Surrender Hill Just Another Honky Tonk In A Quiet Western Town Blue Betty
Husband and wife partnerships are not uncommon in Americana, though there are not as many as in the more traditional areas of country. Surrender Hill are Robin Dean Salmon and Afton Salmon. They share lead vocals and harmonies and the songwriting, while Robin produces the songs and played keyboards and guitars. I have reviewed their albums previously and can say that this new outing surpasses them in scope and ambition. It was likely recorded over a longer period of time than usual, given the names of the several different studios and players listed on the sleeve. The main tracks were cut in Betty Blue Studio in Galveston and the guests players were added at various points. The finance appears to have come from the “100 Club” members also listed and thanked. Whatever the timescale and methods the end result is a fine compliment to the talents of all those involved.
The release is divided into two discs; the first being JUST ANOTHER HONKY TONK and the second, not surprisingly, IN A QUIET WESTERN TOWN. Twenty four tracks in total over the two discs. The differences overall are not that pronounced but both sets of tracks relate to the night life experience (Just Another Honky Tonk) and other songs are rooted in the outdoor life (Cowboy Campfire Song, Long Rider). Much of the material takes you to a quieter, more reflective place though both sides have uptempo elements - cuts like If This Ain’t My Rodeo, which is about finding one’s place and the notion of friendship is at the heart of Call Upon My Friends and using their help to get back in the saddle after some misadventure. There is acceptance leading to regret and resolution in Heartache Goodbye while Somedays has a longing for a lapsed relationship that encompasses love and leaving. Swallow takes the life of such a small bird and links it to compassion.
The opening track on the second CD Tumbleweed has some Bono/U2 moments in it that underline the broader range of influences that are an undeniable element of the duo’s make-up. However the predominant mood is country/roots and that thread clearly runs through both of the two discs with the use of fiddle, pedal steel, dobro, and B3 organ on different songs throughout. There are many songs that achieve recognition in the immediate sense such as Love Your Neighbour, with its strong message of reaching out. Boomtown is a much bigger sound powered by the rhythm section’s drive. It considers better times in the past and the hope that they be reconnected with. The title track follows similar thoughts and like other tracks has some predominate twang in the guitar tone from, I assume, lead guitarist Mike Waldron. Old Chair reminisces again about past times, while Nothing But The Skin sees the need to return a divided country back to simpler values and openness. That kind of wishing for such basic humanity is an overall theme over the tracks and is delivered with a sense of sincerity and integrity.
Surrender Hill as a name was taken from a place in South Africa where the Boer War ended and is something of a metaphor for being able to surrender to adversity and finding one’s place and some measure of peace together. It seems appropriate for these musical endeavours, wherein the duo more than prove themselves as songwriters, musicians and vocalists and this is something of a statement of what can be achieved as independent artists and truth seekers.
Review by Stephen Rapid
Geoffrey Miller Leavin’ 101 Self Release
This album is steeped in the sound and attitude that was, and still is, associated with the vibrant sounds that emanated from Bakersfield in California. It is the sound of the Telecaster twang and pedal steel and a propulsive rhythm section. It wasn’t one that paid a great deal of attention to the whims and wishes of the Nashville Music Row movers and shakers. However, many of the originators, such as Tommy Rollins, Buck Owens and Bakersfield native Merle Haggard, of that incisive sound were signed to Nashville based major labels, many to Capitol Records.
There were exponents who defined that Telecaster sound such as Buck himself, his friend and guitarist Don Rich, as well as Roy Nichols, Eugene Moles, Billy Mize and many others. These days there are a number of guitarists who regularly play in that style as a cornerstone of their music delivery, including Dave Gleason, Kenny Vaughan and Geoffrey Miller.
The latter has recently released his latest album LEAVIN’ 101 and it is steeped in that distinctive sound. Miller handles all the guitar duties and vocals as well as writing the material. He has a tight rhythm section with upright and electric bass from Zack Sapunor and the sound is completed by the worthwhile and adept pedal steel playing of four different contributors, with Max Hurt taking the majority of the songs. It was mixed and mastered by another guitar star in Deke Dickerson. On another track, California stalwart and Yoakam acolyte Scott Joss plays fiddle. But it is Miller who is front and centre, and his vocal delivery is perfect for the sound of his well thought-out compositions on the expressions of heartbreak and hopelessness, cheating and careless liaisons.
The title track references the US learning process as well as the highway of the same number - Route 101. The highway runs from California to Washington. It alludes to not learning life lessons and then having someone move on. These themes are fundamental to the Bakersfield oeuvre, once given the very suitable title of “misery with a beat.” Akin to what was emerging in Liverpool, London and other cities, this was music that was played in clubs for dancers who simply understood its energy and rhythm.
The instrumental Grand Ville Mix is very Buckeroos with memories of Don Rich to the fore. Owens was such an icon of that particular sound that many songs here could easily have featured on a number of his albums. The aftermath of a broken relationship is observed in Cold Coffee, Warm Beer, a seemingly familiar title but succinct in its finality. There is a harsh reality to another kiss-off song in I Didn’t Know You Could Be So Cruel. The poor choices continue as our leading man moves from one bad affair to another. Good Morning Blues has a jauntiness that belies its gloomy discord. There is more evidence of the craft that Miller brings to his writing in the recognition of many of the artifacts that are found in the second-hand outlets in the town in Discount Memories, as there is in Population 3 which consists of “the blues, your memory and me.”
There is little doubt that anyone with an affection for the clear-cut sound that the Bakersfield Sound has come to mean, which never fails to please this listener, will recognise Miller as a front runner in delivering it as it should be delivered.
Review by Stephen Rapid
Elliah Heifetz First Generation American Self-Release
Listening to FIRST GENERATION AMERICAN you could be forgiven for assuming that the album was the work of an artist steeped in American roots music, having most likely been exposed to country and folk music by parents or indeed grandparents. However, the backstory to the album and its creator Elliah Heifetz is an entirely different matter. Although there is a strong history of folk music in his lineage, that source was East European folk music, rather than the traditional folk music from Appalachia or the like. A first-generation American born to political refugees from the Soviet Union, Heifetz was raised in Philadelphia, where from a young age he became intrigued by the sound of fiddles and banjo playing.
His transition from a lover of roots music to an actual composer came about in his student days when he wrote a stage musical titled Dust Can’t Kill Me which won awards at both the New York Musical Festival and NYC Fringe Festival. That exposure led to his employment by music publisher The Brain Music, resulting in him writing songs for television soundtracks and stage plays. A further acknowledgment of his musical talent was being named in TIDEL’s Best of Rising Country/Folk artists following the release of his 2019 EP NEW FOLK SONGS.
For his debut full length album FIRST GENERATION AMERICAN, he engaged the current ‘go-to’ producer for roots artists, Andrija Tokic (Alabama Shakes, Jeremy Ivey, Hurray For The Riff Raff). A name that appears regularly in album reviews at Lonesome Highway, Topic records at his home studio The Bomb Shelter in Nashville and more often than not has his band of ‘A list’ players on his recordings. Contributing to FIRST GENERATION AMERICAN alongside Heifetz - who played acoustic guitar - were John James Tourville (guitars, pedal steel, fiddle), Jeff Taylor (piano, organ, accordion), Jack Lawrence (electric bass), Dennis Crouch (upright bass) and Jimmy Lester (drums). Backing and harmony vocals were provided by Jane Bruce, Nickie Conley and Maureen Murphy.
The album touches a range of roots related bases, from the fun filled upbeat rockabilly of Modern Man to the honky tonkin’ Country Harmony, which he sings with his partner Jane Bruce. He sets out his stall from the beginning with the autobiographical and somewhat tongue in cheek title track (‘I never seen that Swanee river, never fished in a mountain stream, didn’t make a pass at the pastor’s daughter, never worked in my daddy’s jeans…..I was born in the USA’) but also displays his ability to pen contemplative songs on Living Proof, which is a heartfelt ode to his mother and Denver, which reflects on the plight of a refugee living in fear of deportation.
Notwithstanding the lighter moments on this album, of which there are many, the lasting impression I’m left with is one of defiance and ultimately survival, often against the odds. From what must have been a daunting experience arriving from Russia and attempting to integrate into an entirely different culture, Heifetz has established himself successfully in his chosen vocation. He can be justifiability proud of that achievement and this album.
Review by Declan Culliton
Matt Castillo How The River Flows Self-Release
Edinburg, Texas-born country singer songwriter Matt Castillo’s third album HOW THE RIVER FLOWS has been two and a half years in the making. Not one to rush into things and somewhat of a perfectionist, Castillo has certainly has put his heart and soul into this recording. Having written the bulk of the songs for the album, he tracked down fellow Texan and celebrated producer Roger Brown to oversee the recording of the album. Based in Nashville, Brown’s curriculum vitae includes writing songs recorded by Tammy Wynette, Willie Nelson, Nanci Griffith to name but a few, alongside producing albums by a host of country artists. The recording took place at The Moose Lodge Recording Studio in Goodlettsville, Tennessee.
Nine of the ten tracks are self-writes or co-writes, an impressive co-write with Karen Staley, Cause He’s A Cowboy, is included. That track celebrates a victory by his local community in Edinburg when they defeated a plan by The Texas Department of Transport to construct a toll highway across agricultural lands. The last song written for the album is the high-tempo opener Say It. Laced with stinging pedal steel and flashes of accordion, it introduces a Texan flavour, one which reappears on a number of the songs, not least the title track. A country album wouldn’t be complete with a few ‘love found/ love lost’ and cheating songs. Neon Red Neon Blue and No Easy Way To You both tick the former box and the honky tonkin’ Leaving Brownsville Tonight caters for the latter.
Castillo’s objective was to create an album similar to the classic country recordings from the tail end of the last century, prior to much of country music crossing over to straight rock or mainstream pop. He’s done that and more with HOW THE RIVER FLOWS, delivering a suite of easy on the ear tunes which never overwhelm the listener. So, let’s hope he gets the recognition he deserves and can continue to keep the river flowing in the right direction.
Review by Declan Culliton
Elles Bailey Shining In The Half Light Outlaw Music
Recording an album in the middle of a pandemic and while six months pregnant would have been considered unthinkable a few years back, but that’s exactly how SHINING IN THE HALF LIGHT, the third album from Bristol-based Elles Bailey came about. When the initial plans to record the album in Nashville in May 2020 were prevented by the onset of Covid, Bailey relocated to Middle Farm in Devon in December of that year, where the album was recorded over a nine-day period. The production duties were carried out by Dan Weller and the final mixing took place in Nashville by Grammy nominated engineer Ryan Smith. The players that feature behind Bailey’s inimitable vocals are Joe Wilkins and Kris Donegan on guitars, Jonny Henderson on piano, Wurlitzer, Clavinova, and Hammond. Bass and drums are credited to Matthew Waer and Matthew Jones respectively.
Never one to reinvent herself, Bailey sticks with the template that has worked particularly well in her career to date. Her signature sound has always played out like a few genres melting together. Grungy blues, high octane rockers and soul flavored ballads all feature on the ten-song collection. The lively opener Cheats And Liars aims a blow at the faceless freeloaders that ignored the plight of artists, starved of a living, during the lockdown. The equally feisty rocker Sunshine City, is a co-write with Matt Owens (Noah and the Whale) and her Bristol neighbour Will Edmunds is credited with co-writes on The Game, Stones and Halfway House.
Things do become less explosive mid-album, with Bailey pouring her heart and soul into Colours Start To Run and the gorgeously soothing ballad Different Kind Of Love. Saving the best until last, the album closes with the title track, co-written with the celebrated Nashville songwriter Craig Lackey. It bookends an album that is both defiant and bullish and one that has arrived when the industry is finally opening up.
That eventual return to normality has given Bailey the green light to recommence her relentless touring schedule. On the strength of this album, you’d be well advised to check that touring schedule and get booking.
Review by Declan Culliton
Jason Scott & The High Heat Castle Rock Self-Release
The backstory of Jason Scott provided a wealth of ammunition to create the eleven tracks on this debut album from Oklahoma City band Jason Scott & The High Heat. That past included a Pentecostal upbringing and singing in the choir at church as a child, then spending time as a pastor, and eventually abandoning that calling for that of a songwriter and bandleader. In 2017, Scott produced and recorded a solo EP titled LIVING ROOMS, before recruiting the band members that make up The High Heat. They are Gabriel Mor (guitar), Taylor Johnson (guitar, keys), Ryan Magnani (bass), and Alberto Roubert (drums). Their sound is firmly rooted in hook driven heartland rock, with particular nods in the direction of the 80s sound created by John Mellencamp and Steve Miller.
The album’s title, CASTLE ROCK, is drawn from the town of that name where Scott moved after he left the church. Much of the album’s content examines life’s direction and choices, and the resulting outcomes.
The songs grapple between darkness and light, with as many upbeat scenes as there are ones of desperation. The despairing plight of a hopeless breadline existence emerges on the guitar propelled Quittin Time, whereas Cleveland County Line offers a happier ending with the return of a prodigal son after some wasted years and travels. A much less triumphant homecoming develops on The Stone, which finds a soldier returning from war, tortured by post-traumatic stress disorder. A woman’s honour is defended in the tongue-in-cheek country-tinged song Me And Maryanne and they rock out in fine style on the gloriously loose In The Offing.
All in all, a laudable introduction to a band well worth checking out.
Review by Declan Culliton
Kate MacLeod Uranium Maiden Self-Release
The winner of 'Best of the West 2019' award by the Far-West division of Folk Alliance International, Kate MacLeod is an artist whose style criss-crosses between contemporary folk and more traditional old-time country. A singer songwriter, fiddler, and music instructor at schools and summer camps, the Salt Lake City, Utah native’s themed album URANIUM MAIDEN packs a heavy punch.
Not having to look beyond her native Utah for inspiration, MacLeod explains ‘This recording includes historic characters of the Utah region, true stories by pioneer women, coal miners, explorers, and environmental issues.’’ Given that the album features seventeen tracks - four of which are instrumentals - it’s no surprise that the recording took six years to complete or that the songs span four decades of writing. Over twenty musicians contribute, many of which worked with MacLeod on previous recordings.
From the opening track Now Is The Time To Be Alive, based on the journals of a man who went missing in the Utah deserts in 1935, to the album closer Every Year Among The Pines, the album finds MacLeod on a creative and questioning quest. With lyrics that often augment the mystique behind the songs, wonderful vocal deliveries, and equally impressive playing, MacLeod admirably captures the essence of the America West on URANIUM MAIDEN.
Very much a labour of love and a life project, this album should have widespread appeal far and beyond her beloved American West.
Review by Declan Culliton
Tim Kelly Ride Through the Rain Self Release
This album is proof positive that it’s never too late to make a dream come true or to realise a long-held ambition. It’s quite a humbling notion to think that Tim Kelly has waited a full working life, raised a family and at sixty-six years old embarked on a personal journey in recording these self-written songs. And quite impressive they all prove to be – almost as if, in finally setting them free, the waiting world gets to join the celebration. Staying committed to a day job and placing family and loved ones ahead of personal hopes and wishes is, of course, a sacrifice that any caring parent would make. However, it feels like the moment has finally arrived to in the spotlight and he grasps it with both hands.
Tim Kelly has an expressive vocal style, warm and clear, with just enough range to never stretch beyond the resonance needed for each song. Better Man is a song dedicated to the memory of his father and it is filled with warm memories in tribute to the example he set for living an engaged life. Tim has his own son at the helm for this production and talented Ruston Kelly really adds great colour to the project. The family bond shines through in the great empathy shown and in both the delivery and treatment of these melodies and song arrangements. A real labour of love.
River Street is a song that captures old memories and the sense time doesn’t heal the wounds of lost opportunity, ‘ You’d think I’d know after all this time; I can’t really give you what never was mine.’ The playing is beautifully restrained and the harmony vocals of Hillary Lindsey are quite superb. Leave This Town talks about changing your focus and deciding to make some life changes in search of a dream – no doubt, channelling his wish to walk in other shoes towards a new adventure. And the following song, Dream, is just that very hope brought to fruition and enjoyed, ‘When I feel the world closing in on me, I close my eyes and dream.’ Natalie Hemby sings harmony and her vocal lifts the arrangement to a higher place where the electric guitar atmospherics of Juan Solorzano provide the perfect compliment.
Home sees Lucie Silvas taking a turn at the microphone with Tim and surfing on top of a pulsing beat with the rhythm section of Will Sayles (drums, percussion) and Eli Beaird (bass) front and centre. The studio musicians are all superb and their talents shine on the various tracks; Jarrad K on keyboards and synthesizers, complimenting the guitars of Tim Kelly and Juan Solorzano.
Old Friends follows and the sentiment is captured in the lines, ‘Time has scattered them all about, Everybody had a plan, But I’m still shuffling cards around, Looking for that winning hand.’ Again, the ensemble nails the interplay and the subtle melodies interweave on a fine arrangement.
Grandma’s House is a happy jaunt that captures youthful joys and growing up with the influence of a wise lady that loved her family, ‘ At Grandma’s house, she was Socrates, she had a cure for everything.’ On the track, The Deep, Tim is joined by his daughter Abby on vocals, who together with Ruston, join in familial unison to elevate the arrangement. It’s a song about domestic abuse and breaking free from the pain in order to survive.
The final song, Free, is an acoustic guitar and the vocals of Tim bringing everything to a conclusion with ruminations on love gone wrong and the loneliness of feeling lost. Maybe not the best placed parting message, but it in no way diminishes from what is a superbly crafted album. One that is worthy of your attention.
Review by Paul McGee
Joan Osborne Radio Waves Womanly Hips
With a career spanning twenty-five years and twelve albums, this is a look back at the many radio performances Joan Osborne has given. She also includes two studio demos and I’m sure that revisiting these old recordings over Covid lockdown, gave plenty of time for reflection.
Feted for her incredible vocal talents across a fluid genre range of blues, soul and RnB albums, Osborne has always delivered quality albums and enjoyed great popularity across her large fanbase. She has also visited rock, pop and country, in addition to releasing the obligatory Christmas songs project and a covers album. Indeed, it is her ability to not only interpret other songwriters work, but her aptitude to place a completely unique spin on the songs that have separated her out as something special.
Across fifty minutes of live studio takes, Osborne puts her unique stamp on these thirteen selected tracks and her power has never been better illustrated. There is the stunning delivery on Shake Your Hips (Slim Harpo), best known for the version that the Rolling Stones included on their legendary Exile On Main Street album. There is the incredible take on How Sweet It Is (To Be Loved by You) – the hit song written by Holland–Dozier–Holland and made famous by Marvyn Gaye. Nobody ever sung it like this however… such a soulful laid-back rendition really bringing out the core of the meaning.
Bob Dylan never sounded as good as Osborne’s take on his classic, To Make You Feel My Love, and she also turns in a stellar performance of the Sly Stone song, Everybody Is a Star to close out the album. In between, Osborne gives us two excellent demo cuts, Dream a Little Dream (2005) and Real Love (2006), while also revisiting her classic hit, One Of Us, with a stripped-down soulful blues version. There is a band presence on most of the tracks with the time span covering radio sessions between 1995 and 2012. Jack Petruzzelli plays guitar on seven tracks, with Andrew Carillo also contributing guitar on ten tracks. Between them the rich guitar sounds add greatly to the overall dynamic. There are a number of other players involved as would be expected over the time scale but it is always the vocals of Osborne that drive the song arrangements and her classic interpretations are a real joy throughout. An excellent album.
Review by Paul McGee