Marty Stuart & The Fabulous Superlatives Altitude Snakefarm
There are elements to this new album from Stuart and his band that go back to their last release WAY OUT WEST, as well as to time spent working with surviving Byrds members Roger McGuinn and Chris Hillman. But they also go back further in time to the late 60s and an exploration of that cosmic psychedelic influence that began to appear in many forms and genres of music, in some subtle and some not quite so subtle ways. That Stuart is a stalwart of traditional country and its values is apparent in his music, photography and curation of the artefacts of a form that for a time was being eroded. Many can be seen at his recently opened museum, Congress Of Country Music in Philadelphia, Mississippi. Here, with this new album, he and the band and guests create a vision that includes the expansion and exploration of the traditional forms.
Few who have followed his career will be surprised at this and the different twist and turns he has taken musically since he played with The Sullivans at the age of 12 and through over 20 plus albums since 1982. These have taken in rockabilly, gospel, bluegrass, country, surf sounds, rock and soundtrack music along the away. Many of these can be found in the tracks here.
The album opens with the instrumental Lost Byrd Space Train (Scene 1) which to these ears has a relationship with the music played by The Byrds themselves in their Clarence White incarnation. It also has hints of Mali as well as the Mojave. Then the twang springs into action with the resumé of a life on the road that is Country Star. The chiming Rickenbacker that is central to Sitting Alone is a sound further emphasised by its 60s rock harmonies. There is perhaps in the song A Friend Of Mine something of a nod to the similarly titled but differently intentioned Byrds song, He Was A Friend Of Mine. It again completely accentuates just how good a band this is, with its musical interaction and energy.
Much more atmospheric is Space, with Stuart’s sitar providing a link to that instrument’s very specific tone and place in rock music, either with the established Indian original form or with its, more common, electric approximation. The title track follows and it is a summation of an attitude and vision that is everything you would expect from Stuart. There is more of that sparkle in Vegas, which is a hymn to that fabled town’s reputation for riches but equally also for ruin.
The Sun Is Quietly Sleeping takes a more considered approach, featuring an effective string arrangement under the gentle reflection of the night. Lost Byrd Space Train (Scene 2) is another short instrumental interlude that offers an effective cleanser before Night Riding takes a trip down the highway of life. Next they turn up the tempo, with some Luther Perkins licks and more dexterous guitar runs, for the story of Tomahawk, which tells us that there is “absolutely nothing new underneath the sun.” The plight of the Native American people forms part of its story and journey. Time To Dance is just that, as it extols some of the better moments in having time to dance, love and live. It features more of the band’s great guitar interactions. By way of contrast The Angels Came Down strips things back to something more spiritually enhancing, with Marty’s rich vocal delivery and some strong vocal harmony blending over the acoustic guitar’s reflection. Lost Byrd Space Train (Scene 3) is a very short instrumental coda that finishes what is a captivating listen that should be take in context, from start to finish, to reveal all its lasting allure.
Produced with conviction and clarity by Stuart and his superlative band of Kenny Vaughan, Harry Stinson and Chris Scruggs and the indispensable Mick Conley, this is a tour de force that will be welcomed by fans of the band. It is a demonstration of how to take country music down new channels, ones that fit with its deep history but also aware of optional routes that seem right.
Review by Stephen Rapid
Luke Daniel Rock 'n' Roll Americana Edgewater
The title of Texan Luke Daniels’ debut album is simple and to the point. With a core sound ranging from Southern Rock to what was once known as Cowpunk, he pours his heart and soul out on the nine-track record.
He’s out of the blocks with a full-throttle on the opener Lost In The Gap and only occasionally takes his foot off the gas. He does allow time for reflection on the acoustic slow burner, Dig In, and Saturday travels from mid-tempo to a rap-like vibe, but he’s at his best spitting fire on the toe-tapping barroom rocker Get My Shit Together and the funky Bad Gas Travels Fast. Dusty Rhodes is a tongue-in-cheek serenade to an imaginary suitor and he’s just about happy with his lot on Doing Pretty Good.
Produced by Derek Hames at his Edgewater Studio in Sugar Land, Texas, the former member of Three-Car Garage and Red Scare recreates a sound that crackles with energy and no doubt replicates what can be expected from Daniel in a live setting.
There is a lot of groove and understated humour on Daniel’s debut album. His lyrics fit the songs like a hand in a glove and without attempting to reinvent the wheel, he has delivered an impressive album of hard-edged heartland Americana. Go and see him live if he’s in your neck of the woods, I can only imagine that he puts on a more than lively show.
Review by Declan Culliton
Angelica Rockne The Rose Society Loose
Voted Best Country Singer by LA Weekly back in 2019, that accolade, though richly deserved, might suggest that Californian Angelica Rockne’s music output is restricted to one single genre. In reality her music branches far and wide beyond country and if her debut album, QUEEN OF SAN ANTONIO from 2017, was a tour de force in cosmic country, her latest record travels far beyond that genre. THE ROSE SOCIETY also brings on board Rockne’s classical, jazz and folk influences, and they merge beautifully across the album’s ten tracks.
A number of issues in Rockne’s life in the six years between her debut album and this record are visited in the songwriting. Following a less than fulfilling move from Oakland to Los Angeles, Rockne departed that city and its hectic culture to return to a more relaxed environment, met her fiancé and celebrated the birth of her daughter. THE ROSE SOCIETY addresses its author’s personal journey over that period, navigating its way across a variety of emotions, from remorse to fulfillment.
Recorded in Nevada City, California and self-produced, the opening two songs, Age of the Voyeur and the title track, immediately give the listener a flavour of the multi-influences in the writer’s cannon. Parallel to her Laurel Canyon influences, echoes of British folk also emerge, the title track, in particular, has shades of Sandy Denny-era Fairport Convention but with a West Coast overhaul. Relationships and friendships struggling to survive emerge on White Cadillac and that theme of lovelorn despair is close to the surface on The Distance Is High and also the tender and confessional album closer The Night Dreams of You. The prayer-like Protection, Prayers and Vigilance brings to mind the novel soulful sound of Canadian, Frazey Ford, and closer to home, Crystalline recalls early career Joni Mitchell.
Showcasing both Rockne’s vocal ability and the dexterity of the musicians around her, THE ROSE SOCIETY captures everything that is so exciting when an artist can integrate numerous musical styles and produce a body of work that is impossible to brand or pigeonhole. Five years in the making and fiercely intense and first-hand, let’s hope that it is an introduction to an artist with more strings to her bow rather than a one-off classic. Intoxicating.
Review by Declan Culliton
Cian Nugent She Brings Me Back To The Land Of The Living No Quarter
The first album in seven years from singer songwriter and acclaimed guitarist Cian Nugent was born out of ill-fated circumstances. Moving back to his family home in Dublin to care for his mother, Kathy Nugent, who was rehabilitating from a stroke, Nugent’s latest album not only confronts the challenges presented to him but also allowed him the time out for personal reflection. The album’s title is derived from a phrase randomly repeated by Nugent’s mother while she recovered her speech during that period and the cover artwork was a canvas she painted while in hospital.
Beauty is often born out of crisis and this eight-track album most certainly bears that out. Giving the listener a tour of where he was at that time brings about Nugent’s most unashamedly frank work to date. Pass The Time Away and the closing track, How The Time Passes, with a combined length of over twelve and a half minutes, are wonderfully brooding. The former displays echoes of Nick Drake, giving the listener an inkling of what lay in the writer’s head at the time. The latter, an instrumental, is a six-string guitar-driven cosmic journey. However, the album’s tender heart lies in the gorgeous steel guitar drenched opener Empress and the equally melodic The Sound of Rain, which follows. Radically shifting style, High Up Airplane, chock-full of intricate guitar work, transports the listener on a nearly seven-minute jam-like astral trip.
A body of work that captures the mood of the writer and his personal journey at a particular time, it touches on the grinding reality of the unexpected and unknown. An open-ended collection of songs, often unalike but somehow managing to sit comfortably alongside each other, it’s not necessarily an album that hits home on the first spin. However, it is one that richly rewards and opens new doors on repeated visits.
Review by Declan Culliton
Joost Dijkema After Thunder Sun Twin Dimension
Probably best to know that this musician pronounces his name "Yowst Dykuh-ma." The Dutch language can certainly throw you a curve ball and it is best to get this name right in order to mention his talent to your musical friends. Believe me, you will want to spread the word.
With two previous albums to his name, Dijkema has delivered a superbly crafted third release and you know the old saying about lucky three… well, with a fair wind, this should be the one to reach a much wider audience. The fingerstyle guitar playing is quite brilliant across the ten tracks that are mainly instrumental, with only four songs containing lyrical content. The instrumentals are all played with such effortless ease that the temptation is to simply hit the repeat button when the album comes to an end – something that I am happy to admit to doing.
The artist was inspired by Leo Kottke and Michael Chapman in honing his musical prowess and there are many other artists that have shaped the beautiful acoustic sound along the path. I’m reminded of John Martyn at times, and elsewhere, Bert Jansch. Dijkema is a multi-instrumentalist and showcases his talents on lead vocals, guitars, banjo, pedal steel, drums, bass, percussion, and is joined on single tracks by vocalists Bram Menninga (Beautiful Ride) and Flora Karsemeijer (Buddy).
The joy of motion and an open road is highlighted on the song Beautiful Ride and the metaphor of driving your life like a beautiful car is well delivered. The guitar showcase Vic’s Raga is a real tour de force and a superbly crafted instrumental. The blues feel on Train Of Doomsday is also a stand-out track that highlights the dexterity of this musician on the fretboard. Shards Of Love is just as the title indicates, a cul-de-sac for relationships, where love is double parked.
The gentle playing on Anne’s Island is a counterpoint, with the reflective mood illustrated by some wonderful acoustic guitar playing. Similarly, the playing on Buddy is restrained and fluid, a tribute to a loyal dog who passed away, yet who still lives in the memory of the owner. Final tracks Let It Rain (like it used to rain), and the Chap From Wrytree (written for Michael Chapman) are beautifully delivered instrumentals with lots of ‘wow’ moments in the playing. A very impressive album and one that will bring many moments of musical pleasure. Definitely a keeper.
Review by Paul McGee
Imelda Kehoe Leave Your Light On Self Release
Such a pleasure to be able to review this special album. Imelda Kehoe has released two previous records on her journey towards her musical awakening and identity. With this release, she has reached her destination. The sense of right place and right time, together with the magic of the moment have conspired to deliver a set of songs that enrich the listener and invite you into the world of this interesting singer songwriter.
The passage of time is viewed in these musings as something akin to a slow motion replay of many life memories and the freeze frames along the way are beautifully captured. Whether it’s that moment in a relationship where you feel true connection; that sense of when things are falling out of symmetry; the decision to blow up the past and press the reset button - it’s all captured in these mature reflections on life and everything after. There is sadness, hope and joy in the reflections, coupled with insightful memory and wistful longing. There is questioning and wanting to know our place in all the vagaries of life. When will the curtain open and the true meaning of it all reveal itself?
Imelda displays a sense of timing and vocal phrasing that is quite superb, and her innate gift celebrates that road we all walk in the direction of our desires. There are many stand out moments on the album and Where To Now, the opening track questions the randomness of life and the things that fall outside of our control. The abiding feeling is one of having to carry on in memory of those who have gone before. It’s a deeply personal song that references the death of her father.
Ohio is a sensitive look at the futility of war and the bond that can form between two friends who experience the worst traits of humanity in trying to survive. The song was inspired by the wonderful writing of Sebastian Barry and his book, Days Without End.
Leave Your Light On is a tribute to Imelda’s brother, who died from melanoma during covid lockdown. The song reflects on memories shared and the heart-breaking lines ‘Leave your light on, then I will know if you are home; Leave your light on, then I don’t feel so quite alone,’ capture the loneliness of grief and the sense of loss.
House Of Flowers deals with the need to have a safe place to escape to. The fragility of life and the sense of wanting time to just slow down in order to catch our breath; ‘Take me to the House of Flowers, Maybe we could pass the hours, Maybe we run out of our dreams, Take me there, I need some healing, Take me there, I need that feeling.’
The song 404 is that moment when you realise that the thing you held precious is actually what is hurting you and causing you pain. The term 404 is an error message displayed by a browser indicating that an internet address cannot be found. Such a clever analogy to draw upon in the wages of love and loss.
In a previous life Imelda trained as a nurse and practiced in the north of England. Her experiences of the people she helped and those who left enduring impressions are captured in the song Invisible. It looks at the spirit displayed by those who are sick and the resilience that often is the very thing that keeps their quality of life intact.
Seventy Five Beats refers to the resting heart rate of a person that is considered normal, although some research has appeared that shows this could also have long-term health risks. The song references the fact that passing beyond is something that we all have to face eventually.
Final song, Send In the Angel, examines the conflicting urges within all of us, the drive to be something we are not and the hope that we develop into decent human beings with a generosity of spirit. The challenge is not to get lost in the search for ego driven satisfactions in life.
Piano is the instrument of choice for Imelda and she surrounds herself with some talented players to augment her musical vision. Michael Egan (guitar), Horacio Valdivieso (guitar), Peter Eades (keyboards), Yoed Nir (cello), among others, join together in the creation of the album and the overriding sense of reflection is captured so perfectly in the eight songs that exude a gentle knowing and acceptance.
This is contemporary folk music that brings a gentle calm and a rewarding listening experience. An early contender for Irish album of the year? Never bet against a woman who is stepping into the full range of her power.
Review by Paul McGee
Hiss Golden Messenger A Loner Alive Heaven and Earth Magic
This live album is subtitled “Songs from the Western Part of the United States of America.” It was recorded at gigs in Mill Valley, Mariposa and Healdsburg in California and Tacoma, Walla Walla and Spokane in Washington State earlier this year. MC Taylor performs under the stage title of Hiss Golden Messenger and his creative output has been consistently strong since his debut album arrived in 2009. His output includes as many live albums as it does studio recordings and Taylor is often joined by Scott Hirsch, his long-time ally and multi-instrumentalist.
Whether performing as a solo artist or part of a musical collective, Taylor delivers his folk and country soul musings with great resonance, reflecting both his internal and external anxieties, fears, hopes and dreams for a better world than the reality of what he sees around him.
On this outing, Taylor plays in a solo capacity and the twenty one songs feature eight of his studio albums with four songs included from each of BAD DEBT(2010), LATENESS OF DANCERS (2014), and QUIETLY BLOWING IT (2021). Taylor keeps the in-song chat to a minimum preferring to let the stripped down, acoustic arrangements speak for themselves. His guitar technique is quietly hypnotic and the subtle chord progressions and rhythmic strumming lull the listener into a place of peaceful reverie. Admittedly the dynamic doesn’t change much across the songs and the downside of live recordings often point to the reality that being in the room was so much more immersive an experience than hearing the intimacy partially captured on any subsequent recorded output.
“ I’ve got that ‘acoustic guitar voice’ adrenalin pumping through my veins” comments Taylor as he begins the superb Heart Like A Levee. Taylor indeed wears his heart on his sleeve and although the songs can be open to personal interpretation, he delivers with a sense of tired acceptance while at the same time, remaining optimistic for a brighter tomorrow. Other songs Sanctuary and Lateness Of Dancers are complimented by Hardlytown and Highland Grace in their naked delivery and honest fragility. The inclusion of both Caledonia, My Love and Saturday’s Song is an inspired couplet and the closing Black Dog Wind (Rose Of Roses) is a song about leaving family ties behind and branching out on your own. An appropriate sentiment upon which to bring this solo concert to a conclusion..
There is no real sense of the different venues used across the recordings and the set could just as easily have been delivered in a single location, such is the seamless quality and flow of the songs. If you are already an admirer of MC Taylor then this will confirm everything that you already hold as special. For those of you who come to his music for the first time, this is a fine introduction and something of a high water mark among the rest of his output.
Review by Paul McGee
Trapper Schoepp Siren Songs Self Release
This Minnesota born artist has a number of prior releases, including PRIMETIME ILLUSION(2016), an album that included a co-write with none other than Bob Dylan. The story goes that Schoepp came upon a lost song of Dylan’s titled On, Wisconsin that was never finished or released. Schoepp decided to add some additional words and melody. It’s a similar story to that of the Old Crow Medicine Show who took an old Dylan chorus and wrote the verses to the song Wagon Wheel that turned it into such a big hit. Fortune favours the brave and Schoepp sent his song version to Dylan’s management and received positive feedback and an agreement to release the song.
This sixth solo release follows in the same confident mood with Schoepp including twelve new songs that inspire and leave their mark. Produced by John Jackson (The Jayhawks, Ray Davies) and Patrick Sansone (Wilco), the recording sessions happened at the Cash Cabin in Hendersonville, Tennessee where Schoepp and his collaborators recorded with borrowed instruments – ranging from Johnny Cash's 1930s Martin guitar and June Carter Cash’s Steinway piano. The studio band included Jon Radford (drums), John Jackson (mandolin, violin), Patrick Sansone (keyboards), Quinn Scharber (guitar), and Jim Hoke (tin whistle, accordion). Schoepp’s brother makes an appearance on bass, and this allows Trapper to join with Tanner for sibling harmonies.
Queen Of the Mist captures the mood of the album perfectly with the tale of Annie Edson Taylor, an American schoolteacher who became the first person to survive a trip over Niagara Falls in a barrel. There are songs that reference nature and imagery of rivers, storms, wind, sea, flatlands and the moon. The song In Returning tells the tale of a sailor who is comfortable with a life on the ocean wave, only to fear what awaits on his return to land. The lyrics include the siren songs of mermaids and an albatross guiding ship journeys, portents of doom to a mariner.
Both Secrets Of the Breeze and The Fool have traces of an Irish melody in the arrangements and both speak of different lives, the road not taken and the path you’re on. Silk and Satin is an interesting song about a drag queen on the local scene in Brooklyn and has gentle acoustic guitar and violin to spin out the tale of attraction. There are some nice mandolin and piano parts on Diocese, a song that sees a young girl moving out of her local community and heading for the bright lights of Boston.
Good Graces gives advice from bitter experience to not hold back on love and to just go for it. It is a very bright and catchy tune. Eliza contrasts with a bluesy arrangement including a nice organ solo and a song of warning that danger lurks ahead. The twelve songs play out over forty five minutes and there is plenty to enjoy among the different colours and shapes in the music.
Review by Paul McGee
Mike Tod Self-Titled Self Release
Based in Alberta, Canada, Mike Tod has a Masters in Ethnomusicology and has just released this debut album that takes a reverential look back at old-time music. Tod wants to honour the great traditions and the unknown artists of a time long gone and he certainly achieves his goal in breathing new life into traditional songs through a modern lens.
These ten songs are a mix of traditional tunes that Tod researched and recorded with new arrangements, and some covers of songs from artists as diverse as Buffy Sainte-Marie, Ola Belle Reid, Tim Spencer and the Romaniuk Family – a country music vocal and instrumental group from Edson, Alberta. Members Ed Romaniuk and his sisters Elsie and Ann were known for performing in the style of the Carter Family.
Tod co-produced the album with Pat Palardy at Public Lunch Studios in Calgary. The musicians who produced the subtly inventive music are Mike Tod (acoustic guitar, harmonium, vocals), Keith Rodger (bass), Nathan M Godfrey (resonator guitar, mandolin, banjo), Laura Reid (violin), Wayne Garrett (pedal steel), Jeremy Gignoux (violin, viola), Travis Miller (percussion), Melodie Ayoungman and Opal Ritzer on vocals.
Flowers Of Edinburgh has a very strong Irish melody as does Cold Frosty Morn, both instrumentals, and featuring some delightful ensemble playing. One can but imagine the history of immigrant music across all of these old-time tunes that developed as cities grew up with different ethnic groups interacting with new tunes. The stand out song is Little Wheel Spin and Spin (Buffy Sainte-Marie) and the sense of foreboding is palpable as the song builds. Wait For Me has a soft lilt, akin to an old lullaby, as two lovers declare their love for each other, and final song My Alberta Rose is a fitting tribute to the Romaniuk Family and their old-time harmonies and understated playing.
This is an excellent album and it will delight the music historians who like to study the original melodies and tunes upon which so much of today’s music is based. Admirers of Jake Xerxes Fussell, and his traditional folk and blues music of the south will also find much here to inspire. A very engaging album.
Review by Paul McGee