Sarah McQuaid The St Buryan Sessions Self Release
This is the sixth solo album by singer-songwriter Sarah McQuaid, and was recorded near to her Cornwall home in a local church. Covid lockdown had seen her touring plans disrupted, so like many other artists, Sarah took the decision to use the time creatively and revisited her earlier albums in order to reinterpret a selection of her most popular songs. Choosing a live setting, with no audience present to give encouragement and feedback, was a brave move. However, the album was made possible by a crowdfunding campaign, so in a way the project already had the blessing of Sarah’s core fan-base.
Before moving to Cornwall, in 2007, Sarah lived and worked in Dublin as a music journalist. Having seen the business from both sides of the fence has proven to be a powerful ally, and her writing reflects her life experiences in the fifteen tracks that are highlighted here.
It’s a moment, captured in time, made special in the empty atmospherics of an old church building, with the walls seemingly reflecting the self-searching of the singer through these songs above life, love human-frailty and the magic of nature, time passing, and trying to grasp it all. An accomplished musician and song writer, her skills on piano, acoustic and electric guitar are highlighted by this singular performance.
A particularly affecting cover of the jazz standard, Autumn Leaves, (Kosma/Prévert), is a stand out song while another cover, Rabbit Hills (Michael Chapman), is beautifully performed on piano with the lyrics of lost love hanging poignantly in the air. It’s a tribute to the recently departed and much revered musician, producer and songwriter. Indeed, her last studio album, released in 2018, was produced by Michael Chapman and six of the songs included here are from that recording, If We Dig Any Deeper It Could Get Dangerous.
This live look-back through the looking glass was produced by Martin Stansbury who enhances the performance with his understated ability to serve the songs and provide plenty of room for Sarah to shine. He very creatively includes both loops and tap delays from the mixing desk as Sarah was performing the superb Derby Cathedral, and If We Dig Any Deeper It Could Get Dangerous.
The opening song, Sweetness and Pain, performed acappella, is a mellow introduction to what follows, with the unaccompanied, unhurried delivery that mirrors the dichotomy of sunshine and rain as a metaphor for life. Equally, Last Song, is a lovely reflection of childhood memories and Sarah’s mother; the experience now reborn through her own child.
Well worth your time and a fine example of the talent that is thriving on the UK Folk circuit at the moment.
Review by Paul McGee
Blue Fish Diamond Frozen Stars On the Night Self Release
Formed in 2016 by Jim Murphy, Blue Fish Diamond have released their second album and describe their sound as ‘indie folk.’ They may well take their name from the Blue Diamond Angelfish and the inspiration gained from its beauty and elegance is reflected in the sweet melodies created by this seven-piece Irish ensemble.
Free is the opening song and asks for sweetness in life to be discovered once again – perhaps a plea for a return to normality after two years of Covid lockdown? Morning Star is another look for guidance in these restless times and for the light of tomorrow to be revealed on our chosen path. It’s a paean to nature to show the way through the fog of confusion. Both songs are mid-tempo arrangements with gentle melodies and nice interplay among the musicians; Laura Ryder (piano, Hammond organ), Alex McDonald (electric, baritone and nylon guitars, dobro), Shay Sweeney (drums) and Ronan Quinn (bass).
Song For Love is another easy melody, with strings arranged by Cormac Curran, as the love song plays out on a wave of pleasing piano and restrained timbre. Alive Again channels the mystery of life that surrounds us daily; the magic in the small details, all of which can help us feel alive in the moment, if we just observe the beauty and simplicity of mother nature. Another renewal song after the dark tunnel of Covid, and a sweet sound.
The Devil Beguiled has the band in sway to a song that warns of falling to the charms of a deceitful force, reckless misfortune awaits… Sunshine In My Brain tells of waking from darkness and looking to live in the moment. Again, there are beautiful strings to embellish the sound and the talents of Lynda O’Connor (first violin), Paul O’Hanlon (second violin), Beth McNinch (viola), Gerald Peregrine (cello) add both depth and colour to the song.
The string ensemble appear for the third time on Blue Eyes and lift everything with their sensitive playing. The song looks to belief and trying to save a relationship from falling by the wayside, whereas Do You Wonder looks at the perspective gained by experience and living different lives; the secret perhaps in the participation and moving ever forward. Some nice nylon guitar provided by Alex McDonald and sweet backing vocals from duo Ella Ryan and Matilda O’Mahony. Indeed, Matilda appears on every one of the ten tracks and her lovely voice is a great addition. Ella provides vocals on three songs and her contribution sits nicely into the overall harmonies.
Lady Marguerite is a tribute to Jim’s beautiful wife and his love is evident from the sentiment of the song. The final track, Secret Bill, brings everything together with a live, on the floor, band recording and the happy tale of a colourful character who lives on the local hillside.
Jim Murphy provides all the lead vocals and also contributes on acoustic and rhythm guitars. His relaxed delivery and warm vocal tone is very pleasant and adds to the easy nature of these songs; all written by Jim and recorded at various studio locations, including Orphan Recording, Hellfire Studio and Strongroom Studios. Additional musicians are Gavin Glass (synth, mandolin, programmed drums), Joe Walters (French horn and trumpet), with all engineering and production credits to Gavin Glass and additional input from Peter Ashmore and Ross Fortune.
Blue Fish Diamond represent the quality of hidden talent that exists in the Irish music industry and with lockdowns now hopefully a thing of the past, it’s time for Jim Murphy and his merry band of musicians to gather some momentum in their career. They certainly have the talent required and I wish them well on their journey.
Review by Paul McGee
Dave Desmelik Clues Of My Existence Self Release
This is an impressive album from a musician who has been releasing consistently strong music since 1999. Now well into double-figures when it comes to his independent recordings, CLUES OF MYEXISTENCE, is as strong an album as Dave Desmelik has ever released. With superbly crafted musicianship throughout, these nine songs are a real joy to explore.
Based in North Carolina, Desmelik has employed the talents of some old friends from his early recordings, namely Brad Bays (guitars, vocals), Nolan McKelvey (upright bass, vocals) and Ron James (drums, percussion). Their sense of rhythm and timing is an essential building block upon which much of the album revolves. The superb Steve Mayone is also enlisted and he adds an array of guitars, lap steel and vocals on a few songs. There are other cameo appearances, with Ryan Stigman highlighted for his wonderfully creative pedal steel playing and David Phillips adding a twin guitar sound to opener, What If?, straight out of the Allman Brothers school of beautifully honed riffs.
Desmelik brings a beautifully judged balance to the production and the fact that the album was created during lockdown at various locations, with the players all contributing remotely, is a real credit to all involved. There is some seriously impressive playing here, with Desmelik taking the lead on guitars, ukulele, keyboards and vocals. His craft is finely honed over the years and he plays in a very fluent style. The songs are all about personal issues and reflections, such as living life as well as we can (Sun Dog); self-doubt and uncertainty (Sabotage); the price paid for religious dogma (The Farce), or the decision to stick tight to friendship through all weathers (Revealed).
Both Rain Love and Vision Speaks are highlights, the former a plea to hold on and advice for the vulnerable; the latter a gentle melody that reaches out to the process of letting go; ‘In the dark of the night, lonely vessel sails, On an ocean deep, say good-bye.’
There are many questions contained in these songs, some are self-evident and others take a little more reflection before providing possible solutions. Or, perhaps, answers are not always what is required – life is messy and the devil is in the details. A superb example of all that is good in Roots/Americana music today.
Review by Paul McGee
Merle Jagger Trash Talking Guitars Self Release
This trio, fronted by Mark Christian, are a whole bunch of fun with their energised take on twang laden country tales and ranch rock, with some swinging blues thrown in for good measure. It will keep the toes tapping to the beat of the hot rhythm section of Johnny Ray and Nick Zingraf, on drums and bass respectively. They run through a set of mostly original songs written or co-written by Christian, who also produced the album, alongside playing guitars, bass and banjo and delivering all the vocals. Previously he had performed some instrumental jams and released an album of that nature in RANCHO LOS ANGELES. However, for this new outing Christian decided to add vocals to the venture and the results speak for themselves. The album’s final track, an instrumental, Ranch Rock Revival gives you a pretty good idea of how that amalgamation sounded. It is also a testament to Christian’s fretboard skills and a fitting way to finish the album.
Other than a fiery take on Bill Monroe’s Blue Moon Of Kentucky, the rest of the material is original. It was written, or co-written, by Christian. It was recorded in California with some different engineers in the sundry studios, though some might recognise the name of Michael Dumas, who worked in an engineering capacity with Pete Anderson and Dwight Yoakam. In terms of sound, it might be considered a Californian take on the Texas music of Jesse Dayton. I think fans of the latter might feel at home here.
The lyrics tend to centre on bad and broken relationships, as befits the country side of the equation, with titles that give the game away like Hurt By Love, Broken Home Yard Sale and Another Bar To Cry In. Reckless, which opens the proceedings, starts with an acoustic guitar before the band kicks in behind Christian’s effective, world-weary, edgy lead vocals. It lets us know that his blues have not been the same since the object of his desire has departed. He also throws some banjo into the fray.
TRASH TALKING GUITARS is the kind of music you may have encountered at any time since the 90s, but it’s something to enjoy at any time. It is not going to tax the brain but will provide a deal of cerebral pleasure nonetheless in Christian’s playing throughout. There are some extended guitar moments which are a joy, such as with the “get the hell out of Dodge” sentiment of Run Johnny Run, that strangely reminded me of some of the music recorded by the Pink Fairies.
I have enjoyed my first encounter with the band named for the iconic guitarist Merle Travis and the lead singing kingpin of a certain renowned rock band. Both of these characters are built into the band’s DNA, though I think it is the inspiration of the former that is foremost. Either way can enjoy the conversation.
Review by Stephen Rapid.
Doug Collins & The Receptionists Too Late At Night Self Release
A pleasing mix of country, soulful swing, roots-orientated melodic pop, amongst other influences. Not that this doesn’t allow Collins and his band to create their own identity for the music they generate over, now, four albums. It is often conducive to toe-tapping and is equally full of memorable choruses, that show the Minnesota outfit has continued to evolve since they released their last album. Collins is joined again by Charley Varley (bass and vocals) and Billy Dankert (drums and vocals). These pair are the foundation of the music, which is embellished by Randy Broughten’s pedal steel (he has also played with other local notables, including The Cactus Blossoms) and Collins’ lead vocals and guitar. It was decided by Collins that they would keep the process tight and only work with the band and forgo additional players this time out.
They recorded the album in Minneapolis’ Uptown Sound Studio with Rob Genadek at the desk, and the self contained foursome covers all the required bases, allowing the album to sound complete in every respect. It retains a live and tightly focused sound that suits the process well. The sensation of finally playing together as a band after an enforced layoff added a energy that has been captured.
Style has been a central element in Collins’ presentation as a live showman and he also brings that element to his songwriting and to the ten songs here on the new release: There’s the old style country of Drinkin’ Again; the slow, sad, vocally enriched Stay The Same; the Spanish guitar intro’d Mexico MO, which sees a discussion based not on the country south of the border but the one they never been to, located in their home state; the ardent and sad memories of the slow-paced Mama’s Shoes; the upbeat, offbeat and gone and best forgotten relationship of the downright catchy Wish I Still Cared; followed by another highlight One Thing In Common (which turns out that the ‘one thing’ is the same lady), which also has an effective steel break.
Next up, we are all enjoying a very pleasant Sunday Afternoon, or at least one that was had in earlier times. Dixon has a more downbeat edge but also a steady, sturdy beat. The next song Three Waves considers the three phases of a heartbreak and how they come and go. Finally we have to end up with the Hardest Part, that once again emphasises the tightness of these four players, putting their hearts into all these songs and bringing out the best in each of them, enhancing their deserved status as one of the Twin Cities’ (and beyond) finest outfits in the American/Roots scene. It’s never too late (day or night) to appreciate them.
Review by Stephen Rapid
Alex Miller Miller Time Billy Jam
Once referred to as ‘little Hank’, Alex Miller looks even younger than his 19 years on the cover of this album. However, in keeping with his 6’5”, he walks tall in his delivery of traditional country. His music is a throwback to the age and sound of classic “New Traditionalists” such as Randy Travis and Keith Whitley, as well as having some hints of iconic influences like Merle Haggard, amongst others. However, the former American Idol contestant has more than enough pointers that suggest his take on the music will only continue to grow with age and further life experiences. He grew up in Lancaster, Kentucky and listened to country music from an early age - something that was no doubt natural to him. He was once dubbed ‘Little Hank’ as he often performed the songs of Williams Snr to positive response at the age of seven.
One thing though is that Miller wont to be mistaken for a burgeoning ‘outlaw’ (at this stage in his career at any rate). He looks and sounds clean-cut and is God fearing. His parents split up when he was seven and this may well have given him personal insight into some of the lyrical content of heartbreak and breakdowns. However, there is an equal measure of songs that have good-times and girls at their core.
Veteran songwriter/producer Jerry Salley helms this project and brings his experienced writer role to bear, co-writing several songs with Miller which are often highlights of the album, including Breaking The Bank, Through With You, I’m Done, Girls Must Be Clumsy (which has the follow up explanatory line of “because they’re falling for me”) Miller however has a solo contribution here, I’m Over You, So Get Over Me, that indicates that he can only develop that side of his emerging talent. He also adds some covers such as Freeborn Man (a much covered song by such diverse acts as Jimmy Martin, Tony Rice and Paul Revere and The Raiders), a somewhat sentimental tribute to servicemen and women with Boys In Uniform and the album stand-out, the swing styled and infectious Don’t Let The Barn Door Hit Ya. To close the album they have chosen the Hank Williams’ gospel song I’m Gonna Sing where he is joined, to good vocal effect, by The Oak Ridge Boys. Some of these songs may be a bit too mainstream for those of the hardcore honky-tonk persuasion, but are reflective of his viewpoint and lifestyle at this point.
Credit is due also to the assembled players, may of whom were around the studios as A Team players for that new traditionalist phase. These include such seasoned players as guitarist Brent Mason and steel player Mike Johnson. All of this, however, is given its validity by the rich baritone of Miller’s voice. This is a somewhat safe initial step into the arena of country, but one that will gain him exposure. Hopefully this exposure will point him in the right direction, away from the negative aspects of mainstream industry. So, at this juncture, we are far from calling time on Alex Miller and waiting to see where his next moves take him. For now, this album introduces an artist who has had wide exposure through a talent show and delivers his first album after that fact. It will do him a lot of good and underline his commitment to a direction is undeniably country in content.
Review by Stephen Rapid
Hank Williams Jr. Rich White Honky Blues Easy Eye
I have to admit that the fifty-fourth studio recording from Hank Williams Jr. caught me on the hop. I expected a predictable late-career Southern rock album, instead, the larger-than-life character’s latest recording is full-on North Mississippi Hill Country Blues.
The only son of Hank Williams, and father to Shelton Williams (better known as Hank III) and Holly Williams, pursued an early career covering his father’s songs and style with a large degree of success. However, when he became disillusioned with that direction and changed course into country and outlaw rock in the mid-70s, he became a superstar.
His latest offering is a conscious recognition of the music that initially inspired both his father and indeed himself. Hank Snr’s first guitar lessons in Alabama were courtesy of black blues player Rufus ‘Tee-Tot’ Payne. Recorded under Hank Jnr. alter ego ‘Thunderhead Hawkins’, the twelve-track album is a collection of stripped down and razor-sharp blues tracks performed by Hank and a host of killer players. Not surprisingly the production was carried out by Dan Auerbach, whose devotion to that precise blues sound led to the formation of his band, The Black Keys. Recorded live over three days at Auerbach’s Easy Eye Sound studio in Nashville, the band included Kenny Brown on guitar, Eric Deaton on bass, and drummer Kinney Kimbrough (son of blues legend Junior Kimbrough).
‘That Hank Williams, he knew what he was talking about,’’ claims Hank Jnr. in the title track that also namechecks Bo Diddley, Jimmy Reed, Bobby ‘Blue’ Bland, Lightnin’ Hopkins, and John Lee Hooker. Other highlights include the aforementioned Lightnin’ Hopkins’ My Starter Won’t Start and Short Haired Woman, and a remodelling of Muddy Waters’ Rock Me Baby. Ironically, or otherwise, the album closes with the gospel hymn Jesus, Won’t You Come By Here which is one of the few selections that is not stuffed with particularly politically incorrect lyrics and F-bombs.
No doubt recorded for personal pleasure rather than aimed at a commercial market, RICH WHITE HONKY BLUES plays out like a jam session by high-spirited friends inviting you into their world for forty-five minutes. Track it down and have a listen, it’s not anything that hasn’t been done before but - despite the questionable lyrics - is smile inducing from start to finish.
Review by Declan Culliton
Stacy Antonel Always The Outsider Self Release
Raised in Ocean Beach, San Diego, Stacy Antonel’s early passion for music was closer to R&B and pop than the refreshing fusion of country and jazz on her hugely enjoyable debut full-length recording, ALWAYS THE OUTSIDER. As a teenager, she studied classical piano and her transition into honky tonk did not materialise until she moved to Buenos Aires after finishing college. The initial spark was ignited when she responded to an ad seeking a singer that sounded like June Carter Cash. A successful audition led to several jingles which were aired on MTV and Jeep in Latin America. That taster for classic country was followed by the acquisition of numerous country albums in a budget store, drawing her hook, line and sinker into the genre.
Fast forward a few years and now rechristened the Ginger Cowgirl, she had relocated to Nashville and recorded her debut EP at RCA Studio C in 2017. That recording, not surprisingly titled GINGER COWGIRL, featured five original tracks and a cover of the Willie Nelson classic Crazy.
Though most certainly rooted in classic country, ALWAYS THE OUTSIDER also mirrors Antonel’s passion for jazz and R’n’B. The recordings for the eleven tracks were divided between Singing Serpent Studios in San Diego and Trace Horse Recording Studio in Nashville. The possessor of a hugely impressive vocal range, Antonel gathered together some industry big hitters to work with her on the album. The production duties were overseen by Ben Moore (Hot Snakes, Burt Bacharach) and Doug Pettibone (Lucinda Williams, Michelle Shocked) and flat picker Paul Sgroi on guitars, Joe Reed (Merle Haggard, Keb' Mo') on bass, and Eddie Lange (Joshua Hedley, Josh Turner, Jeannie Seely) on pedal steel, all played essential roles in providing the musical backdrop to a record that is very much the sum of its parts.
A throwback to a previous era when the country and jazz genres were a familiar partnership, Texas Lasts Forever and Planetary Heartache are country ragtime delights. The title track is a catchy country gem with heaps of hooks and melody. The album includes a number of ‘love lost’ tunes including Heartbroken Tomorrow, which showcases some stunning guitar playing. The album’s tour de force, Karmic Chord, is also a breakup song. Beautifully delivered, the vocals dip, soar and quiver impressively, brimming with emotion and heartache. She takes a swipe at the obstacle course an artist has to endure, no doubt fuelled from her days as Ginger Cowboy, on Better Late Than Never ‘Rude crowd, upper class, sing the song, just make em dance. Strong cologne, bad requests, just smile at the rich old men.’
All in all, Antonel’s talents have fully blossomed on an album that refashions honky tonk and swing in a striking manner. It’s a giant leap forward from her GINGER COWGIRL EP and one that should reverse the sentiment expressed in the album’s title.
Review by Declan Culliton
Pharis and Jason Romero Tell ‘Em You Were Gold Smithsonian Folkways
Recorded over a six-day period in their converted barn in Horsefly, British Colombia, TELL ‘EM YOU WERE GOLD is the eighth studio recording from the husband and wife team Pharis and Jason Romero. With a sound that is rooted in old-time folk music, the duo are multiple Juno Award winners. Their lifestyle reflects a couple steeped in traditional music influences. Together with songwriting, performing and raising their two children, they also build handcrafted banjos which are marketed through their company, J.Romero Banjos. Their creations can be found in the possession of Jerry Douglas, Martin Simpson, and Ricky Skaggs, to name but a few.
On this recording Jason plays no fewer than seven different banjos, effortlessly switching from clawhammer to rhythmic fingerstyle. Pharis also plays banjo and guitar, and they share vocals on the albums. Guests that join them on this recording include Grace Forrest and Trent Freeman (fiddle), Marc Jenkins (pedal steel), Patrick Metzger (bass) and John Reischman (mandolin).
Transporting the listener to an altogether different era with superb playing and dreamlike harmonies that bring to mind the Gillian Welch and David Rawlings partnership, the album’s sixteen tracks are divided equally between instrumentals and full songs. The highlights of the latter are Sour Cream, Cannot Change It All, and Rolling Mills, the instrumental standouts being Cold Creek Shout, Pale Morning, and The Dose.
Despite being their eighth studio recording and Pharis and Jason Romero being the recipients of numerous awards, the album is their first on a record label. Being released on the non-profit label Smithsonian Folkways Recordings will no doubt introduce a host of new listeners to the hypnotic and bewitching music created by this talented duo. With the Americana bubble bursting at the seams and accommodating endless sub-genres, TELL ‘EM YOU WERE GOLD is solid gold Americana with a capital A.
Review by Declan Culliton