Beppe Gambetta Terra Madre AMSC
It’s probably a first for us to review an Americana album from the province of Liguria, Italy, but the 15th album from Genoa’s Beppe Gambetta is exactly that. Renaissance man Gambetta is a very respected bluegrass acoustic guitar picker, researcher, producer, traveller and ambassador of Genoa and he has successfully created a bridge between his native Italian folk tradition and American roots music over his 50 year career to date. His guests on this project, self produced in NJ (where he also has a home), epitomise his breadth of influences and the esteem in which he is held in the US: avant garde percussionist Joe Bonadio (Sting, Rosanne Cash, Avril Lavigne), Travis Book on bass (The Infamous Stringdusters), mandolin legend David Grisman, bluegrass flat picker Dan Crary and Tim O’Brien (who needs no introduction).
TERRA MADRE (translates as MOTHER EARTH for the anglophones among us) is an exploration of our right to dream in these shockingly troubled times, something that has been an overriding theme for Gambetta across his long musical career. The title track tells the story of a couple’s nocturnal escape over a border wall into the scary unknown, the drama and terror so dramatically evoked by Gambetta’s layering of multiple acoustic guitars, bouzouki and slide guitar, all the while supported by Bonadio’s inventive percussion and Book’s upright bass. It’s particularly refreshing to hear a guitar player’s album that allows the supporting musicians to have almost equal weight in the production. While this song and three others are sung in Italian, the impressive CD package includes a booklet with full English translations, as well as details of the seven different stringed instruments played by Gambetta, which should satisfy the guitar nerds!
The first of two covers is Saint James Hospital, included here as a tribute to his friend Doc Watson, at whose funeral Beppe was invited to play. The second cover Mis Amour, is an entirely different affair, showing the diversity of his interests, being a 14th century Piedmont murder ballad which he has single handedly revived from obscurity. Tim O’Brien shares lead vocals on the delightful down homely Sit and Pick with You, where they are also joined by Dan Crary and David Grisman in an evocation of the age old North American tradition of front porch picking.
Another stand out original for this reviewer is Dark Yellow Thread, the banjo-lead story told from the viewpoint of a Native American chief from Colorado. It’s intriguingly developing into a classic murder ballad … but there’s a delicious and unexpected twist in the tale which I will not divulge.
Highly recommended and try to catch Beppe Gambetta on his tour of the US or in his native Italy.
Eilís Boland
Native Harrow Divided Kind Different Time
DIVIDED KIND is the sixth full-length album from life partners Devin Tuel and Stephen Harms, professionally known as Native Harrow, now back in Philadelphia after spending a number of years living in the south of England,
Tuel and Harris have crafted a unique sound that seamlessly crosses from folk to soul and country to R'n'B, and that stamp remains on this recording, which follows on from their 2022 release, OLD KIND OF MAGIC. Self-produced and recorded in their home studio, the album features multi-instrumentalist Harms playing the majority of the instruments, with drums throughout by Alex Hall and pedal steel by Joe Harvey White on the track Borrowing Time.
Tuel's evocative and pure vocal style is beautifully complemented by the soulful instrumentation, particularly on the previously mentioned Borrowing Time but equally on I Wanna Thank You, Goin' Nowhere, and Wayward Dreaming. The more laid-back and acoustic tracks, That's Love and The Garden, also impress.
Tuel and Harris's creative partnership and free and easy style are at their most potent on DIVIDED KIND. The album is a testament to their noticeable tenderness and togetherness, which has been evident in all their work. This ten-song collection not only matches but also surpasses those previous recordings, a true reflection of their artistic growth and commitment.
Declan Culliton
JP Harris JP Harris Is A Trash Fire Bloodshot
The parallel existence of being a country singer-songwriter and restoration contractor points firmly to an individual with more significant connections to the past than the present. Montgomery, Alabama-born J.P. Harris divides his time between applying his carpentry skills to renovating period properties to their former glory and writing country songs with nods to previous decades and bringing them on the road, both solo and with his band members.
Settled in Nashville for over a decade, Harris spent his nomadic younger years travelling around the country and working numerous jobs, from a sheepherder to a logger. Equally diverse was the music - blues, punk and old-time country - that stimulated his younger years.
Establishing himself as one of East Nashville’s leading lights in the resurgence of real country music in the last decade, his full-on honky tonk records I’LL KEEP CALLING (2012), HOME IS WHERE THE HEART IS (2014) and SOMETIMES DOGS BARK AT NOTHING (2018) were followed in 2021 by DON’T YOU MARRY NO RAILROAD MAN. That last record was an experimental affair, reworking traditional country ballads with Harris on banjo, joined by fiddle player Chance McCoy. Alongside his impressive recordings, he has also been instrumental in supporting women with a similar passion for country music by recording the duet EP’s WHY DON’T WE DUET IN THE ROAD and WHY DON’T WE DUET IN THE ROAD (AGAIN), which showcased the talents of Kelsey Waldon, Erin Rae, Nikki Lane, Malin Petersen, Elizabeth Cook, Kristina Murray and others.
This latest recording finds Harris returning to the winning formula of his first two albums with easy-on-the-ear honky tonkers and considered country ballads, kicking off with the aptly titled Old Fox and closing nine tracks later with the upbeat and optimistic Beautiful World. Produced by his close friend JD McPherson, Harris’ whiskey-soaked baritone voice is supported by backing vocals from Erin Rae, The Watson Twins, and Shovels and Rope.
There has often been dark humour in Harris’ writing and no more so in the alternative modern love song Dark Thoughts. More pressing matters of survival and persistence are visited in the mid-paced ballad Barbra Dee. The quietly pulsing To The Doves and Write It All Down visit issues of the heart. The mood lightens on the autobiographical and Merle Haggard-sounding Trash Fire (‘I’m writing old songs in new styles, trying to stretch this country mile a little further down the road’)
Keeping the engines of traditional country well and truly stoked, Harris has already recorded the aforementioned bunch of highly enjoyable albums, and this record is equal to any of them. Thankfully, ‘real’ country music is beginning to enjoy somewhat of a resurgence in recent years in Nashville, and hats off to J.P. Harris for being instrumental in that movement.
Declan Culliton
Sarah Pierce Blessed By The West Berkalin
Reared in rural West Texas, the daughter of a cowboy, and born into a family of cattlemen, Sarah Pierce’s album titles have mirrored her devotion and love of that lifestyle. NO PLACE LIKE HOME (2000), COWBOY’S DAUGHTER (2008) and BARBED WIRE (2015) left the listener in no doubt as to where much of her inspiration as a songwriter came from. Pierce doesn’t stray from that framework with her latest thirteen-track album, BLESSED BY THE WEST, which showcases her rich alto vocals alongside slick instrumentation.
Despite receiving an advanced degree in medical science, Pierce’s devotion to her artistic calling, which started as a twelve-year-old singing in her stepfather’s band, has taken precedence over her academic career. She has established the perfect life balance, touring and performing throughout the US and Europe, while practicing family medicine and writing between tours.
Together with songs that reflect her passion and love for the west (The Cowboy Way, Ropin’ In The Wind, There’re Some Things A Cowgirl Just Knows, and the title track), Pierce also pays homage to strong-willed women of the West from the 18th and 19th centuries. The Librarian heaps praise on the women who distributed books on horseback during the educational starved years of The Great Depression. The Messenger and Rough Stock salute the fearless souls who risked life and limb for the betterment of their fellow women.
Produced by Pierce’s husband and drummer, Merel Bregante and recorded at The Cribworks Digital Audio Studio in Liberty Hall, Texas, BLESSED BY THE WEST is a country and western record that does not attempt to be original or innovative. It’s simply a collection of songs by an artist who knows what she’s good at and loves what she’s doing.
Declan Culliton
Malin Pettersen Seasons Die With Your Boots On
Ignoring traditional recording and production norms, Norwegian singer-songwriter Malin Pettersen took matters into her own hands entirely for the recording of this six-track EP/Mini Album. Self-produced and recorded at her apartment, she actually recorded the acoustic tracks in her wardrobe, deciding that acoustically, it offered the quietest location and the best acoustics.
No stranger to Lonesome Highway, Pettersen has been on our radar since seeing her perform at AmericanaFest in Nashville in 2019 and reviewing her debut album, REFERENCES Pt,1 in 2018 and also the acoustic EP, ALONESOME, that followed a year later. Very much the leading light in the Nordicana scene that has mushroomed over the past number of years, Pettersen's crystalline vocals, agile lyrics and slick acoustic picking and strumming have earned her plaudits not only at home, where she was the recipient of a Spellemann award (Norwegian Grammy), for her debut album, but also internationally.
A marker of her versatility and expertise, SEASONS is the polar opposite of Petersen's more mainstream TROUBLE FINDING WORDS album, released last year. Instead, it is very much an extension of ALONESOME, with acoustic tracks that showcase an artist blessed with an ear for melody and the voice to match. Of particular note are the title track Seasons, Love A Wicked Friend and The Speed Of Light on a comforting collection of soothing songs that add to Petersen's most impressive back catalogue.
Declan Culliton
John Surge & The Haymakers Maybe You Don’t Know Me Blackbird
Around this time last year, Surge and his companions released a new album, ALMOST TIME, but it would appear there were songs recorded during those sessions that didn’t make the album. Five of these are now available as an EP. Again, the production and mixing were helmed by Tommy Detamore, with seasoned players like Brad Fordham and Tom Lewis making up the ever-solid rhythm section. Randy Volin is the electric guitarist. Floyd Domino added keyboards, and Brennen Leigh did the harmonies to fill out the sound behind frontman John Surge on a set of very toe-tapping California country roots music.
The title track opens the set with a twang and steel sound that is vibrant and built around a strong chorus that takes the title as a pointer that a liaison may not know the man as well as they might have thought. It is a tight and concise slice of what’s on offer. Equally upbeat is the story of a friendship in Mexico. That song Marisol has another vibrant guitar riff and chorus which is accompanied by accordion to further emphasise the overall south of the border feel. Seeing a fall from a barstool is enough to gain attention of the culprit and become the centre of the next track Barstool. Gold has a different feel; the sound has more vocal harmony, and it mentions California girls to hint at the relationship to both the location and a particularly well-familiar sound. Again, moving away from the sound of the first three songs to something broader is Stand My Ground.
This release may not be essential, but for fans of Surge and his talented Haymakers, it is an additional slice of what this singer and songwriter can deliver. It is perhaps more of the same from Surge, and it doesn’t make any wider moves to make you think that you might not know him and his music. But on its own terms, it is short, sweet, and satisfactory.
Stephen Rapid
Midland Barely Blue Big Machine
This trio has been making headway since their debut album when they were signed to Big Machine, and hopes were high that they would represent a more traditional sound for that label's roster. Although one wonders what happened to the other promising traditional artist, Brock Goyna, who was signed to Big Machine in more recent times. He released one EP but no longer features on the label's online roster list. Anyhow, back to Midland, who have released this new eight-track under thirty-minute mini-album produced by the noted and sought-after Dave Cobb in his Georgia studio. It is perhaps a sample of what might come in the future for the band if the critical and customer response is positive.
From the band's point of view, they view it as the sound that they have been aiming for and moving away from more of a feisty honky tonk feel of songs like Drinkin' Problem to one of a more stadium-sized direction of one of 70s country rock. There is no doubt that this strong working partnership will continue doubtlessly as it will help the band define its audience. The harmonies are a strong feature throughout, which is a more laidback approach that has been noted as being a big step closer to a sound that could easily be described as classic early Eagles with all its West Coast overtones. Something that will be a very big plus for many who still love that particular big-selling sound but one that never found a home in this reviewer's heart or record collection. However, it is easy to see that working with Cobb has been a positive step for Mark Wystrach, Cameron Duddy, Jess Carson and all the additional players involved, especially the lead guitarist, whose playing is prominent throughout.
The closing and opening tracks are notable, with Lonestar State Of Mind being particularly effective (but having nothing to do with the Nanci Griffith song of the same title). Lucky Sometimes opens with a piano and harmonica and builds from there with a strong chorus over that relatively simple setting, which continues to feature the harmonica throughout. Also, Better Than A Memory takes a lighter approach again, featuring acoustic guitar under the perfect harmonies.
Many of the songs were co-written by the band with Josh Osborne and Matt Dragstrem, but in various combinations, the band had a hand in the composition of all the material here. This also shows a growing confidence in the writing and with a focus on vocal integration. Not an album, perhaps, for the hard-core honky tonk fans out there, but one that sees a sometimes-controversial band becoming the band they likely always wanted to be.
Stephen Rapid
The Cactus Blossoms Every Time I Think About You Walkie Talkie
I have been very partial to this band since their self-titled debut in 2011, which was more of a hillbilly-sounding affair even though it was largely original material from Jack Torrey and Page Burkum. Truth be told, that was the sound I was initially taken with, but since that time, the duo has moved towards a more contemporary sound. It is still based around their own songs and their sweet sibling harmonies but has lost some of the earlier energy to be replaced by a more considered sound. My first listen to this album didn't quite engage as they had previously, but as I began to listen to the tracks more, they began to reveal themselves as a solid continuation of what their band's sound was and is becoming. As with their more recent albums, it has been coproduced by Torrey and Burkum; so this is the direction, sound-wise, they have manifestly created for themselves. Page's brother and lead guitarist Tyler Bunkum has moved on since ONE DAY in 2022 to work on his own projects. So the band now consists of another set of brothers, Jeremy and Jacob Hanson, on, respectively, drums and electric guitar alongside bassist Philip Hicks. Alex Hall, who mixed and mastered the album, also added keyboards.
The opening song, one of the best here, is Something Got A Hold On Me, which has a strong beat under the catchy riff and slide guitar. It has a strong chorus that soon catches your attention. The next track, Go On, steps back into a laidback scenario that could find a place on numerous recordings from a number of bands from the 90s to today. The guitar holds the focus with the harmonies on a song that might easily exist on a John Lennon album, as could some of the other tracks. Be What I Wanna has a (blue) velvet sheen that feels like classic pop from an era when that meant something. Equally dream pop is the title song with its heartfelt heartbreak scenario.
The beat picks up again with There She Goes another breakup song that might well have fitted into a Kinks set list in the 70s. There is a classic rock feel also on the time to go theme of Keep Walking'. Statues has a prominent guitar making it sound a little like a Chris Isaak ballad but with their signature joint vocal as opposed to a single vocal presence out front. Also, a highlight is the perfectly melodic arrangement about a girl who is the centre of attention and attraction in Is It Any Wonder. Honey, I'm Homeless asks to be taken along to avoid another lost weekend in Texas. The album closes with Out Of My Mind (On Sunday), a song taking one day at a time, and it sums up the album in that they are taking one album at a time to express their place and music with each considered step.
With each step, their sound has redefined itself on different aspects of that classic rock/pop sound that has its antecedents in the music of earlier and simpler times. While not exactly the big sound of today, it will remain relevant to many as it remains distinctive and recognisable from a team with its finger on a particular pulse that is proving to be life-affirming.
Stephen Rapid
The Roamers Self-Titled Self-Release
This album is a vehicle for the songs of bassist and lead vocalist Matt Rice. It is produced by Rice with former Dwight Yoakam luminary Brian Whelan (who also adds keyboards and guitars) and drummer Luke Adams. Matt Pynn added the steel guitar to certain tracks. It is primarily a vigorous run through some tight melodic roots rock. Perhaps you could say that it is not unlike some of the output that Rockplie played in earlier days. We're not talking about a boundary-breaking exercise here, but rather an album of ten songs that hit the right spots more often than not and with enough to warrant ongoing listening.
Rice's songs are graced with strong choruses that are easy enough to join in after a couple of plays. We start with the tale of a footloose and fancy-free Playboy. The overall feel is upbeat even when the leading character here is not having that much success. I Can Be Lonely is a song for the forlorn out there who can be alone even when that is not the place they want to be found in, it has a nice turn of phrase that reasons that "I can be lonely all by myself." A focus on monetary may not lead to satisfaction, Favourite Things warns. Getting close up and personal is more of what is required with Lights Down Low and its more late-night feel. The tempo notches up again with Room To Roam, a plea for space to slip the leash at times.
Rice follows his own advice for Do What You Wanna Do, and after the halfway stage, you realise what a valuable player Brian Whelan is to this set of songs. It, at times, has an almost power-pop feel with strong roots overtones. It turns a little more country, with steel guitar adding to that feel, for the mid-tempo of One Side Of The Bed. It also highlights how Rice can adapt his vocal tone to suit the tempo and mood of a particular song. "Your past comes to haunt you when you leave it behind" is cautionary of how perhaps you can never completely move on as echoes of the past will revisit who least expected in They Come Around.
It's back to a more country sound again for the truckin' sound of Keep On Rollin, a twangy road song. The open road is again explored on what is a fine album closer and an album highlight: Where The Road Is Always Open. It has a warming south-of-the-border feel, with the accordion featured effectively alongside the guitars' similar tone.
I wasn't aware of Rice before this release, but with his Roamers, he will be welcome back anytime. This is an easy-going, not-too-serious but enjoyable set from another name from the Los Angeles country-roots community to watch out for. He is out to have a good time, and this is a good start in achieving that.
Stephen Rapid
Beppe Gambetta, Native Harrow, Sarah Pierce, JP Harris, Malin Pettersen, John Surge and the Haymakers, Midland, The Cactus Blossoms, and The Roamers.