Meredith Moon Constellations True North
Travel is the overriding theme of the second album from Canadian, Meredith Moon, her first on a major label. It’s hardly a surprise, as she spent the last decade (pre-Covid) on self-booked solo tours of both North and South America and Europe, describing herself simply as a ‘singer-songwriter’. This is also understandable when you realise that she felt she had to prove herself, until she felt ready to ‘come out’ more recently as a daughter of the late Gordon Lightfoot.
Moon is a self-taught clawhammer banjo player, as well as an accomplished acoustic guitar picker, and this self-produced album has a stripped back sound overall, with an old time/Appalachian feel.
Both the opening track Starcrossed and the closing Slow Moving Train are melancholic in tone, describing the end of a love relationship. Tony Allen contributes old time style fiddle to many of the songs, adding to the laidback and downbeat feel. By contrast, That Town is an affectionate look at a remote Northern Ontario town where Moon (and many fellow backpackers) have often found themselves stranded for a few days. The title track harks back wistfully to those earlier travelling days, and here Moon accompanies herself on banjo, acoustic guitar and glockenspiel, perfectly evoking a starry winter night sky. Brokenwing Bird, one of two instrumentals lets Moon stretch out on frailing banjo, starting slowly and building up to a frenzy, with the curious combination of drums (Will Fisher) and bowed bass (Alex Merchand) accompanying. Lighthouse County and Mark Twain have a nautical theme, while her interpretation of Soldier’s Joy (the only cover) is empathetic and affecting.
Worth checking out and, if you like what you hear, see her website for upcoming Irish and British tour dates in August.
Review by Eilís Boland
William Prince Stand In The Joy Six Shooter
Already well established in his native Canada, this fourth record from Manitoban William Prince should help to propel him into the mainstream of Americana and increase his reach further afield. With his gorgeous blend of country and folk, he has already proven that he can write the songs, having worked hard at crafting those skills over the past few years, and he has a Juno award, a Tiny Desk (npr) concert and many collaborations under his belt. He’s had his troubles in the past decade too but here he is, in his happy place, yet still producing wonderful work in STAND IN THE JOY.
Across ten self-penned songs, complemented by the production skills of Dave Cobb, the listener is drawn into the welcome intimacy of Prince’s rich, deep baritone and into his current world, where he has learned to find positivity in the face of adversity. He’s open about the fact that his songs are not totally autobiographical, but freely shares the fact that Tanqueray was inspired by his first meeting with his now fiancée, Alyshia Grace, who also sings dreamy backup vocals on several songs. Deceptively simple lyrics are the hallmark of a master songwriter and one can feel the rush of a ‘brand new love’ instantly here - ‘Tanqueray on your lips then mine/ Tattoo of cheap red wine/Tracing the smile on your face’. (Tanqueray is a traditional London dry gin, by the way, in case, like me, you didn’t know). Goldie Hawn is another love song, where female icons of the 20th century like Goldie Hawn, Joni Mitchell and Georgia O’Keefe are used to encapsulate ‘the sweet surrender of love’. He still remembers what it’s like to have a broken heart, though, and Broken Heart of Mine is given an out and out country treatment, complete with pedal steel courtesy of veteran Nashville player, Paul Franklin. On Young, he reminisces on the aspirations of youth, ‘shoulda had it all by now/according to my younger self’ but still finds the positive, ‘we can start over again/nothing is out of our reach’.
It’s not just the voice though, but it’s William Prince’s phrasing that can just stop me in my tracks. Sinatra has nothing on him. And the way he can just end a song by leaving it hanging …
Cobb’s production serves the songs and Prince’s soothing and reassuring vocals so well, keeping them front and centre at all times. He’s also aided and abetted by Chris Powell (drums), Brian Allen (bass) and Lee Pardini (keys).
The untimely passing of John Prine prompted Easier And Harder All The Time, a musing on the ‘truth about love’ and Prince’s homage to that much missed icon of Americana, featuring a catchy electric guitar riff from Mike T Kenny.
The closing two songs, Peace Of Mind and Take A Look Around could not have been written by a younger man. In the former, Prince speculates on the essence of life, and quotes his aspiration to ‘stand in the joy’, which gives the album its title. In the latter, he references those closest to him, including his young son who ‘he hopes grows into someone that he loves … I hope he feels me when I’m gone’.
A definite contender for my album of the year.
Eilís Boland
Son Volt Day Of The Doug Transmit
Opening and closing with voicemails from the late Texan Doug Sahm to Jay Farrar, that the Son Volt frontman had saved, DAY OF THE DOUG is a tribute to an artist that remains somewhat under the radar but was hugely influential on numerous emerging alt-country bands, and in particular Son Volt and The Bottle Rockets.
Sahm was a member of both the Sir Douglas Quintet and the Texas Tornadoes and Farrar’s relationship with the San Antonio-born artist goes back to the early 90s. A cover of Sahm’s Give Back The Key To My Heart was included on Uncle Tupelo’s album ANODYNE, with Sahm adding vocals to that recording on the band’s final album.
Best known for his love of Tex Mex and two-step Cajun music, Sahm formed the supergroup the Texas Tornados in 1989, alongside Augie Meyers (organ, vocals), Freddy Fender (guitar, vocals) and Flaco Jimenez (accordion, vocals) to promote that sound. Their self-titled debut album earned them a Grammy Award for Best Mexican/American Album and they were invited to perform, together with Willie Nelson, at Bill Clinton’s first inauguration.
DAY OF THE DOUG came about following Farrar’s trawl through Sahm’s back catalogue during the pandemic and the resulting songs selected are a reflection of Sahm’s recordings that travelled some distance from his much-loved Tex-mex sound. Keep Your Soul and Huggin’ Thin Air are full-on barroom honky tonkers and both It’s Gonna Be Easy and Seguin have an early Uncle Tupelo sound. Indeed, while paying tribute to his much-revered friend, Farrar also reminds the listener of the impact that Sahm had on Son Volt. This mainly comes to light on Float Away, which is closely related to the band’s classic song Drown, from their debut album, TRACE. Other standout inclusions are the poppy ode to Sahm’s home state, Beautiful Texas Sunshine and Poison Love, the latter being an accordion-driven border gem. With Farrar’s trademark nasally vocal deliveries floating on top of some crisp guitar playing and a driving rhythm section, they collectively breathe new life into a well- selected collection of songs.
Covers albums can be hit-and-miss affairs but Farrar and his band have hit the bullseye here. Son Volt lovers will lap this up and those unfamiliar with the music of Doug Sahm are well advised to do a bit of revision on the extensive back catalogue of this treasured Texas outlaw.
Review by Declan Culliton
Riders Of The Canyon Self-Titled Great Canyon
Formed in 2017, Riders Of The Canyon is a side project of Catalan Joana Serrat, her fellow countrymen Roger Usart and Victor Partido, and Northern Irish singer song writer Matthew Mc Daid. This self-titled full-length album follows on from their 2022 EP of the same name.
With the recordings taking place in London, Barcelona, Girona, Texas, Nashville and Oregon and with three producers (John Morgan Askew, Joey McClellan, McKenzie Smith), it’s little surprise that the ten tracks’ themes display a sense of dislocation and motion, with both rural and urban matters addressed. The writing credits name all four band members and, in a similarly democratic fashion, the lead vocals are also shared. Numerous guests were invited to partake in the recordings including B.J.Cole, Cory Gray, Jesse Chandler and Joey McClellan. Would that non-partisanship result in a disconnected end product or would the whole be more than the sum of the parts? The answer is certainly the latter.
Joana Serrat takes the lead vocal on opener, Master Of My Lonely Time and it’s very much a mirror of the energy and direction of her highly regarded 2021 album, HARDCORE FROM THE HEART. Serrat also takes the lead on the gentle title track, her whispered vocal bolstered by mellow backing vocals, pedal steel guitar and a well-placed horn section towards the end of the song. There’s a Calexico-type vibe to Dirty Water and Downtown harks back to the experimental path of Gene Clark’s classic NO OTHER.
Sorrow Song, with its delicate piano-led intro, bookends the album. With the vocal taken by Usart, it once more conjures up Calexico-styled desert landscapes. It’s also a fitting finale to an album whose sonic terrain lands it in the folk-rock genre, bringing together the creative fire of four ambitious and skilled songwriters and musicians.
Review by Declan Culliton
Adam Klein Holidays In United States Cowboy Angel
More often than not, socially-conscious, politically-charged music comes at you in the suitably aggressive format of punk rock or in a strident folk-fervour. So when you listen to this album’s delivery of seemingly understated melodies, it is as unexpected as it is effective when you begin to be taken into Klein’s lyrical dismay at a corrupt and divided political polarisation of attitudes that can’t seem to accept, let alone understand, another viewpoint or opinion.
The album was produced, engineered and mixed by Bronson Tew, based on some earlier recordings done by band member Will Robertson. He played bass alongside Colin Agnew on drums, electric and lap steel player Bret Hartley and Klein himself. Later a further nine players added contributions that enhanced the textures of the songs. The instruments weaving into the sound were keyboards, pedal steel, horns and additional guitars, bass and drums. There was also the effective use throughout of harmony vocals, which add to the overall sound of the material.
What also stands out is the lyrical quality of the songs, which is both effective and important. 1-20 deals with heading to Atlanta to protest about the deaths by brutal police activities in that city and beyond. It was something that despite being in the midst of the Covid pandemic, Klein felt the need to be physically present when the time came to show solidarity with those in the community equally shocked by the attitude of many law enforcement agencies.
This song, in the first section, details deep concerns about what may happen as the man and his daughter join the “march toward a just tomorrow righteously” before the song then goes on to list the many names of those who have died in racially motivated confrontations. It is powerful and effective in its restrained but soulful delivery. That many of the songs take a similar tack should be no surprise with titles like People Are Callin’ (“don’t want to carry this anger, don’t want to wanna feel this danger”) or When Will We Go Marching?, a song that starts with a man at home cooking a meal and putting on a Neil Young record before he realises that a person may be faced with a situation that allows that “a man stands before you but he’s never seen, your boot on his back, his neck against your knee.” How a situation can be so volatile in such a short time. Another Neil Young reference occurs in Ohio Revisted, where “four dead in Ohio” is incorporated into the new lyric. Young has been a longtime influence it appears. Quite where the old rail lines may have lead is considered in Bright Rails Shine and that “on the sweat of the men who did labor, White and Black and Chinese laid bright rails shine.” These rails brought a nation together but at a price, one that was particular high for some. Wait Til They Come Knockin’ warns that “justice is just a word that lives in a smokey backroom.”
The overall lyrical stance though, which shows a writer who has translated some of the pain of these times into a poetic penmanship, should be balanced against what is a striking musical encounter, that if one was not to concentrate on the words and simply listen would be enjoying it for its own grace.
I’m not sure what Klein outlines would fit the description of anything approaching a holiday atmosphere, but it is never-the-less one to enjoy. Adam Klein has added to a body of work with this new album (there have been seven previous albums since 2006), the first I have encountered, but one that will no doubt enhance his reputation and continuing development as a writer, storyteller and singer.
Review by Stephen Rapid
Drew Holcomb and the Neighbors Strangers No More Magnolia
Although the press release states that this represents the ninth studio album, I reckon that Drew Holcomb sits closer to double that total, with occasional EPs, Christmas and Live releases, thrown into the mix. As a solo act, dating back to 2003, Holcomb cut his teeth by performing in venues around his hometown of Memphis, Tennessee. He formed the band in 2005 and the members, who all lived in the same zip code area (hence the name), began to earn a reputation for their hard work ethic and touring schedule.
At this stage in their career, the band play arena shows to enthusiastic crowds who delight in their big sound and catchy choruses. Drew Holcomb is a songwriter of real quality and his ability to create positive affirmations and a feeling of real community has drawn many admirers to his celebratory themes of life and love. This album is focused very much on our place in the universe as a species and the passing of time. Covid lockdown clearly had an impact on everyone, in different ways, and Holcomb has been taking stock of the wonder in the world and perhaps, all that we take for granted.
A number of these eleven songs are focused around gratitude and embracing what we have, as opposed to always wishing for new and shiny things that don’t necessarily enhance our lives. By looking within, Holcomb liberates a part of his persona that seeks a sense of peace and acceptance. Find Your People is a perfect example in which Holcomb states ‘You got to find your people, the ones that you feel equal, they pick you up and don’t put you down, help you find your way in the lost and found.’
Gratitude sings of all the little things that bring joy, whether it’s just a walk in the rain or a smile from a child. Troubles looks at the anxieties that can develop in our lives and blind us to the calm that rests within. Holcomb wants to ‘dance away the heartache in the moonlight.’ There are six co-writes on the album and one song is penned by Nathan Dugger, who has been in the band for twenty years now.
The musicians play with a real sense of freedom and the entire album was recorded in just eight days. The band performed live in the studio and the playing is impressively captured by producer Cason Cooley. He also contributes on multiple instruments throughout, along with regular band members, Rich Brinsfield (bass), Will Sayles (drums, percussion), Nathan Dugger (guitars, keyboards) and Ian Miller (piano, synths, accordion, keyboards). There are additional appearances from a horn section on a few songs and from Holcomb’s wife, the talented Ellie, who used to be a regular band member.
On A Roll is a song that will become a big favourite in concert, with the harmonica of Holcomb playing on top of a strident rhythm that builds into an anthem of Springsteen proportions. Possibility is another song that instils a similar dynamic and the joy of Dance With Everybody is yet another song written for the live arena with an obvious encore appeal. Holcomb also has the ability to strip everything down to more acoustic-based arrangements and songs like the opening Fly and the closing Free (Not Afraid To Die) leave the listener in no doubt that we are in the presence of a leading light in the current overcrowded realm of Americana.
Review by Paul McGee
Ellis Paul 55 Rosella
Sounding like a throwback to the 60s sound of Cat Stevens, the vocal tone of Ellis Paul comes calling across a career that commenced in New England during the 1980s. He self-produced this new album during the Covid lockdown and it is focused around the fact that, as he turned 55 years of age, he was diagnosed with a musician’s worst nightmare, a condition that constricts hand movement and forces the fingers to become a tight fist. With the prospect of no income lying ahead into the future, Paul decided to throw himself into work while he was still able to create music that would reflect the uncertainty of the times and also provide some succour from his diagnosis.
The songs that comprise this album are filled not with negative emotions and feelings; more with an optimism for what each day can bring as a gift. And speaking of gifts, there is a heartwarming story that surrounds the song, The Gift. On hearing of his diagnosis, musical friend Patty Griffin reached out to give Paul some motivation to carry on the good fight, and she gave him a box filled with various items, ‘She put a ribbon on an old shoe box, I could hear the tick of a pocket watch, She said “All the time you need is in your hands,” There was a matchbox to burn away all the ghosts, And sage for the ones that haunt you most.’
Holy is a great song about a fictitious character who emigrates from Ireland on the doomed Titanic, looking for new beginnings in America. Everyone Knows It Now is a love song that features Laurie MacAllister (Red Molly), who is also a partner to Paul. She adds backing vocals on five songs in total and her fellow Red Molly bandmate Abbie Gardner provides dobro and vocals on Who You Are, a song that reveals a quiet need to be in nature and to try and commune with the great forces that surround us all.
Opening song The Cosmos gives thanks for all the benefits that life puts our way, while the title track, 55, is a look back at a life lived and the chances taken. Surviving the twists and turns on the road is what it all comes down to, with the Covid lockdown dealing yet another unexpected twist, ‘The virus don’t care if you’ve got mouths to feed, Or about songs you’re singing, While the whole world’s bleeding, But you get to stay and John Prine’s leaving, Who’s in charge of the order?’
In a career that has seen the release of over twenty albums, the name of Ellis Paul has become synonymous with the Boston Folk movement in the 1980/90s and his intelligent and mature songs are filled with perspective and a keen ear for melody. The good news is that a recent surgery has provided some optimism for his future as a performer and some respite from his advancing condition. The songs on this album will bring a sense of place and time to those who like to explore quality songwriting.
Review by Paul McGee
Anna Elizabeth Laube Wild Outside Pockets!
This contemporary Folk singer releases her fifth album, and includes elements of pop and catchy choruses into something of a new direction for her music. In recent years she has been gathering a lot of new admirers to her bright and breezy take on melody and rhythmic arrangements. A perfect example is her cover version of the Bob Dylan song, Buckets Of Rain, which is very up-tempo with a calypso style beat and a sassy vocal delivery. This is one of five cover songs on an album that has great personality and charm.
Quite why Laube decided to include so many cover songs is something that will bring comment and it’s not as if she comes up short on her own creative muse. Her own songs are full of great moments, like the lovely Jardim Da Estrela which captures the joy and mystery of a visit to a garden in Lisbon, with an accordion played beautifully by Chris Joyner. This song appeared on a compilation album the Laube released in 2021. Equally, By Your Side is a message of optimism and an urge to see a friend living their best life in the choices that present themselves.
Other cover songs included are Crying (Orbison/Melson), I Will (Lennon/McCartney), How Could We Not Believe (Ben Harper) and It’s Nice To Be Alive (Swift/Bell/Feeney). It’s certainly a departure from the last studio album, TREE (2016), which was less commercially focused. The big production of songs Warrior and Beautiful Day seem to be aimed at a popular mass audience and this is a decision that may bring increasing media exposure to Laube.
More interesting is the stripped back version of I Will with restrained piano and reflective vocal. Similarly the Ben Harper cover is a gentle arrangement with Bob Reich on accordion and Laube playing guitar, bass and delivering the sweet vocal. The Roy Orbison cover is delivered in instrumental form with just Laube and her piano in a very different take on the classic hit. She certainly likes to take chances and to push her unique vision of what song and melody can do.
Laube opens the album with the title song, Wild Outside, and an urge to escape city life in favour of the oceanside. The final song revisits this theme, Welcome Back To the Wild Outside, and the spoken word lyrics seem to reflect upon a broken relationship and memories that harbour regret. However, the restful calm can return with mother nature calling ‘Don’t forget, it’s okay, We’re all still here, We’re still happy, Welcome back to the Wild Outside.’ All in all, something of an uneven album but with enough great moments to engage.
Review by Paul McGee
Jono Manson Stars Enough To Guide Me Blue Rose
Born and raised in New York, and now relocated to Sante Fe, New Mexico, this album represents the eleventh release in a career that has seen Manson’s talents as a singer-songwriter, producer, and sideman recognised by many across the music industry. Indeed, a number of named artists are involved in the recording of this new album, which follows on from the excellent SILVER MOON (2020).
The project was produced by Manson at his own recording studio, The Kitchen Sink, with all songs written by him, including six co-writes. Two of the songs were written with his wife, Caline Welles and a further three with Kevin Trainor who plays electric guitar on a couple of tracks. Eliza Gilkyson adds her lovely vocals to two songs and Eric Ambel appears also on guitar, together with John Popper (Blues Traveller).
The album is an eclectic mix of many different styles but the dominant sound is based in the Americana/Roots genres. The RnB groove of Before We Get Stupid and The Further Adventures Of Goat Boy and the Clown are balanced against the beautiful country arrangements on Late Bloomer and Alone. Timberline is a fine ballad that would fit nicely into the songbook of James Taylor while No New Kind Of Blue is a dip into acoustic country blues territory with John Popper taking lead vocal and playing some very tasty harmonica, along with dobro and mandolin played by John Egnes.
Jason Crosby plays a range of instruments on all but one track and his prowess on organ, electric piano, and violin is a highlight, always fluent and fluid. Mark Clark and Paul Pearcy share drumming duties and Ronnie Johnson plays a pulsing bass on all eleven songs. Manson is a fine lead singer, his vocal full of character, and his excellent acoustic and electric guitar sounds are a real joy to experience. John Graboff turns up on four songs playing acoustic and electric guitars, 12-string and pedal steel, and mandolin; plus a host of other players cameo on different tracks. Lead/ harmony vocal is shared on other songs by Trevor Bahnson, Myrrhine Faller, David Berkeley, and Crystal Bowersox. The playing on the album is really superb and the song arrangements hold the attention and are very engaging. Jono Manson has delivered another yet another impressive example of his undoubted talents.
Review by Paul McGee
Meredith Moon, William Prince, Son Volt, Riders of The Canyon (Joana Serrat), Adam Klein, Drew Holcomb and the Neighbors, Ellis Paul Music and More, Anna Elizabeth Laube and Jono Manson.