serving of high energy tunes. Given that the album was recorded live, with zero overdubs, over a two-day period in the cowboy town of Enterprise, Oregon, it’s safe to say that their sound is especially suited to a live setting.
Their weather-beaten vibe never sounded better than on the opening bluesy stomp Frankenstein or the toe tapping barroom romp and ‘morning after the night before’ Bottom Of The Bottle. Laid Down and Cried and Serenity Prayer both breeze along with a slow rolling country groove and the free-flowing John Prine sounding Hell Of Time showcases Kingman’s ability to pen an aching ballad alongside the more high-spirited inclusions.
This is blue-collar raw country rock of the highest level by a group of players that sound like they were having a blast in the studio. No nonsense lyrics, and hook packed songs played with maximum verve and gusto are the perfect combination for a late night show in a packed barroom. This is precisely what we can expect when these boys play Kilkenny Roots Festival in May of this year.
Review by Declan Culliton
The Delines The Sea Drift Décor
The fourth album from Portland, Oregon band The Delines continues where they left off in 2019 with their U.K. AMA chart topping album, THE IMPERIAL. That record explored loneliness and isolation in an urban environment, whereas on this occasion the stories that unfold from the pen of Willy Vlautin take place along the Gulf Coast states of America. The twelve songs, which read like chapters from a hardboiled noir novel, once more optimise the cinematic story writing of Vlautin and are brought to life by the soulful vocals of Amy Boone.
The Delines are Amy Boone (vocals), Willy Vlautin (guitar, vocals), former Richmond Fontaine bandmates Sean Oldham (percussion, vocals) and Freddy Trujillo (bass, vocals), and Cory Gray (trumpet, keys). The string arrangements were performed by Kyleen King, Patti King and Collin Oldham. Another essential cog in the well-oiled Delines wheel is John Morgan Askew, who, having previously produced their earlier albums, was once more at the controls.
The challenge Boone presented to Vlautin for this album was to recreate the combination of naturalism and charm so central in the songwriting of Tony Joe White, an artist much loved by them both. Vlautin has achieved that goal and more, adding his customary dark undertones to the tales. On the opening track Little Earl, we hear of a younger brother, bleeding and crying in the back seat of a car following an abortive robbery at a mini-market. Later on, and equally unsettling, is the image of an abused woman retrieving her belongings from her former partner’s house in This Ain’t No Getaway. She may or may not be the ‘loved up’ party in gentler times on a previous heartfelt track Hold Me Slow or even might feature in the brooding All Along The Ride, where a couple’s relationship comes undone during a car ride.
The trumpet and the string arrangements lend an emotional warmth to a number of the tracks and also included are two trumpet-led instrumentals, Lynott’s Lament and The Gulf Drift Lament, written and performed by Corey Gray. The former is positioned mid-album, akin to an intermission and a pause for reflection. The latter is an atmospheric curtain closer, creating an image of rolling credits as it bookends the album.
Thankfully Amy Boone has returned to better health following the horrific injuries she sustained when she was struck by a car back in 2016. She is simply glowing on this suite of songs, pouring her heart and soul into each and every track and bringing to mind, alongside her masterly bandmates, the celebrated country soul of her beloved Dusty Springfield and Bobby Gentry.
Essential listening and one that will be playing in the listener’s subconscious long after the final track.
Review by Declan Culliton
Heather Sarona Head Above Water Self-Release
Hailing from the Uwharrie Mountains in North Carolina, a part of the world steeped in the culture of folk music and bluegrass, Heather Sarona has been playing guitar and singing ever since she chanced upon an old guitar of her dad’s in their attic. However, despite her early calling, she only began performing live in 2016. A pointer towards the progress she has made since then was her selection as a showcase performer at the World of Bluegrass Music Festival in both 2020 and 2021. HEAD ABOVE WATER is her debut album and follows on from the release of WALTZ, her three-track EP in 2017.
The recording was the first time that Sarona collaborated with other musicians in a studio setting. She assembled a group of like-minded players for the recording which included Andrew Marlin (Mandolin Orange, Watchhouse), Libby Rodenbough (Mipso), Sarah McCombie (Chatham Rabbits) and Lizzy Ross (Violet Bell). They collectively contribute to some perfectly tailored songs including the Nanci Griffith sounding I’ll Be Lost and the deeply melodic title track.
To simply classify Sarona as a bluegrass artist hardly does her justice, her talent reaches well beyond that. The nine self-written songs on this album, which visit topics such as vulnerability (Window To Break), fulfillment (All I Need), and re-birth (For Me), are expressed by vocals that combine pain, confusion and regeneration in equal measures.
Sarona modestly describes the project in simple terms ‘I just wanted to have some music out there if people ever looked up my name.’ I expect that she will be well pleased by the positive feedback this ‘easy on the ear’ album will undoubtedly generate.
Review by Declan Culliton
Sterling Drake Roll The Dice Self-Release
There has been a noticeable increase in the number of artists recording classic country-styled albums in recent times. It’s hardly an avalanche, more like a steady trickle, but most encouraging, even at that, for lovers of that genre.
One such artist is country crooner Sterling Drake. He was born and reared in Florida, but lived a large portion of his life in the Mission Mount of Montana. His seven track EP/mini album ROLL THE DICE, released late last year, is the perfect fusion of western swing, honky tonk heartache, and dance hall treasures.
Like many of his generation, for the recording process, Drake sought out a number of Nashville stalwart players to feature on the album. Tommy White of The Opry Band plays pedal steel. His previous employers include Vince Gill, Dolly Parton, Glen Campbell, Alison Krauss and Jamey Johnson, to name a few, and his playing on the album is a delight. Another high-profile contributor is Grammy winning session player Charlie Mc Coy, who plays harmonica.
The toe tapper opener and title track is classic Western Swing. Dreamy pedal steel, and uplifting upright bass kick in, followed by Drake’s slick vocals, with backing vocals from his girlfriend and member of The Meyerband, Mary Meyer. Come Stay With Me which follows, is a duet with Meyer and is simply gorgeous, an album highpoint for me. The bittersweet Best Of Tennessee echoes Glen Campbell at his most country and Until I Forget recalls Willie Nelson at his most laid back. The love lost closer Honest Summers Wage transports us back to the classic country and western sound of former times.
Drake’s songs, performed by others, have previously featured on a of number occasions on the Billboard charts. An artist fiercely devoted to vintage country music, ROLL THE DICE should establish him as another name bringing classic country to a younger and wider audience. Watch this space.
Review by Declan Culliton
The Remittance Men Scoundrels, Dreamers & Second Sons Blonde On The Tracks
This is essentially a project fronted by the album’s producer Andy Santospago, and guitarist and singer/songwriter Tom Robertson. It came to life over a two-year period when they recorded the tracks at Woolly Mammoth Studios in Massachusetts with engineer Dave Westner. A number of talented artists in their own right were brought in, including Eilen Jewell, Kris Delmhorst, Mark Erelli and Danielle Miragila, all adding their vocals to certain songs. Zachariah Hickman, Joe Kessler, James Rohr, Shady Hartshorne among others also bring their individual skills to the recordings.
The band/project name interestingly was a term once widely used, around the turn of the last century for “an immigrant living in Canada on funds remitted by his family in England, usually to ensure that he would not return home and become a source of embarrassment.” Fair enough, as it sets the tone for these Americana character tales implied by the title. Robertson has a suitably ragged and roughhewn voice to give these songs a sense of place, time and personality, to suit the intent.
Often the titles give a clue to the content as in A Room In Birmingham England, 1919, Lonely & Silent, Hacienda Santa Rosa or 1973 (Life On The High Seas). The latter is about a much-travelled ship’s cook in the merchant marine, whose life was one of constant change. All Robertson’s lyrics are convincing word pictures that are bolstered by the arrangements and instrumentation to deliver a rounded picture. He also possesses the kind of voice required to pull off this sort of vividly portrayed country/roots influenced sound.
The album contains two covers in Down South written by Tom Petty, which stands up well against the original, and the album’s closing track Nobody which was written by Tim Gearan, another noted Boston area singer/songwriter. Both songs fit in well with the overall scheme of things both in sound and content.
As this was a debut album, I had no expectations but was pleasantly surprised by The Remittance Men and their joint project. I believe the two key members here have worked together previously on a Santospago project and this collaboration sets the scene for further work. From the picture on the website, it looks like Robertson might well sailed with Captain Ahab in another life. But it is a look that fits with the mood of this seductive music. These Remittance Men are no source of embarrassment and should be widely welcomed.
Review by Stephen Rapid
The Cactus Blossoms One Day Walkie Talkie
This latest release from the Cactus Blossoms is a further progression from their last album, 2019’s EASY WAY, and further broadens their musical vision without moving away from the key elements of sibling harmonies and melodic song arrangements that have been an essential element of their sound. It was recorded by Alex Hall, using his mobile studio in a basement in Minneapolis. That space was owned by Page Burkam, one of the two brothers who make up the Cactus Blossoms. The other brother is Jack Torrey, who has professionally used that surname since he first played solo gigs.
The first single and opening track from the new album is Hey Baby and you immediately find yourself in familiar territory which anyone who has appreciated the band’s forte in the past will recognise. However, one immediate difference to the sound is the additional use of keyboards throughout the album, which have been there in the past but are more prominent and considered this time out. There are 60s and 70s references that are melded with the raw live sound captured in that basement using a consistent assembly of players that had the solid and muscular rhythm section of drummer Jeremy Hanson and Phillip Hicks on bass. Another long-time contributor was brother Tyler on electric and baritone guitars. Keyboards duties were handled by Hall and Torrey. The most recent single Everybody features the vocals of Jenny Lewis who adds an effective duality to the song. It has a slow soulful-sounding sadness that ultimately acknowledges that despite everything that is going on, everyone is trying to do what’s right. Having been fortunate to be able to listen over a period of time, I can say that this is a satisfying progression from their previous work. It maybe isn’t a true capture of their onstage presence, but it gains by keeping that essential spark while adding a certain subtletly to the sound. There is a sense of assuredness that is balanced, on occasion, with some darker seams. Ballad Of The Unknown paints a picture of harsh loneliness and cruelty. The baritone guitar manages to echo that feeling. On many of the songs the steel guitar effortlessly blends with the keyboards to create a mood of reflection and possibility.
There is a temptation to mention all eleven tracks, as the album has a depth and continuity that should be heard in context. Of course, there are tracks (mentioned above) that have an immediate likeability that on initial hearing makes them stand out, but further listens allow each track to standout in its own space. But it is the fundamental element of the two leads vocals that provides them with their recognisable sound.
As with previous albums, it is Torrey who writes the majority of the songs with Burkam co-writing three of the titles as well as one solo composition. All show that in the time since the last album, given the degree of uncertainty both at home in Minneapolis and in a broader context of the pandemic, the duo took time out, and took stock of the options. Once they felt that their creativity was returning, they began to meet and share ideas which became the songs here on the album. Another decision was to work with the touring players and record in a way that was reflective of their live shows. ONE DAY can last a lifetime.
Review by Stephen Rapid
Police Dog Hogan Overground Self-Release
For those not acquainted with this band, they are a seven member UK group formed in 2009, who are releasing their fifth studio album. It was co-produced by the band and George Murphy (who also engineered and mixed). The songs were all written by the band with one co-write and with such a wide range of players they cover all the required bases. Guitar, fiddle, mandolin, accordion, banjo, electric, acoustic and steel guitars all sit over the solid bass and drum base, and there are also guest cello and violin parts. That range of instruments allows them to turn their hand to folk, roots, and Americana influences. There are moments throughout that have you thinking “that’s a little like,” but I will allow those comparisons to be made by the individual listener. They range from the more poppy cuts like Might As Well Be Love to the folkier Disappear. The lead singer is James Studholme but several others also join in by adding backing vocals to the recordings.
Two other songs are titled as per two previous albums and may have been around the time when those albums were recorded. They are Westward Ho! and From The Land Of Miracles. Barcelona has a feel that befits the title and like some other tracks has an uplifting outlook. Love’s many vicissitudes are contemplated in the different perspectives of such material as I Need Your Love, Funfair On Shepherd’s Bush Green and Kathleen O’ Hare. Here Comes The Crow sounds like a nightmarish lockdown encounter with that symbolic bird, yet delivered with a quiet restraint. Room In That Bottle has a message of love and hope and to “try to find comfort where you can,” possibly the overall message of the music here. It is something that is echoed in the thought given to the music and also to the cover presentation.
Police Dog Hogan has delivered an accomplished, faceted and varied fifth album that marks progress, confidence and capability. In many ways, it seems a very UK approach to the context that Americana has in terms of gathering together disparate elements. There are obviously the inclusion of elements of American music, but there is also a strong undercurrent of the music from the British Isles that was part of the foundation for some Stateside’s musical roots. Yet they have put these together with their own vision which looks forward rather than backward. Overground, in terms of media recognition, may well be a place where Police Dog Hogan hope find themselves in the very near future.
Review by Stephen Rapid