Charlie Sutton Trout Takes Chuckwagon
Now please don’t scroll on when I tell you that this album is based on the subject of fishing, because, even though I am a non-fisher, I have totally fallen under the spell of this gorgeous eight song EP and I want you to hear it too. Multi instrumentalist Charlie Sutton, through the medium of country/blues/folk songs about one of his favourite pastimes, takes the listener on an exploration of family, the cycles of life, nature and simplicity in his latest self-produced recording, TROUT TAKES. Casting off with Fishin’ Hole, the grooving country blues eases you into the simple delights and contentment to be enjoyed in a day’s fishing, augmented by the pedal steel and dobro playing of Dave Manion (Eilen Jewell). There’s a nonchalance about Sutton’s delivery that serves to emphasise the laid back nature of this collection. Take Just A Man, wherein we find Sutton in a reflective mode, adding piano, acoustic guitar (and there’s Manion’s pedal steel again) in a meditation on where he is in life currently.
Telling stories from the animal’s perspective has always been part of Sutton’s repertoire, and here he continues this to comical effect in the amusing One Eyed Trout, ‘I’m a sad sad case, even try to get caught/‘Cos it’s better to be wanted than it is to be forgot’, the hapless fish with the ‘mouth full of hooks’ relates on another laid back offering, the groove established by the drums of Jason Beek and interspersed with the plaintive harmonica and steel bodied guitar playing of Sutton. The inevitable ‘one that got away’ is described in Chrome Ghost, a fascinating tale of an episode on his native Idaho’s Clearwater River, which goes some way towards explaining to the sceptic why fishing is so addictive. Sutton recently explained that there’s a rhythm to fly fishing that he finds therapeutic and meditative. He expresses this ‘being in the moment’ feeling very well throughout the album and especially on Fisherman’s Dream, where you will probably find yourself drifting away with him before you know it. As well as the aforementioned Dave Manion and Jason Beek, Sutton is also joined throughout by his other long term collaborator, Drew Myers, on bass.
The album is dedicated to his late grandfather, Chuck Sutton, whose spirit inhabits the songs, and for whom the closing song The Patriarch is written. Chuck was responsible for starting Charlie’s love of fishing when he was a boy, and Charlie in turn is passing this down the generations, as witnessed in Flat Rock River, sung with his son, Roscoe. The cover art is fascinating, too, with a photo of a wood carving by Chuck and quirky line drawings (both found and original) of fish related paraphernalia.
Did I mention that this has already joined my ‘best of 2022’ collection?
Review by Eilís Boland
Pat Burgess The Song Box Self Release
A veteran of the roots music scene in Ireland for over four decades, Pat Burgess has been writing and performing Americana music long before the genre earned that title.
Founding member and lead singer with The Rye River Band, THE SONG BOX is Burgess’ debut solo album, having previously recorded albums with that band. The album takes its title from his trusted guitar, one with which he has written all his songs and which was purchased in 1974 for the princely sum of fifty-five pounds. Alongside being Burgess’ favourite instrument, it was also played by both Mick Jagger and Ronnie Wood, when they stayed with the Guinness family in Leixlip, Co. Kildare in the 1980s.
Included on the album are eleven original songs penned by Burgess and his arrangement of the traditional song Bridget Mulligan. The styles shift from the rock and roll of opener Buddy, to the border country and western The Ballad Of Old Boone, and the folk ballad Love to You. Classic singer songwriter songs such as The Quay and Years End also impress.
No doubt a labour of love for Burgess, THE SONG BOX was recorded at Poppyhill Studios, Co. Kildare between April 2019 and December 2021. It features contributions from a host of Irish musicians including Rye River Band members Pat Sweeney, Paddy Faughan, and is a proud celebration of how vital music has been in the lifetime of Burgess.
The Rye River Band remain regular Saturday night performers at the famous Brazen Head Pub in Dublin. Pop along next time you’re in town and no doubt material from this charming album will appear on the setlist.
Review by Declan Culliton
Dillon Vanders Wildfires Self Release
Debut eight track release from the Long Beach native, who makes the best use of the California location for inspiration and to bring in the talents of well know locals to help create the music. The producers are Michael Dumas (an experienced producer engineer who has worked with artists as diverse as Dwight Yoakam and John Mayall) and, artist in her own right, and fellow Long Beach resident Shayna Adler. Add to that Greg Leisz on electric and pedal steel guitars and Al Bonhomme also on guitars as part of the noted team of players. It was recorded in the Los Angeles studio owned by former Doors guitarist, Robbie Krieger.
Vanders has a rasp to his voice and a set of songs that are observational and personal. Overall, the tone is a mix of folk, pop and 70s country, but comes out made for the now rather than for a sense of retro revision. I read that he has worked in the cannabis industry in his home state, something that doubtless has seeped into his consciousness on occasions. He is a reported fan of Simon & Garfunkel and Joni Mitchell, as well as some classic country storytelling.
The album flows along at a pace that never drags and it keeps you listening. There are a number of songs that work very well such as the dirty edged Russian River Blues, a track that Vanders’s vocal grit helps to give additional texture to the more rock oriented sound. Softer in sound but no less effective is Racing In Circles, with Leisz’s steel gliding behind the vocal. A ballad of searching and finding a fiery relationship that is Wildfires gives the influences, mentioned above, a place to emerge into something solid. For Peat’s Sake has a slightly more 70s country rock feel. with banjo prominent. Truth And Lies has, again, more of that California feel to it that is pleasing to the ear. The final track of this, what I suppose is a, mini album is a fine track to finish on. Paradise is an uptempo track with effective twangy guitar on a song that calls for a closeness on the day he goes to meet his maker, so that the lyric has a darker tone than the music. An interesting debut for Vanders. that opens a number of possibilities for him for future releases.
Review by Stephen Rapid
Alex Key Neon Signs And Stained Glass Self Release
All the signs are that Alex Key loves his new traditionalist country but also reaches back further for his inspiration. His mother Karen acts a co-producer (with Alex), as well as his manager, and that suggests he was reared on the real deal and this is the foundation of this latest excellent (mini) album release.
Key pens all of the eight tracks here and the titles tell their own story, from the bar-room living of the title through such forlorn fables as Tell Me Something I Don’t Know, Tomorrow I’ll Be Over You or the restlessness of the wandering hand-for-hire in Can’t Love The Leaving Out Of A Cowboy. Everything Must Go fits neatly into any number of country songs, dealing with selling all the things that are directly related to a failed relationship.
He opens the album with Turn Anywhere Into A Honky Tonk using the philosophy that you can turn any place, anywhere, anytime into an environment conducive to some good music, good times and good libations.The Good Life is an uptempo positive song that was de rigueur for radio play by any of those hat wearing dudes back in the 90s. The North Carolina native sure knows how to get the best out of these songs, down to employing some of Nashville’s A-Team players, many of whom I’d bet played on the albums of some of his influences. It is an album that one can easily point to as an example of what is undoubtably country music, devoid of the current trends towards pop, hip-hop or any other unwelcome (in the main) deviation. In order to process you need to know the rules and this is something that Key does.
He has a voice totally suited to what he does, both in terms of his singing as well as his attitude. He handles the ballads as easily as he does the uptempo songs. That fact is writ large in the neon signs that symbolically hover above the album. The stained glass side of the title is again a reference to the Saturday night and Sunday morning contradictions in the music, as well as cleverly referencing the driving vessel used the night before.
One has to hope that next time out there may be a ten or twelve track set of songs, as all the signs are that this independent artist is poised for a bigger breakthrough. Although the music has that pre millennium sound, it is just as relevant today for many. That next step is key for Key, but here the foundations have been laid for many a cowboy boot to dance upon.
Review by Stephen Rapid.
Anders Thomsen Seven Songs Copperhead
As the title denotes, this is another mini-album release. This time it is from a former member of the very entertaining alt-country outfit, The Ex-Husbands trio, that also included Mark Miller who went on to play with BR5-49’s Chuck Mead. This time out, Thomsen mixes his country with some blues and rock. His talent as a guitar player is evidenced on the tracks. He is joined by bassist Rachael Shan and drummer Chris Fullerton.
The album opens with a much repeated theme of I Don’t Like The Liquor but I’m sure you can guess the next line? It’s a hillbilly honky workout that is fun. Somewhere in the same district is Money Honey, wherein our hero convinces us that he ain’t in love with his girl’s money but rather with her soul. Big, Fine Woman is one of those old school blues/rock songs that has plenty of double entendres to contend with. The slow Show Some Mercy, which closes the album, shows that aside from the rousing bar-room tracks he can easily handle the emotion of a slow, heartfelt, soul infused ballad. Thomsen wrote all the material and shows that there are a number of tangents he could develop on a full length release.
Thomsen has a seasoned voice that has been shaped by many a night in a smokey bar, singing and playing his heart out. And play he does throughout the album, which features some very tasty picking that shows his talent here on record and undoubtedly is intensified during a live performance. Thomsen seems one of those performers who needs to do what he does, regardless of the possible rewards. Those come in doing it, and doing it the way he wants to.
Review by Stephen Rapid
Skinny Dyck Palace Waiting Self Release
The euphemistically subtitled The Latest Song Hits From … suggest that Mr Ryan Dyck, a Canadian musician and pedal steel player, knows that while the hits keep a coming, that they may not be actually be going anywhere bigtime! But there are bound to be enough of us out in listener land who will appreciate his concerted efforts. Produced by veteran player Billy Horton and The Juicebox Kid, in studios in Texas and Alberta, and utilising some stalwart players, makes it a step up from his previous release GET TO KNOW LONESOME, which was produced on a portable Tascam recorder and came out in 2020.
The music is steeped again in retro inspired traditional country. One song (a bonus track added to the originally intended six track version - yet another of these, often too short, mini-album confections) is Be A lIttle Quieter, written by Porter Wagoner and sounding that it could have easily been released as cover at the time it came out first, which believe me, is no bad thing. Much of the rest of the album takes a similar route and root. The remaining tracks are written by Dyck - two with Michael Granzow. All underline his old school country obsession that prevailed at the time he recorded these songs, which is obviously the start point but, as with a number of his contemporaries, this is used as a base to create something new from something old. A case in point, Ripe There On The Vine again sounds like a Wagoner inspired creation with its blend of old Telecaster riffs, deep baritone guitar and wholesome steel guitar. It also shows that Dyck’s voice is both effective and diverting.
That process has given us some great material with Hey Who’s Counting?, Jackson Hole, In On The Upswing to name three more tracks which resonate. The latter was also a single from the album and contains the lyrical reference to the title. It has some baritone guitar and also great steel that is both effective and engaging as the song creeps up on you. There is much to return to here that will grow with each play, underlining that an understanding of the form and the talent to deliver it in such a entertaining fashion is worth more than hits (in the acknowledged sense) and rather that it hits home in an alt.vintage way. Like some, Dyck may move on to different styles, eras and visions but it is hoped there is more of this to come our way first. We’ll be waiting.
Review by Stephen Rapid
The Mystix Tru Vine Mystix Eyes
Album number eight from a band who continue to create music that engages and entertains. Formed in 2002 by Jo Lily and Bobby B Keyes, the early albums were a welcome addiction with an eclectic mix of country influenced swamp rock, blues roots and americana sounds. This new record is full of personality, from the unique vocals of Lily to the fine ensemble of players that include many notable guest musicians. The core band is Jo Lily ( vocals, acoustic guitar), Bobby B Keyes (guitar), Stu Kimball (guitar), Neal Pawley (guitar), Marty Ballou (bass) and Marco Giovinoo (drums).
Lily has a voice that reminds me of Roger Chapman (Family, Streetwalkers) with a raspy vibrato and a soulful delivery. It certainly adds great character to these songs and the fine guitar playing heightens the experience with an atmospheric edge. The project delivers songs that include personal demons, dealing with lost love and down-on-your-luck laments.
Opening with Satisfy You and a slow menacing groove that teases, the arrangement builds with guitars and organ fuelling the dramatic interplay. It lays down a real marker of what is to follow on this very impressive album.
Lifetime Worth Of Blues is a sensual delve into the pot of heartbreak that epitomises the blues genre. Up Jumped the Devil has a wicked drum shuffle and a pulsing bass line that underpins the guitar and organ layers of sonic attack. Lily singing like his life is on the line and wringing great dynamics from the arrangement. A standout.
I Guess I Lose is another terrific song, all slow burn and regret as Lily sings of losing in the game of love. Again, a great band execution delivers a very convincing country inflected blues. The easy groove of Midnight In Mississippi is another addictive track and the understated guitar riff warms the soul.
On it goes, with hardly a weak track and Sugar Baby reminds me of the deepest Muddy Waters workouts, with superb guitar and banjo interplay underpinning the passionate vocals of Lily. Devil Try To Steal My Joy is a prime example of the band tucked into a deep groove and Lily laying down his vocal licks on top of the dangerously cool ensemble playing.
My Epitaph includes clarinet, trumpet and trombone in a slight departure from the other tracks, and the country sound of Which Side Of Heartache ’22 is a perfect song for the great Willie Nelson to cover.
Change My Mind has some mean harmonica parts from Jerry Portnoy, one of thirteen guest players on the album. Other guests include the impressive talents of Luther Dickinson (North Mississippi Allstars), Doug Lancio (Bob Dylan, John Hiatt), Duke Levine (Shawn Colvin, Bonnie Raitt), Spooner Oldham (Aretha Franklin, Muscle Shoals house band), and many others…
Without having credits as to who played on what track, it is hard to identify all the parts that come together to make up this very impressive whole. However, across forty-plus minutes the eleven songs are an example of this band at the height of their powers. They have certainly made records that come close to matching the peaks of this one, but they certainly have not made a better album. A real keeper and one of my albums of the year so far.
Review by Paul McGee
Beth Nielsen Chapman Crazy Town Cooking Vinyl
When we look at some of the classic female singer-songwriters over the years, we can draw a direct line from Carole King all the way through the time line that links Mary Chapin Carpenter to Dar Williams, and Shawn Colvin to Patty Griffin. The baton passes regularly as each adds to the musical legacy that endures and inspires. Beth Nielsen Chapman deserves her place at this table with her consistently high standards giving her entry to such an exclusive club.
This album, her first in four years, delivers the expected high points and also includes a few curve balls as Beth experiments a little with her sound. All Around the World opens the album and has a very commercial sound with a sing-along chorus and squarely aimed at radio play. Not that she needs such validation across a career that has seen increasing plaudits bestowed upon her song writing and her skills at absorbing and defining the inner emotions of living on this crazy spinning globe together.
Her reputation grew initially out of deep personal loss and classic songs like Sand and Water, Emily, Years and The Moment You Were Mine, helping to define her signature sound. Of course, Beth is as renowned for the songs she has written for others in a long list that includes Faith Hill, Trisha Yearwood, Martina McBride, Tanya Tucker, Beth Midler, Waylon Jennings and Willie Nelson.
Put A Woman In Charge is a plea to see some common sense in our race to destroy the planet through a combination of divisive ego and foolish pride displayed by our (mostly) male rulers. Beth has a manifesto, delivered in the lines ‘Time has come, We’ve got to turn this world around, Call the mothers call the daughters, We need the sisters of Mercy now.’ Again, a commercial sound with an up-tempo beat.
Hey Girl (We Can Deal With It) is a call to arms to mobilise against all the barriers put in the way of female empowerment. The bright song arrangement masking the very pertinent message of ‘Hey girl, ya gotta give it time, It’ll be fine, We can deal with it.’ Again, classic economy of words that deliver such a potent punch.
4Leaf Clover has a nice soulful groove and a song that celebrates the attraction between the sexes, all sweet flirtation and sultry promises. Dancing With the Past has yet another commercial arrangement, reminiscent of early Sheryl Crow and it carries a message the living in the moment is where real contentment lies, ‘I surrender to the big ‘don’t know’ And the back and forth, and the ebb and flow.’
The Truth is one of only two songs written solely by Beth. It speaks of living a righteous life and sticking to fundamental principles. The truth will always win out in the end. The up-tempo arrangement on The Universe is a stand-out track with some superbly observed words to describe our confusion in the midst of all our mass communication techniques that ironically leave us all feeling a disconnect: ‘All the whacked-out wonders of the modern world, Criss-crossed high tech telephone lines, Wound all ‘round our beautiful mother earth, Great big ball of electrical twine.’
Elsewhere, the wonderful reflection on the song Time perhaps sums up the unique talents displayed by this song-writing beacon: ‘Time is a river It goes by so fast, You can’t catch the future, Or get back the past.’ Dare I suggest, timeless in its message and delivery, and typical Beth Nielsen Chapman.
The Edge is the other self-penned track and it gently reflects upon the past and the struggle to reconcile old memories with living in the present: ‘ Beyond the borders of polite excuses, My pride is useless, that’s where the truth is, Out here on the edge of how I feel.’ Such sad sentiment and sense of forgiveness all wrapped up in these wise words.
Pocket Of My Past is a song about moving forward and leaving the mistakes of the past back where they belong. It’s almost a post-Covid song for those who feel disenfranchised. It has a nice arrangement that delivers an infectious groove and subtle horn sound that blends with the backing vocals.
Everywhere We Go delivers a sassy up-tempo beat with some sweet guitar and keyboard runs mixing with the harmonica parts. Walk You To Heaven is classic Beth, a song that offers hope for the future and the message that we are never alone once we reach out a hand: ‘On the road that’ll walk you to heaven, There are mountains and valleys to cross, Take comfort and hope cause the angels, Will find you whenever you’re lost.’
The message of hope always leads the way towards the shore in Beth’s work and this new album is a strong statement that the lady is not slipping quietly away, she’s just been gathering the powers in order to reappear upon our collective consciousness. An album that is well worth your time.
Review by Paul McGee
Mama’s Broke Narrow Line Free Dirt
Believe it or not, living out of a suitcase (or that should probably read ‘backpack’) is a chosen way of life for Canadians Lisa Maria and Amy Lou Keeler, who make up Mama’s Broke.
Having spent the last eight years constantly touring in their native country as well as across the US, Europe and even Asia, the influences they have absorbed inform their eclectic sound and lyrics deeply. This, their second album, is a gorgeous rich tapestry of folk influences from Nova Scotia, Ireland, England, Eastern Europe and the Appalachians, melding together to produce an intense, almost gothic, experience, one that grows with each listen.
Launching with Just Pick One, their philosophy that life is hard, but you chose a path and you will prevail, is introduced through their close vocal harmonies, Amy Lou’s guitar and Lisa’s clawhammer banjo (and enhanced by Joe Grass on exquisite dobro on this particular track). Next up is a musical triptych: their two sweet and expressive voices a capella and ‘in the round’ on the uplifting ‘Oh Sun’ runs into fiddle led instrumentals Pale Light and Forgetting Reel, with Eastern Europe and Klezmer influences very evident. Celtic influences dominate on the ballad Between The Briar & The Rose, a lament for a broken love affair. ‘Do right man, but not right now’ echoes Gillian Welch, who is a clear musical influence, and the love is unrequited, ‘don’t you wanna be my burden/I can carry you’. How It Ends explores a love that went sour, and is the most lyrically accessible song on the album.
Elsewhere, the listener has to work to decipher the dense, metaphorical lyrics which, like the instrumentation, are a truly collaborative effort. The title track, Narrow Lines, conveys the duo’s sadness at the creation of walls and barriers between and within nations, something that they have witnessed first hand on their travels. Most chilling is God’s Little Boy, where the protagonist is a terrorist fuelled by religious dogma ‘through the eyes of your father and the voice of your creator/You made your decision, you got a holy vision/Now you move with grace and deadly precision’. The short a capella October’s Lament was quite shocking to this reviewer until I learned from a recent interview that it is not actually about suicide but, in fact, expresses how Keeler felt when she got sober. Phew.
Co-produced with Bill Garrett in Montreal, this collection of reflective and contemplative songs, with its sparse but beautiful instrumentation, will greatly reward those who like their music to challenge them. I predict it may end up as a favourite for you, as it has for me.
Review by Eilís Boland