Sid Griffin The Journey From Grape to Raisin Label 51
Long Ryder, Coal Porter, solo artist, multi-instrumentalist and author Sid Griffin’s first solo album in a decade, as you will conclude from its title, finds the London-based artist in a philosophical mood as he considers times passed, mortality and his current state of contentment.
Recorded in Nashville and co-produced with Thomm Jutz, who also played guitar, Griffin was joined in the studio by a host of friends for the party. Tammy Rogers (violin, mandolin), Lynn Willimas (drums), Roland Barber (trumpet, trombone), Mark Fain (bass) and Jim Hoke (clarinet, harmonica, vibes) are all credited alongside Griffin who contributed vocals, acoustic guitars, harmonica and banjo.
The eleven-track album opens with a near-death car crash experience recalled in The Last Ten Seconds Of Life. It’s a gentle acoustic tale of the fine line between life and death.
Tackling mortality head-on, I Want To Be The Man (My Dog Thinks I Am) is a masterclass in both honesty and simplicity and a playful sensibility runs through When I’m Drinking I Think I’m Spanish (‘When I’m drinking I think I’m Spanish, when I’m lovin’ I think I’m French’). Reflecting on the passing of close musical pals, Not A Lot Of Sand Left In The Glass is a reminder to, in the words of the late Warren Zevon, ‘Enjoy Every Sandwich’ and the ageing progression also emerges in Son, Won’t You Teach Me To Waltz. The Velvet Underground’s Femme Fatale, immortalised by singer, actress and model Nico, gets a pin-sharp makeover without straying too far from the original version.
The spoken-word poem The First Of The Gang To Go is dedicated to a high school pal who lost his way. The beautifully orchestrated instrumental Song For Ukraine No.2 follows from the inclusion of Song For Ukraine No.1 on The Long Ryders 2023 album SEPTEMBER NOVEMBER, further support by its author for the ongoing suffering of Ukraine’s citizens.
Griffin’s versatility and clever play with words ring true on this, his fifth solo album. Nods to his roots and bluegrass background are married seamlessly with jazz chords, poetry and even a narration of his five-decade-plus musical career on the album’s closing track, Why I Play Guitar.
An album bound to leave Sid Griffin’s fans beaming, it’s very much a statement of ‘glass half full’ rather than ‘glass half empty’ and a delightful listen from start to finish. Thumbs up also for the impressive packaging, courtesy of Chris Hathway of Hathway Creative, and the accompanying liner notes and lyric sheet, which add to the album's appeal.
Declan Culliton
Nathan Jacques Dark Wanderer and the Bounty Heart Hidden Mountain
Recording and appreciating old-style country and Western music has recently enjoyed a purple patch. Artists like Colter Wall, Corb Lund and Riddy Arman have been focusing on traditional Western music and drawing a younger audience into the genre. Others like Nathan Jacques and Chris Guenther are taking things a stage further with country and western offerings that emulated the singing cowboys of yesterday, Gene Autrey and Roy Rogers, with a slightly modern twist. DARK WANDERER and the BOUNTY HEART most certainly tick that box. A concept album that follows the trials (and trails) of an often-hapless cowboy, the project was fuelled by Jacques' love of classic western movies as a child and furthered by his early career in the movie industry.
The album follows on from Jacques' 2021 debut album, LOUD MIND, which detailed the travels and efforts of a singing cowboy to track down his lover and rekindle their romantic liaison. This latest project continues in a similar vein as the Dark Wanderer continues his wandering, armed only with an acoustic guitar and, on this occasion, pursued by a host of mysterious characters, all intent on thwarting DW's efforts to reach his loved one.
The project consists of twelve contemporary country and western songs and eight interludes. Thanks to the skilled production of Ed Donnelly (Willie Nelson) and the use of 1900s period-specific techniques, the songs sound as if they were borrowed from a badly scratched vinyl record found on a Victrola phonograph from The Victor Talking Machine Company over a century ago.
Musically, the marriage of today and yesteryear works spectacularly well. Before listening to the album, a preview of the innovatory video Sanctuary Light (Directed by Christopher Macken), which supported the album's first single, is recommended. Jacques's smooth baritone vocals are underscored by exemplary musicianship, which, aside from traditional instruments, includes English horn played by Clare Scholtz and harpsichord, cello and glockenspiel courtesy of Ed Donnelly.
The collected songs/stories are rich in detail, with standouts for this writer being A Holler in the Dark, Shapeshifter, Ballad of the Revenant Man, and the aforementioned Sanctuary Light. Also striking is the final track, All I See. At over six minutes, it closes the album with the antihero in a near-death condition, haunted by his failed venture to recapture the love of his life.
Who knows, there may be a third leg of a trilogy in the future and the happy ending that those classic Westerns of yesteryear usually enjoyed.
Declan Culliton
Chris Guenther Singing To Cows Blackbeard
Wearing his heart firmly on his sleeve, Chris Guenther continues his prolific output of traditional country and western with his third album in three years. AMERICAN OUTLAW VOL.1 (2022) and AMERICAN OUTLAW VOL.2 (2023) were Lonesome Highway's introduction to the quality writing and delivery of the Southwest Washington-born singer, songwriter and storyteller. We came to the party quite late, as Guenther's nine-album back catalogue stretches to recordings over two decades.
Growing up on his family's farm and having a hands-on agricultural background, Guenther's backstory includes a teaching degree in History and Agricultural Education and a teaching career, passing on his academic and practical expertise in agriculture. That profession also allowed him the space to pursue and enjoy a parallel artistic career as a solo artist with his dancehall backing band, The Honky Tonk Drifters.
SINGING TO THE COWS is a ten-track collection of songs written and produced by Guenther, who also plays acoustic and electric guitars, bass, mandolin, keys and synths, percussion, Jews Harp, dobro, pedal steel and fiddle. It's not entirely a solo run; Katie McManus plays fiddle on one track, and Reggie Eklund is credited as contributing keys, synths, trumpet and drums.
The album is a collection of songs that bring to life real-world issues and challenges faced by 'hands-on' cowboys and farmers, with Long & Bitter Chill and the title track ticking this box.
Leaving the open plains behind temporarily, Union Stockyard Blues visits a more urban setting in a historical and bluesy tale of decay and gentrification. One Trick Horses is border-influenced instrumental and Vendetta Ride delves more into the fantasy world of the classic Western movie. The album fittingly signs off with Traces of You, an ode to Guenther's beloved rural environment.
Recent years have seen a resurgence in the popularity of Western music, much to the credit of younger artists like Colter Wall, Charley Crockett, and Riddy Arman and stalwarts such as Corb Lund, Jon Byrd, and Brennen Leigh. Hopefully, that trend will lead to an appreciation for artists like Chris Guenther, who has been flying that flag, albeit to a somewhat niche audience, for many years.
Declan Culliton
Sophie Gault Baltic Street Hotel Strong Place
BALTIC STREET HOTEL, Nashville-based Sophie Gault's sophomore record, finds her working once more with producer Ray Kennedy, who mixed her debut album DELUSIONS OF GRANDEUR. That marriage worked spectacularly well, as does the production on this record, with Gault's raw vocals perfectly matched with a thumping rhythm section and blistering guitar breaks.
With wounds that may not be completely healed yet, Gault's openness and honesty emerge as a songwriter behind those screeching guitars. The album's closing track, Things Are Going Good ('Things are going good, better than they should. Hurry up and knock on wood when things are going good'), is a defiant and snappy comeback to those burdens that Gault has tackled head-on. The album's two opening tracks, Kick The Devil Away and Fixin Things, also give the 'two fingers' to issues that may still linger but are being boldly kicked to one side.
The album also recalls those darker times and nowhere more so than on Christmas in the Psych Ward, where Gault recuperated before heading to Nashville to pursue a music career. The lines in that song bring to mind the strides she has made dealing with mental illness to her present position as one of the most talked about artists in Nashville. ('There's a guitar they give you if you're doing good. It's got four strings & it's made of plywood. I'm gonna go write down some songs & then take 'em to Nashville. That's funny, honey, just swallow a few of these pills').
The mid-paced ballad Lately finds her joined by fellow emerging artist Gabe Lee. It refers to the Baltic Hotel in New York, where Gault returned to stay after nearly a decade from Nashville without knowing that she would record a second album and that the hotel would feature in its title.
In my review of Gault's debut album, I made the likely lazy comparison to Lucinda Williams, and I make no apology for repeating it with this recording. Unveiled and audacious, it's another 'beauty born out of chaos' project that blends raucous and sensitive to perfection.
Declan Culliton
Kelley Mickwee Everything is Beautiful Self-Release
'You can take the girl out of Memphis, but you can't take Memphis out of the girl,' came to mind on the first listen to Kelley Mickwee's latest album, her second solo recording following her self-produced YOU USED TO LIVE HERE from 2014. Though recorded in three days at the Church House Studios in Austin, Texas, where she has lived for two decades, the heart and soul of the album is through and through Memphis.
Mickwee's career path has included being a member of the Memphis duo Jed and Kelley, the roots group The Trishas alongside Jamie Lin Wilson, Liz Foster and Savannah Welch, and in more recent years in Kevin Russell's Southern Soul band Shinyribs. Other side projects included backing vocalist on albums by Charley Crockett, Reckless Kelly, Ray Wylie Hubbard, and Silverada and co-hosting the annual Red River Songwriters Festival in Red River, New Mexico.
For this album, Mickwee parked her love of country and roots music and concentrated on writing and recording a classic soul album inspired by the music surrounding her during her childhood. Produced by David Boyle, their reference point was Dusty Springfield's 1969 record, DUSTY IN MEMPHIS. Their objective was to recreate the vocals' phrasing, the seamless flow from track to track on that classic album, and the harmonies and rich instrumentation. A mighty large ask, but despite only three days in the recording studio, the result is a 'thumbs up.'
An instantly rewarding listen that connects on the first play, the highlights are the full-blooded, gospel-tinged Joyful, the more laid-back, funky Verge of Tears, and the tender title track that closes the album.
EVERYTHING IS BEAUTIFUL is a musical journey with signposts familiar to lovers of blue-eyed soul and classic rhythm and blues. It's unlikely to make a dent in the Billboard Charts, which was never Mickee's intention. She set out to create a nostalgic record that she could be proud of, and on that score, she has passed the test with flying colours.
Declan Culliton
Lindi Ortega From The Ether Truly Handmade
‘I feel the record is imbued with spirits because of this journey, which traces its way through the record, spirits who were invited to join you from the very first song,’ explains Lindi Ortega, commenting on her first album in six years.
Few albums are conceived from a walk through a cemetery, but the origin of FROM THE ETHER commenced from a visit to the Oakwood Cemetery in Austin, Texas. Ortega and musician/producer Mike Meadows (Willie Nelson, Chris Smither, Emmylou Harris) visited the graves of folklorists John Lomax and his son Alan Lomax. The ‘spirits’ theme that prevails on this album was brought about by that time spent paying homage to the Lomaxes.
Reaching the point of burnout after six albums and relentless touring, Ortega decided to quit the industry in 2015. That decision proved short-lived, and she returned to the recording studio and released the concept album LIBERTY in 2018. While touring that album, she suffered severe damage to her vocal cords as a result of a faulty monitor and was forced to step aside from the industry once more. A divorce and the death of her father led her back to songwriting as a means of dealing with her grief. With an extensive collection of songs written, Ortega began seeking the help of vocal coaches, which eventually led to renewed confidence in her vocal ability and the motivation to record this album.
Interestingly, it is the first release on Truly Homemade Records, an indie label founded in honour of Guy Clark.
She opens the album with the a cappella Epitaph, which features handclaps to support her vocals, and any fear that her vocals may not be up to scratch is instantly dismissed. Ortega has characterised this album as ‘ghostly’ and deliberately released it in the ‘spooky’ season. Track titles The Spiritual Advisor, The Ghost In Me, The Spirit, The Ghost, and El Fantasma reinforce Ortega’s fascination with the occult, which has raised its head in her previous recordings but not to this extent.
Ortega’s vocals may be as solid and recognisable as ever, but the material and arrangements steer towards the dark and gothic, somewhat distanced from the upbeat and swinging direction of the past. The aforementioned The Spiritual Advisor is a loving ode to her father, and The Ancestors – with a nod in the direction of P.J. Harvey - creates a séance-like ambience. Preceded by a short eerie interlude titled The Dial Pt.1, this exciting addition recurs on five other tracks. A pulsing bass line opens The Fear, bringing Talking Heads Psycho Killer to mind. The Ghost is a brutal and hugely impressive portrayal of a relationship breakup. El Fantasma, sung in Spanish, is a border-influenced affair, before the album closes with the vocally multi-layered and echoed The Spirit.
Previously incorrectly pigeonholed in the country genre, FROM THE ETHER is a thought-provoking project by Ortega and is her most ambitious work to date. Often spell-binding, it does require a number of listens and absolute attention to embrace fully, but that time spent is hugely rewarded.
Declan Culliton
Smoker Dad Hotdog Highway Self Release
This 6-piece band is based in Seattle, Washington and they bring a rousing dose of southern rock to the table on this new release. It’s their second album following on from the self-titled debut in 2022 and the band comprises of Trevor Conway (vocals, guitar), Chris King (vocals, keys, harmonica), Teagen Conway (guitar, vocals), Chris Costalupes (pedal steel guitar, tambourine), Derek Luther (bass, vocals), and Adam Knowles (drums).
They are such a tight unit and can really deliver a strong dynamic in the playing. The guitar driven, up-tempo sound of the opening song Part Two sets the template for much of what follows and Rollin’ On, Armadillo and the title track Hotdog Highway all follow suit with rocking, cow-punk abandon and a freedom in the playing. Armadillo has the lines ‘Your heart is armadillo skin, Softer at the core, Won’t let me in,’ while Rollin’ On says ‘Don’t ya feel alright, Pacing the floor with your grip held tight, I keep it bottled inside, Onto the ledge and you’ve lost sight.’
The slow burn of Back Around has some fine guitar solos and the stoner sound of Smoke When I’m Drinkin’ has more of the twin-guitar duelling to inspire. On My Mind channels the memory of Skynyrd in their early days and the loose quality of the groove is perfectly executed. The cover song Milk Cow Blues (Kokomo Arnold) is speed rock with a punk abandon – no shackles tolerated. Another track Thinkin’ Bout Drinkin’ is laced with pedal steel and a rock vibe with the lyric ‘Ain’t got nothing to ease the pain, Ever since I got sober, Tried to find Jesus on a sunny day, But them dark clouds are rolling over.’
The song Tonight is another example of the band in slower mode and the overall feel of the album is one of having a good time, life on the road, booze and pills to ease the pain and miles to go before they sleep. A very enjoyable album and one that will give plenty of pleasure.
Paul McGee
Heather Pierson Back To the Light Vessel
New Hampshire is home to this superb musician who has lived a life in dedication to her craft and the art of creating pure music from the heart. She grew up with a love of the piano and this album represents her sixteenth recording since she started her career back in 2010.
Her lyrical playing crosses different genres in the delivery and whether she is playing New Orleans boogie lines, gospel-tinged spirituals, folk songs honed from Appalachian roots or jazzy blues, Pierson always brings her unique personality to the recordings. For this album she decided to get back to the source of playing entirely in a live setting and the eight songs came together in the studio over a few days of playing with her fellow musicians Shawn Nadeau on bass and harmony vocals, together with Craig Bryan on drums, percussion and harmony vocals. They are joined by Leah Boyd who contributes harmony vocals on two tracks, including the upbeat Joy Came Back with a superbly light jazz feel mixed with gospel leanings.
Pierson contributes on lead vocals, piano, Wurlitzer, B3, tenor banjo and her instincts to follow her muse and write all the songs, in addition to producing the entire project, are richly rewarded. The acoustic banjo blues of Gutter is a throwback to earlier dixie standards in the sound, while Up Here In the Mountains is a folk revival tune that drips with authenticity. The title song Back To the Light captures a late night slow groove and a vocal performance that channels a Bonnie Raitt inspired delivery. Nails Trimmed and Clean looks to the little things that are important and it is another example of a blues influenced melody, as is the enjoyable Feel Something in the message to live now and seize the day. Plenty to please on this album and a real shop window to highlight the impressive musical range on display from the talented Heather Pierson, as she captures the essence of true feel and emotion in the playing.
Paul McGee
Carolyn Shulman Heart On A Wire Self Release
This is a second album from Denver-based songwriter Shulman and the ten songs reveal character-driven narratives, social issues, and the emotions one would expect in relationship songs. Traditional, acoustic folk mixes with a more folk-rock sound and the production is rich and warm, with the combined players delivering on all fronts.
The title track is a slow acoustic song about seeking connection, while Little Sparrow seeks to fly above our troubles and is a song influenced from the joy of nature. The groove to All Burned Out is very much the band in full swing with a diatribe on the state of the world and all the online media junkies that have sprung up. No Sad Songs seems to channel feelings over the death of a close friend and the easy tempo reflects upon moving on. Little Reprieve is a fun look at modern life with some very tasty guitar licks included.
Call My Heart Home is a song to a child and the slow tempo includes some superb Fadolin playing (a 6-string violin). Eye To Eye is a song that pleads for communication and highlights that we are running out of time with all the walls that we build between us. Old Farm House is a personal song about returning to the family home and all the memories that are conjured up in looking back to old values learned in younger days.
The band is comprised of Carolyn Shulman (acoustic guitar, vocals), Christian Teele (drums), Bradley Morse (bass), Eric Moon (keyboards, accordion), Eben Grace (electric guitar), Enion Pelta-Tiller (fiddle, fadolin), Glenn Taylor (pedal steel), Jen Hitt and Giselle Collazo (backing vocals), and producer John McVey (electric guitar, baritone guitar, high-strung guitar, mandolin, banjo, backing vocals). It’s a very enjoyable listen and certainly one that will be a favourite to many who like their contemporary folk wrapped with a rocky element and sprinkled with astute observations on life.
Paul McGee