Rose City Band Garden Party Thrill Jockey
Singer songwriter and ace guitarist, Ripley Johnston, wears a number of different hats. A member of rock bands Wooden Shyips and Moon Duo, his solo project Rose City Band is a vehicle for Johnston to explore and create music in the style of the classic cosmic country rock that blossomed in the late 60s, prior to it being commercialised and cannibalised a few short years later. The Byrds, The Burrito Brothers and Grateful Dead influences are all over GARDEN PARTY, the fourth album released by Rose City Band.
Johnston recruited Barry Walker (pedal steel), Paul Hasenberg (keyboards), Dewey Mahood (bass) and Dustin Dybvig (drums) to record the eight tracks at Center for Sound, Light, and Color Therapy in Portland. ‘I was trying to capture that feeling when you take psychedelics and they just start coming on – objects start buzzing in the edges of your visions’ explains Johnston. That trippy sensibility certainly works throughout and no more so than on Porch Boogie with its gripping backbeat and slick guitar and piano breaks. Walker’s weeping pedal steel underscores a similar sonic terrain on the ghostly Saturday’s Gone and the funky Moonlight Highway tips its hat in the direction of Steve Hillage. Slow Burn interprets the signature sound that The Byrds might have followed after SWEETHEART OF THE RODEO, had Gram Parsons not jumped ship.
As we anticipate the approach of warmer days, the unhurried, unrestrained and summery vibe of GARDEN PARTY is a welcome addition to the back catalogue of Rose City Band. Continuing on his mission as one of the premier architects of a timeless and vital sound, Johnston has come up trumps once more with this five-star record.
Review by Declan Culliton
One Night in Texas: The Next Waltz’s Tribute to the Red Headed Stranger The Next Waltz
Released one day before Willie Nelson’s ninetieth birthday, this tribute album was recorded by a host of household names with one common characteristic; careers hugely influenced by both the songs and fearlessness of the original and quintessential outlaw, Willie Nelson.
Nelson’s output in the 1970s was possibly the most inspirational for many aspiring artists and features prominently in the fourteen tracks on the album. The brainchild of the project was singer songwriter, producer, and the owner of The Next Waltz label, Bruce Robison. As a long time disciple of Nelson, Robison had little difficulty gathering together the more than willing artists that contributed to the recording at Nelson’s Luck Ranch in Spicewood, Texas.
With Robison allocated the duties of band leader, a large backing band of players was gathered with one pre-condition; they had to be familiar with all the selected songs, which wasn’t an issue as most of the musicians has been either listening to or playing all the songs for decades. The result is a party-like atmosphere and a delivery of some of Nelson’s best-known compositions, alongside a few covers that he put his stamp on. It’s a difficult task to identify the stand-out performances, as there’s merit in them all. However, the ongoing influence of Nelson on newer and emerging artists shines brightly on the opener by Vincent Neil Emerson, Bloody Mary Morning and Texas legend Robert Earl Keen’s version of Pick Up The Tempo is memorable. Margo Price, whose 2017 album, ALL AMERICAN MADE, featured a duet with Nelson, is in fine form on a funked-up Shotgun Willie and Sheryl Crowe’s jazzy and swinging Night Life works a treat. The album’s final inclusion is The Party’s Over by Phosphorescent (Matthew Huck), whose wonderful 2009 Nelson tribute album, FOR WILLIE, also closed with that song.
The recorded performances were followed by Nelson taking centre stage with his trusted guitar Trigger in hand and willingly closing the party.
The track listing is as follows:
Vincent Neil Emerson – Bloody Mary Morning; Margo Price – Shotgun Willie; Robert Earl Keen – Pick Up The Tempo; Shinyribs – I Gotta Get Drunk; Nathaniel Rateliff – Blue Eyes Crying In The Rain; Steve Earle – Pancho and Lefty; Emily Gimble – Down Yonder; Sheryl Crow – Nightlife; Bruce Robison – Last Thing I Needed First Thing In The Morning; Ray Wylie Hubbard – Whiskey River; Shinyribs - My Heroes Have Always Been Cowboys; Nathanial Rateliff – Crazy; Bruce Robison – How Will I Know I’m Falling In Love Again; Phosphorescent – The Party’s Over.
Review by Declan Culliton
Esther Rose Safe To Run New West
There is something comforting about Michigan-born Esther Rose’s music. It may be her somewhat whispered, almost childlike vocals, or her plainly spoken and to-the-point lyrics that draw you into her songs, but listening to her albums is like comfort food, highly soothing to the senses.
SAFE TO RUN is Rose’s fourth album and follows the release of HOW MANY TIMES back in 2021. Listening to both of these albums back-to-back reveals an artist that has grown vastly in confidence over those few short years. A songwriter of emotional depth, her core subject matter remains similar on both albums, but her latest offering finds her in an entirely more buoyant and assured mood. Both albums are also heavily influenced by Rose’s decade-plus years residing in New Orleans and the idiosyncratic musical styles of that city. As a result, SAFE TO RUN gifts the listener with an album that is far from strictly a country album and is more like a cosmic journey that also embraces elements of folk and indie pop.
As in her previous albums, much of the writing is self-directed. She could be sitting on a physiotherapist’s couch on certain tracks but elsewhere she also raises issues of sexism, climate change and her own nomadic travels. Whatever the genesis of the eleven tracks, it’s fair to say that there is not anything approaching a weak moment on the album. She is joined by a similarly free-spirit Alynda Segarra (Hurray For The Riff Raff) on the gorgeous title track. Other previous NOLA neighbours of Rose also contribute, including the band Silver Synthetic who feature on a number of the songs and Cameron Snyder of The Deslondes who also contributed. The production duties were handled by another close friend and regular collaborator, Ross Farbe.
Standout tracks are the gorgeous Insecure and the jangly power pop gem Levee Song. She puts closure to a bad relationship with Spider (‘Remember when you used to be mine and every day started with a fight. Scaring the neighbours, scream at the night’) and bookends the album with Arm’s Length, which points towards a new beginning.
Currently residing in Taos, New Mexico, Rose has hit the bullseye with SAFE TO RUN. An artist never afraid to lay bare her mental vulnerabilities, but also more than capable of injecting gentle humour into her writing, Rose may not yet have arrived at her final destination. Having said that, her latest album, both deeply melodic and assured, suggests an artist just about ready to fly high.
Review by Declan Culliton
Eilen Jewell Get Behind The Wheel Signature Sounds
With over a dozen acclaimed albums under her belt, Idaho-born Eilen Jewell’s latest album may well have been the most challenging group of songs she has written over her nearly two-decade career. With her income stream on hold during the pandemic and dealing with the breakup of her marriage to her husband, band manager and drummer, Jason Beek, she faced a worrying and uncertain future. Rather than licking her wounds and writing a maudlin album reflecting her woes, Jewell has come out fighting and with a positive mindset. The sureness and optimism kick in on the booming opener Alive, and she gives the listener a tour of her journey from separation to revival on the ten tracks that follow.
Trademark distinct vocals, a tight rhythm section, and the exquisite guitar skills of Jerry Miller have been the foundation of Jewell’s impressive back catalogue and those factors are still to the fore on this recording. That rhythm section consisted of Jason Beek – who remains part of Jewell’s band – on drums and percussion, Steve Fulton on keys, Matt Murphy on upright bass and the aforementioned Jerry Miller on electric guitars. Adding to that talented crew was Fats Kaplin on pedal steel, and Will Kimbrough - who co-produced the album with Jewell - on guitars, percussion and keys.
Kaplin’s contributions are particularly noteworthy on the tracks Crooked River and Winnemucca. The former compliments the healing powers of the location which gave Jewell comfort during the solitude days of the pandemic and the latter, some three hundred miles south in the desert lands of Nevada, was a source of serenity and meditation for her. Departed family and friends are graciously remembered on You Were a Friend of Mine and the troubled times endured and overcome are acknowledged on the scintillating album closer, The Bitter End. Elsewhere the bluesy Outsiders stemmed from Jewell revisiting the movie The Outsiders, having been fascinated by its characters as a young child and the dark side of attraction and infatuation raises its head on Lethal Love.
Few artists can blend country, blues, swing and rockabilly in a fashion that Jewell has perfected over her career. She more than achieves that with GET BEHIND THE WHEEL. Rather than being just another album under the ‘pandemic blues umbrella,’ the album is a personal and masterly coup and Jewell’s bravest effort to date.
Review by Declan Culliton
Ben Bostick The Rascal Is Back Simply Fantastic
From the opening title track onwards, this album will get your feet tapping, make you smile and perhaps tell you a few things about yourself that you recognise in Bostick’s characters. “How y’all, did you miss me?” are the opening words on this album before revealing that, yes, the rascal is back. After several albums that have been well received, he’s back with perhaps one that will please those who love their roots music full of twang and tongue-in-cheek writing. Bostick wrote all the songs featured and he produced and arranged the album in a studio in Atlanta, with some additional recording in Lilburn, both studios in his home state of Georgia. So this is exactly the music he wants to release right now. It is not going to go about changing the perceptions of this wide genre but rather is a prodigious listen with some memorable and melodically effective material that, while it has humour as a key ingredient, is neither novelty nor nonsense.
There’s a plaintiveness to You Can Leave In The Morning, a plea for some time together but without being too pushy about it. Big Sister And Me has an almost 60s power-pop feel that works well. Big Train has a great deep set back vocal over a stop/start rhythm. Po No Mo has a walking bass line and twanging guitar that reasons that he doesn’t want a great deal but equally doesn’t want to be poor no more. I Don’t Care is a good for nothing’s no need to work raison d'être that would, with a few extras turns on the volume dial, make a something of a punk anthem. Strange Duck is an acceptance of being different with, naturally, a duck call featuring.
Bostick worked with seven additional players on the album with the pedal steel, keyboards and guitar players all giving their best to enhance the songs over the rock solid rhythm section. With four previous full album releases on his side, Bostick has built a solid following that will doubtless be welcome to his existing fan base. This album is a perfect introduction to his music for those who want to check out some rewarding roots music, that highlights Bostick’s talent as writer, player, producer and his embodiment, musically, of a rascal with a heart. He also demonstrates a solid vocal style to match the material on offer.
The eleven songs on THE RASCAL IS BACK are going to make those in the know want to have him stay around and continue making his music for a while longer. Like many he continues to record and release his albums with the commitment of someone offering an antidote to difficult times, but in a way that is rewarding and worthwhile.
Review by Stephen Rapid
The Malpass Brothers Lonely Street Billy Jam
For a long time now there has been a general outcry among those who listen to (and review) hardcore country and that is that the music has been taken over by industry demands for greater exposure, and therefore profit, at the expense of the traditional sounds and themes that were once inherent in the genre. However I always found reasons to feel that not all was lost - there have always been acts who adhered to the music’s roots in terms of attitude, performance and (often) in they way they dressed. Often a “country” act is heralded in a post as a country act and from first look and listen it is so obvious that that word has again been misused and misappropriated.
One act that has always been an oasis for the “three chords and the truth” is the Malpass Brothers, Chris and Taylor. They may not be that well know in wider circles, even in the roots community, but they are exactly what many would look for in a real country act. They have strong vocals and sibling harmonies and choose their material wisely, mixing co-written original songs as well as a perfect choice of lesser know covers by artists they admire. One such artist was Merle Haggard, who they toured with and recorded in his studio as well as covering his songs. There is more than a passing nod to Merle in some of the material here and on their previous four album releases.
They come from Goldsboro, North Carolina, where they grew up nurtured by their Grandpa’s record collection. They are relatively young performers but steeped in the kind of music that I think they won’t be changing from any time soon. They also use humour in their stage show and have a good repartee with each other, showing no signs of the sometimes apparent sibling rivalry that brothers within the music industry are known to exhibit. There are hints of those exchanges in the album’s opening song, penned by Chris, Paying For The Dream.
This new album LONELY STREET was produced by Ben Isaacs and Doyle Lawson (the noted bluegrass stalwart who performs with his band Quicksilver). Isaacs also plays bass here (and is also a member of the bluegrass family band, The Isaacs). This might suggest that the album would be more inclined to head in that direction, as the brothers have also played bluegrass in the past themselves. In fact they performed at the Omagh Bluegrass Festival in Northern Ireland in both 2009 and 2011 (the first time as a duo and the second with a bassist and drummer).
This record, however, is as country as it comes. Alongside the brothers (vocals, guitars and mandolin) and Isaacs on bass, they are ably accompanied by Mike Johnson on steel guitar, Stu French on lead guitar, drummer Tony Creasman and Gordon Mote on piano. A pretty lean and mean(ingful) team. The Man I Aint (another Chris written track) tells of a man coming to terms with his demise thanks to a woman who can “freeze the the ground in mid July.” It kind of goes without saying that relationships are at the heart of the songs here. We Don’t, from the pen of Jeannie Seely, is an album highlight, a tale mired in the sadness of a couple facing divorce and the inclusion of Brennen Leigh makes it even more special.
The next two songs, Love Is A Lonely Street and We Can’t Still Be Friends, further explore the emotions of pain and lost passion.The former is fairly self evident from its title, while the latter written by Chris Malpass, Shawn Camp and Taylor Dunn (as are two other tracks) reasons that friendship is unlikely to be an option after a parting of the ways. It would please any fan of Merle’s and the lead vocals are a delight. Out Of Sight And Out Of Mind finds the two brothers singing together in perfect harmony, in more than one sense. It may seem on the surface that an album full of break-up and heartache might be too much, but that is not the case for anyone who loves what is the staple of real country, the sad songs are a central crux of this musical form. Merle Haggard and Ronnie Reno wrote Love Slips Away and it’s performed with reverence while being as much theirs as it might be considered his. That’ll Be The Day is a great song too, one of those about never getting over someone so special in your life. By way of contrast Sleep When The Party’s Over is all about having a good time and hoping it won’t end.
Two songs that may underscore some of the country music critics’ appraisal of the sentimentality involved might find that both Daddy Don’t Cry and Road Of Memories do just that. But for many others, the sincerity of the material delivered with understated passion will be memorable moments here. The former, written by Mac Davis and recorded by Elvis Presley, takes the joint perspective of a child and a father dealing with the loss of a mother. The latter, the final track of the album, is a co-write by Chris Malpass which recalls the influence that his family including his Grandpa, parents and his uncle had and how those memories remain as a potent force.
This release immediately finds itself placed among contenders for the album of the year and as fine an example of what county music should be and should remain. While others in this category have added something new that is explorative to the form, while still being undeniably country, Chris and Taylor Malpass’ music is both timely and timeless.
Review by Stephen Rapid
Apple and Setser Self-Titled Bell Buckle
The decision taken by Brad Apple and Pam Sester to join their talents and create this debut album is an inspired one. Their combined musical expertise is very impressive and both artists blend perfectly together to make music that is both memorable and packed with personality. The ten songs are firmly rooted in the best traditional music experience and the delivery is quite addictive. The opener Hand Me Down My Walking Cane is a traditional song, given a fresh arrangement by Apple and the bluegrass playing is a real joy from the ensemble of musicians that includes Tim Crouch, David Johnson, and both Apple and Setser.
Grandma Danced With the Arkansas Traveller is a standout with the hint of a traditional Irish air woven into the song arrangement, capturing the innocence of time past and the love of simple pleasures. Apple also provided arrangements to a number of other traditional songs, featuring Rake and the Rambling Blade, When You and I Were Young, Maggie (beautiful instrumental version) and a fine collaboration with Setser on the superb When the Wagon Was New.
Two other songs written by Setser more than find their place with Too Far Gone and Hayes’ Hoedown setting the performance standards even higher. Piano from Danny Crawford on the former is perfectly judged along with the mandolin of Sam Cobb, and the latter is a rollicking instrumental that celebrates just being alive – rousing acoustic guitars, fiddles, banjo and dulcimer adding to the fun.
The Paul Anka song, It Doesn’t Matter Anymore is given a great reworking in a traditional country style with Setser shining on lead vocal. I’ll Love Nobody But You is a cover of the Jim and Jesse McReynolds song and another example of the wickedly good bluegrass chops that these musicians possess. Apple produced the album and plays guitars, mandolin and bass in addition to lead and harmony vocals. Setser plays dulcimer and provides lead and harmony vocals, with Tim Crouch (guitar, fiddle, banjo, bowed bass, djembe) and David Johnson (fiddles, viola, clawhammer banjo, dobro, acoustic guitar) providing stellar musicianship throughout.
This is a fine example of all that is best in country music these days and I highly recommend that you add this album to your collection. You will not be disappointed.
Review by Paul McGee
Taj Mahal Savoy Stony Plain
The term ‘living legend’ is one that gets used too loosely these days and often the subject of the hype is not worthy of all the media fuss that is made. A false praise that rings hollow.
In the case of Taj Mahal the term does not get used enough in my view. An artist that has defied narrow categorisation all his career, Taj Mahal has always been genre fluid and open to taking chances in expanding his musical palette. Since his seminal debut album in 1967, Taj Mahal has been prolific in his search for the next project, the next opportunity to explore another new direction and to collaborate with some of the finest artists in the music industry. His discography runs to some thirty studio albums, with as many live and compilation recordings to match.
Growing up in Harlem and influenced at an early age by his musician parents tastes in jazz, gospel, Caribbean and African roots, swing and bebop; also led Taj Mahal to absorb the roots of R&B and early country blues. His music has always incorporated these and many other styles, including elements of reggae, calypso, zydeco, and gospel music. From his early collaborations with Ry Cooder as part of the Rising Sons group that mixed blues and folk influences, to his recording with Toumani Diabaté, the Malian kora player, and onward to the more recent project with Ry Cooder, Get On Board (2022), Taj Mahal has always pushed the boundaries and refused to be pigeonholed.
This latest offering is the perfect case in point with a sentimental look back to his roots and the wonderful music of his parents era. They actually met in the famous Savoy ballroom in Harlem and the fourteen tracks included here are all treated with tender loving care in their recording and delivery. Co-produced by long-time friend and associate John Simon (The Band, Leonard Cohen, Janis Joplin), the big band sound is a delight and the playing is of the highest quality. These standards include tunes from Duke Ellington, Louis Armstrong, Louis Jordan and George Gershwin among others. The instantly recognisable vocal of Taj Mahal lends complete authenticity to the tunes and his occasional scat vocals are very impressively delivered also. Among the favourites here are versions of Sweet Georgia Brown, Baby, It’s Cold Outside (with Maria Muldaur), Do Notin’ Till You Hear From Me, Stompin’ At the Savoy and Is You Is Or Is You Ain’t My Baby.
As a strident proponent of American roots origins there could be no better tribute than to look at the era that spawned so much new music after the war years and the development of RnB, rockabilly, western swing and country genres.
Having played with many top line artists and bands over his career, including the Rolling Stones and Van Morrison, the reputation of Taj Mahal has continued to grow and he has been honoured with three Grammys and the Americana Music Association's Lifetime Achievement award. This new album is a real treat and packed with great moments that highlight the talents of the great man. Put some Taj Mahal into your life.
Niall Summerton What Am I Made Of? Tiny Library
This debut album from English artist Niall Summerton is a gentle affair and a dreamy stroll down some backroads of his creative muse. The ten songs hardly break sweat as they unfurl and the ethereal sway of synths and understated guitar take hold in their delivery. The entire album has the feel of a less-is-more approach to the recording process and Summerton used a number of his musical friends from the Yorkshire area to play on the tracks. There are contributions from Jacob Andrews (guitar), Tom Kettleton (sax), and various synth sounds provided by Joel Johnston, Megan Lama and Jacob Cracknell.
There are songs of introspection and self-reflection. They hint at lost relationships and feeling of isolation. The lyrics are somewhat cryptic in places and reference dogs, riding bikes, dusty places, and slowing life down. The song Playing Dumbcontains the lines ‘All the cruel words that I said, that I play back in my head, They linger in the air, Nothing real is ever fair.’
Other song titles such as When You’re Not There, Wish You Could Speak, Human Dying and Need You point to personal relationships woven into the fabric of these vignettes and the atmospheric feel of the production by multi-instrumentalist Summerton has an easy-going style that is both heartfelt and quietly plaintive. Handle with care and file under pastoral folk.
Review by Paul McGee
Rose City Band, Esther Rose, Eilen Jewell, Ben Bostick, The Malpass Brothers, Apple & Setser, Taj Mahal, and Niall Summerton.