The Broken Spokes Where I Went Wrong Self Release
Over the last few months, there have been a number of releases that undoubtedly are worthy of the ‘hard-core country’ label accreditation. Houston’s The Broken Spokes are one such band and this album, WHERE I WENT WRONG, is testament to that. The ten track album is a mix of classic honky tonk songs and tailored originals that recall BR5-49 or Red Meat at their best. Their own compositions sit easily beside their version of the much covered Drivin’ Nails In My Coffin, written by Jerry Irby and perhaps best know from Ernest Tubb’s rendition, while Honky Tonkitis from Carl Butler, and the Mel Tillis co-write Honky Tonk Song, complete the trio of classic on-brand covers.
The band are comprised of singer and songwriter Brent McLennan and guitarist Josh Artall, the band’s chief writers, and both fulfil their roles in the band with undeniable distinction. They are joined by the equally talented Ellen Story on fiddle and the rhythm section of Lawerence Cevallos and Gus Alvarado. The line up is completed by the major contribution from Kevin Skrla on pedal steel and as the album’s producer. He and the team nail the sound, feel and the sentiment of classic country, but also add a contemporary edge that gives it room to grow and manoeuvre.
This is emphasised by the original songs including one written by former Eleven Hundred Springs’ Matt Hillyer and co-writer Larry Hooper. Someday Not Today is a fitting choice, alongside the opening salvo of the title song and All I Hear You Say from McLennan and Artall. These songs are short, concise and on the nail. But most of all, from the first notes, you just know that this is an album that will make you smile, tap your feet and appreciate who the Broken Spokes are, and how enjoyable this album is on many fronts. It never outstays its welcome, but equally never wastes a second of its playing time in losing focus of creating the kind of music that the band and its audience are looking for - to dance to, to listen to or to drink to. This is a combo that has honed its intentions in the honky tonks and dance halls of Texas, well before ever entering the studio. Their previous self-titled release came out in 2016 and they have grown and learned much since that time.
They also understand something of the graphic sensibility that comes with being such a band and the cover of the album, with its tearful John Wayne graphic, makes it a stand-out release, and sees it join some other fine releases that came out this year. Perhaps the Broken Spokes should consider the subtitle of the next album to be “where we went right”, because this album is an affirmation of doing everything right, from the vocals and instrumentation through to the original compositions and outside song choices.
Review by Stephen Rapid
The Brother Brothers Cover To Cover Compass
This time out Adam and David Moss have brought their considerable musical talents and their superior sibling harmonies to bear on a series of covers; as the title of the album suggests. The 12 songs feature such renowned writers as Jackson Browne, James Taylor and Tom T. Hall, alongside such diverse choices as songs from Lennon/McCartney, Hoagy Carmichael and Tom Waits.
The brothers produced the album and, aside from their usual contributions and that of drummer Matty Meyer, they added the occasional contributions from the talents of Alison Brown (banjo), Ryan Scott (guitar, organ), Michael Rinne (bass) and Jeff Picker (bass and acoustic lead guitar). The vocal side of things was bolstered by Michaela Anne, Rachael and Emily Price and Sarah Jarosz, all adding harmony vocals (while the latter also played mandolin on one track).
As we have come to expect from the Brother Brothers, the mood is calm and soothing in the main, closer perhaps to Simon & Garfunkel than other possible comparisons. Not that any such resemblance really matters, given the material’s effectiveness within its own context.
Overall enjoyment of the album may depend on familiarity and the overall appeal of their version, as against the original or a version recorded by another artist. For instance, the opening Tom T. Hall written That’s How I Got To Memphis has been covered by many, and I have a particular fondness for the Buddy Miller take, but given the very different take here it is a great song well done. Another highlight that works, while not being a million miles away from Richard Thompson’s rendition, is Waltzing For Dreamers. Again, their choices have been to pick songs that are grounded in melody and lyricism. You Can Close Your Eyes from James Taylor perfectly fits the sentiment of the song and the approach taken with it. By way of contrast, If You Ain’t Got Love is a more uptempo call for adulation and nicely uses it rhythms to drive the sentiment. Hoagy Carmichael’s I Get Along Without You Very (Except Sometimes) sounds like it belongs in a different place and, though it is faultlessly delivered a cappella, is not my favourite song here. More sombre, in many ways, is Tom Waits’ Flower’s Grave which uses cello and fiddle to emphasise the notion of sadness. It is obviously very different from Waits’ version, but is equally effective in realising its sentiment.
The arrangement for The Beatles I Will bears a relationship with some of that band’s more baroque recordings. Likewise the vision of Feelin’ Good Again translates with ease from Robert Earl Keen’s songs of the Texas troubadour, complete with prominent banjo from Alison Browne. All of which proves that those who have previously been enamoured with the music of the duo will enjoy this (allowing for a track or two) and it may introduce others to the strong original material and concordant delivery.
Review by Stephen Rapid.
Bill Scorzari The Crosswinds Of Kansas Self Release
Is the music of Bill Scorzari something of an acquired taste? His raspy, sand-blasted voice will not, perhaps, have universal appeal but the answer to that question is that his music is well worth acquiring. His voice is the essential heart of his music and of this album as it delivers his thoughtful, crafted lyrics in a way very few others could. It’s the voice of someone who brings a variety of experienced life stories into focus and one that draws you into the heart of each song.
Scorzari has a very able and creative collaborator in co-producer Neilson Hubbard. The two helm this recording with a clarity of vision and a sense of purpose. This means that the songs are embraced by a rich and diverse musical accompaniment, all grounded in the subtle rhythm section of Hubbard on drums and percussion and Michael Rinne on upright and electric bass. Some twenty plus additional instruments and percussion elements are employed, as befitting the songs’ requirements.
It is the kind of music that envelopes you. You are perfectly aware of the narration of the songs, whose lyrics allow for individual interpretation and introspection, something that tends to bring you closer to its heart with frequent listening. In the accompanying lyric book, the lyrics are laid out in prose style, which tends to emphasise their narrative style. On that point, there has been a lot of care put into this release (a 16 page full colour booklet and a fold-out digi-pak cover featuring the design and artwork of Anna Berman), all of which makes this something more intrinsic in value than a download.
Another element here is bringing in the sounds and language of the Navajo people in the song Tryin’, Tryin’, Tryin’, Tryin’, for which Scorzari has had his lyrics translated. The song has both atmosphere and meaning in its lament for a people, their place and surrounding nature. The Native American flute is also included (with a Tibetan Singing Bowl Bell) in Inside My Heart, adding a dimension that is inclusive of other cultures as much as taking in the landscape of Scorzari’s immediate surroundings.
There are thirteen songs and a playing time of over an hour, though nothing seems to be superfluous in the process. Like his previous albums, there is much to embrace here with this new recording, which is a step forward for his music and for himself. Those unacquainted with his output, but who may be fans of such individual artists as Malcolm Holcombe or Sam Baker, would be advised to have a listen as the crosswinds of Kansas are blowing strong and true.
Review by Stephen Rapid
Rod Picott Paper Hearts and Broken Arrows Welding Rod
It could just be a marriage made in heaven; the pairing of Rod Picott and Neilson Hubbard. The decision to call upon the many talents of Hubbard is a master stroke here, and his superbly crafted production suits the reflective playing and words of Picott just perfectly. Hubbard also contributes piano, percussion and harmony vocals, along with the impressive Juan Solodzano (pedal steel, slide guitar), Lex Price (bass, tenor guitar), and Evan Hutchins (drums). It’s a tight-knit unit and the interplay is gently sublime, with Picott sounding both fragile and born again on acoustic guitar and suitably worn-but-knowing vocals. All twelve songs are written by Picott, including four co-writes, and, over forty-plus minutes, we are treated to a real look behind the curtain of this musical troubadour.
Picott was born in New Hampshire, raised in Maine and has lived in Nashville for twenty-five years. Over this time, he has released fourteen albums, written two books of poetry, published a volume of short stories and had his music feature on both television and film projects. By any definition, a successful career as a professional musician, and proof positive that we are dealing with a singer songwriter of some gravitas. For every Springsteen who climbs the ladder to world acclaim, there is a Rod Picott, every bit as adapt and as insightful, but destined to walk in the lesser glare of such spotlights. From his early years as a construction worker, Picott has successfully captured the story songs of everyman, from the blue- collar worker to the lost souls and underdogs who never find their true direction. His vulnerable empathy has always been a strength and his desire to endure his greatest asset, as he continues to create music of a consistently high standard.
This album compares to his best, right up there with the highs of Welding Burns (2011) and Stray Dogs (2002). In the last few years, he has continued in a rich vein of creativity and delivered a trio of albums that sit proudly in his overall body of work, namely; Out Past the Wires (2017), Tell the Truth & Shame the Devil (2019), and Wood, Steel, Dust & Dreams (2020), an album written with friend and fellow musical traveller, Slaid Cleaves. Again, all three releases include the sure touch of Neilson Hubbard in their creation.
Indeed, this new release features two songs that were co-written with Cleaves, and the twelve tracks show a very stripped-down and sparce sound; highlighting Picott at his most reflective self. There are story songs, such as Frankie Lee, where Picott adopts the persona of an outlaw on the run from the electric chair, and Washington County, a tale of poverty and trying to stay above the bread line; every bit as good as Springsteen might have penned… Revenuer, is another tale, channelling a moonshine bootlegger, protecting his way of living from the prying eyes of Government officials. Dirty T-Shirt lightens the mood with a dream fantasy, and a deeply infectious groove, observing our desires and our primal urges for gratification.
Sonny Liston, reflects on the legacy of the world heavyweight champion and the sad tale of a broken childhood, the stigma of mob connections, fights thrown for money and the decline into hard drugs that eventually took his life. There is also a rumination on family ties and values in the song, Mark Of Your Father, while feelings of loneliness and contemplating a solitary life are highlighted on songs such as, Lover, Mona Lisa and Valentine’s Day – summed up in the lines, ‘You used to hold me, but I held you back, Somewhere the train slipped from the track.’
There is always hope, of course, and Picott never strays too far away from what keeps us grounded and battling through the self-doubt. Through the Dark, looks at our strength to endure and come out smiling; ‘We can’t fight a storm, But we can wait it out.’
Equally the hope of closing song, Make Your Own Light, is a resolve to look within, to be your own spirit guide and to balance the good with the bad. Rod Picott is something of a hidden treasure and like all things that lie waiting to be discovered by a greater audience, well worthy of the effort.
Review by Paul McGee
Steve Dawson and the Telescope Three Phantom Threshold Black Hen
This is an album made in celebration of the pedal steel musical instrument. Across elven tracks and some forty-seven minutes, Steve Dawson creates a thread that links all of the ways in which this unique instrument can colour and augment a song arrangement. Usually, pedal steel is used in a supporting role to the song arrangement, but here, it is given centre stage in order to highlight its charm and versatility.
The lack of any vocals is something of a drawback on many instrumental albums, where the overall dynamic can suffer without the use of voice harmonics to add feel and tone. However, on this impressive album, there are no such concerns, with the superb production and the interesting variety in these ensemble-based arrangements. All the studio musicians are given the space to stretch out in their playing and in their individual interpretation around the song structures and melodies.
In many ways, Phantom Threshold, continues the theme that was created on Telescope, Steve Dawson’s first pedal steel-based instrumental album (2008). Only Chris Gestrin on a variety of keyboards remains from the original studio musicians who played on that album, and his abilities across synthesizers, clavinet, wurlitzer, hammond organ, mellotron, moog, pump organ, farfisa and piano, is quite something. The rest of the band, (The Telescope 3),is comprised of Jeremy Holmes (bass), and Jay Bellerose (drums/percussion).
The improvisation and the interplay across all the tracks is very impressive, and with Steve’s unique ability to vary the mood on the arrangements, we are treated to a really satisfying feast of rich sounds. Dawson is known for his impressive collection of unusual instruments and he certainly gets many of his favourite toys out on this new album, his second release this year, marking his versatility as an innovative artist and producer. Here, we are given an insight into his talent at play, on an array of instruments, including pedal steel, acoustic and electric guitars, mandotar, marxophone, national steel guitar, national tricone, baritone guitars, mellotron, ukulele and weissenborn lap slide guitar.
Recorded at Steve’s Nashville studios, The Henhouse, with additional remote parts captured at various other locations, Steve displays his wonderful guitar technique on the closing track, Whirlwind, a solo piece that leaves no doubt about his musicality. Equally, the short track, Burnt End, has Steve channelling images of lonely prairies and open spaces as he delivers a haunting solo performance on pedal steel. Outside of these two tracks the remainder of the album is a real celebration of powerful ensemble performance. Tripledream is a highlight with the slow, dreamy arrangement, reminiscent of a Ry Cooder soundtrack, complete with some tasty cornet playing from guest, Daniel Lapp. He also contributes on violin to opening track, Cozy Corner, something of a synth layered tip-of-the- hat to the use of pedal steel in other musical genres.
Fats Kaplin also guests, and plays fiddle and banjo on the title track, which has a slow tempo and brushed drums setting the mood. Kaplin also shows his versatility by adding accordion on The Waters Rise, and a fine example of how the pedal steel can intertwine with the rich sound of accordion. That’s How It Goes In the Relax Lounge is another dreamy arrangement, with a gentle sway and a Bossa Nova beat. While the funky bass and keyboards on the blues-based, Ol’ Brushy, includes some nice moments where the musicians let go and jam a little.
All tracks are written by Steve Dawson, except for a co-write with Fats Kaplin (The Waters Rise), and a cover of the Beach Boys song, You Still Believe In Me (Brian Wilson and Tony Asher). Once again, a very accomplished album from a very gifted musician and someone who merits inclusion in every discerning music collection.
Review by Paul McGee
The North Star Band Then and Now Self Release
This double album is a real joy and one that should gain the band some traction in a career that has seen many highs and lows. The album is split between a ‘Then’ and a ‘Now’ divide; the first disc containing ten songs that were recorded back in the period 1976-1982, when the band were in their infancy. The second disc brings everything into a current perspective, with a consistent creativity highlighted across a further ten tracks.
Are they the band that time forgot? Perhaps a consideration, but listening to this vibrant music, it’s as if the years are rolled back to the time when the members all shared a common hope for a future with some true direction and optimism. These early songs are very reminiscent of the country rock movement of the time, with the playing right up there with established acts such as The Flying Burrito Bothers and, perhaps, early Eagles. The harmony vocals and gentle guitar and piano lines on tracks like You’re Not the One To Blame and Where Does That Get You To, reminiscent of the time, with classic pedal steel and soaring guitar lifting the song arrangements and reminiscent of other talented artists that defined the genre, such as Blue Rodeo and the Souther-Hillman-Furay Band.
The combined playing of Al Johnson on harmonica and Lou Hagler on piano, is augmented by the pedal steel of Jay Jessup on the track, I Shouldn’t Act This Way. Another track, Emergency, brings together this heady time, captured by a real band workout and the soaring tempo bringing a real sense of fun. There is banjo and fiddle on the bluegrass influenced, Crow Don’t Crow, which celebrates all that is good about playing together in an ensemble that knits as tightly together as this group.
The second disc celebrates their current sound, augmented by more modern studio techniques and equipment. The same musicians are present, and their collective talents have not been diminished over time. Starting with the country groove of Brown Shoe Willy, and the tale of a Louisiana man who wrestled alligators, the scene is set for a real jam session with the band hitting new peaks of ensemble playing. The bigger production on these ten songs is very infectious and would blow away most of what you will hear on commercial country radio stations these days. The easy flow of Whistle Blow is a look back down the track of classic country and a song that George Jones could have taken and turned into a real classic. The heady stomp of both What Goes Up and Goose Creek are both reminiscent of all that remains relevant in real country music – sweet harmonies wrapped in an organic groove and that sense of time standing still.
The rhythm section of David Watt Besley (bass, vocals) and Paul Goldstein (drums) are a constant across both recordings and they gently push the groove with concentrated creativity, with Jay Jessup on pedal steel, mandolin and electric guitar lifting the arrangements into a new space. The closing track, Yes I Do, brings everything to a satisfactory close with a dynamic band arrangement and all players immersed in the deep rhythm and soaring melody. Celebratory music, and if you never got on board with this terrific band of musicians in the past, now is the time to jump in and enjoy the ride.
Review by Paul McGee
The Damn Quails Clouding Up Your City Self Release
Whereas the pandemic created total disruption to artists’ and bands’ recording and touring schedules, trials and tribulations knocked on the door of Okie band The Damn Quails long before the word coronavirus became universal. Confronted with legal battles with their management and label 598 Recordings, numerous line-up changes, addiction issues, and the disappearance of their tour manager following a nervous breakdown, it’s a miracle that the band has resurfaced to record only their third album in twenty years.
Produced by fellow Okie John Calvin Abney, the album was originally to be released as a solo project by Byron White, before his co-founding member of The Damn Quails Gabe Marshall gave his blessing for the album to be credited to the band. Recorded at Cardinal Song Studio in Oklahoma City over a four-day period, alongside Calvin Abney, who played a range of instruments, was Kevin ‘Haystack’ Foster on pedal steel guitar, fiddle and guitar, Byron White on guitars, Johnny Carlton on bass, and Walton McMurry on drums. Kierston White, Ben Mc Kenzie, Chris Jones and Jamie Lin Wilson all contributed backing vocals.
Championing The Red Dirt sound of Oklahoma, the eleven tracks are a potent serving of songs that land somewhere between country rock and Americana. Calvin Abney’s production achieves the live sound that previously generated a large and enthusiastic following for the band. Explaining the recording Abney noted, “The process for recording a song was pretty simple but extremely effective. Gather the band around the piano in the tracking room, spend five or ten minutes running through the basics and working out any kinks, and then Trepagnier would hit record and we’d start playing.”
That arrangement is particularly successful on the stirring ballad Harm’s Way and the lively opener Monsters. The title track, presumably an account of a typical touring day for the band (past or present?), is a chaotic delight and they showcase their capacity to serve up impassioned country tunes on Mile By Mile and the border sounding Golden Sands of Leyte.
Hopefully, the tide has turned for The Damn Quails and they can continue to realise their full potential as a force to be seriously reckoned with, particularly on the live circuit. CLOUDING UP YOUR CITY will be welcomed with open arms by the band’s loyal following and, no doubt will bring many more punters on board.
Review by Declan Culliton
Willi Carlisle Peculiar, Missouri Free Dirt
This twelve-track album from poet and folk singer Willi Carlisle is a collection of tales detailing the plights of the impoverished and unsettled. Although the characters are unconnected, their common hallmark is one of travelling on seemingly endless journeys.
The songs are performed by Carlisle in traditional, semi-spoken, and fully vocalised format and include characters both from the present day and yesteryear. Vanlife details the life of a nomadic drifter, living in his Dodge Ram cargo van (‘Now I’m peein’ in bottles and eatin’ from cans, but you can’t call me homeless, cause I live in my van’). We hear of the closet homosexual, raked with confusion and guilt, on Life On The Fence and a border cowboy points his finger at the water companies on Este Mundo, citing the unavailability of water for his crops and the resulting dependency on rainwater. The title track, which kicks in at close to seven minutes, is a spoken poem relating to the small Missouri town, but in essence it depicts the transitional modern lifestyle in innumerable American towns. Elsewhere, Carlisle throws away any inhibitions and bashfulness on the defiant I Won’t Be Afraid Any More, which features duo Ordinary Elephant on backing vocals.
Far from conventional, Carlisle follows a similar path to his hero Utah Phillips, promoting and empathising with the underprivileged and disadvantaged. Far from a Saturday night listen and an album as peculiar in content as it is in title, Carlisle’s modus operandi will appeal most to lovers of like-minded folk poets, Todd Snider and Minton Sparks. Spotlighting an artist very much doing as he pleases, PECULIAR MISSOURI is an album that requires plenty of time to appreciate it fully. Still, that time invested will yield numerous high points.
Review by Declan Culliton
Damien Jurado Reggae Film Star Maraqopa
This self-produced album is the eighteenth studio recording from prolific singer songwriter Damien Jurado and his second recording on his own Maraqopa Records label. A master of understatement, Jurado’s work demands diligent attention, with each listen unfolding previously unnoticed nuances.
This is very much the case on the low-key twelve-track album REGGAE FILM STAR. From the gorgeous opener Roger, where an aging man considers his life journey, to the closing track (possibly concerning the same individual?), Gork Meets The Desert Monster, its tales and characters are atypical and thought provoking.
Jurado’s output has included numerous songs featuring on movie soundtracks and this collection, unsurprisingly given its title, is cinematic in its content. Presented through the eyes of what appear to be support actors, their anxieties and feelings unfold in a series of connected scenes.
It’s very much a low-key affair, though it contains a number of upbeat and poppy tunes, particularly Day Of The Robot and Taped In Front Of A Live Audience. Others that impress are the ‘stream of consciousness’ Meeting Eddie Smith and the instantly arresting and contemplative standout song, What Happened To Paul Sand.
For the recording, Jurado was joined once more by multi-instrumentalist Josh Gordon and his regular engineer Alex Bush, at Sonikwire in Irvine, California. It’s very much business as usual for Jurado and an album that will, no doubt, be treasured by his supporters and one well worth a visit for fans of lo-fi indie folk who may not be familiar with his work.
Review by Declan Culliton