Lisa Morales Sonora Luna
Growing up in Tuczon, Arizona in an extended Mexican family, Lisa Morales and her sister Roberta ‘sang in Spanish before they sang English’. Steeped in the mariachi tradition, they sang in restaurants as children, going on to form the successful Sisters Morales duo, which toured successfully for over 20 years. Linda Ronstadt is a cousin and the sisters were blessed with beautiful voices as well as a musical tradition, influenced by rock and blues, as well as Mexican ranchera music.
Sadly, Roberta died of cancer in 2021, having been cared for by Lisa in her last few years and this is Lisa’s first solo album since her sister’s passing. Named for the Mexican state of Sonora, just south of Tucson, the album is clearly influenced by that deep loss, but yet it is mostly upbeat in nature.
It’s A Common Thing was a song that Roberta had partly written and was then finished by Lisa. You can actually hear Roberta singing the opening line on a home recording, before it erupts into a gorgeous blend of rock, blues and funk, with a positive message about love and life.
Four of the ten songs are sung exclusively in Spanish, or in a mixture of Spanish and English, which Morales refers to as “Spanglish”. Although a translation of the lyrics is not provided, it’s possible to appreciate the songs without it, even as a non-Spanish speaker, such is the emotion conveyed by the musical tone and vocals. En El Limbo (In Limbo) is a desperately sad ballad, with classical guitar contributions from Morales herself, David Pulkingham (Alexandra Escovedo, Patty Griffith) and from 19 year old Thomas Spencer, who is Morales’ son. Another Spanish number is the beautiful jazz inflected La Paz (Peace), which was produced by Lisa Morales herself, and she had a hand in co-producing most of the songs on the album. Drummer Michael Longoria (Patty Griffin) makes a major contribution to the rock and Latin rhythms on What Do You Want, with great electric guitar contributions from Pulkingham again and both musicians co-produced several of the tracks.
Michael Ramos (keys and accordion) co-produces the moving Hermanitas in the Rain (Sisters in the Rain), written by Morales three days before Roberta passed away. It’s a reminiscence of their happy childhood, when they would go and wait to be splashed by cars in the rain, and it’s simultaneously both joyous and sad. Adios Mi Vida (Bye Bye My Love) is another bittersweet tribute to loss and is given the full Mariachi production, complete with strings and brass.
The album closes with Hermana (Sister), a beautiful tribute to Roberta, pared back to acoustic guitar, piano and bass, sung mostly in Spanish, and closing with the simple line ‘Can you hear me, Roberta?’
This one’s for all those who like passion and emotion in their music, beautifully sung and produced, with an authentic TexMex backdrop.
Eilís Boland
Paul Cauthen Black On Black Anemoia / Atlantic
East Texas native Paul Cauthen, also known as 'Big Velvet' for his polished baritone voice, has been doing things very much on his own terms since his debut solo album, MY GOSPEL, in 2016. Difficult to pin down to one genre, Cauthen's quite unique sound is a modern mix of funky electronic country, gospel, and soul with a dash of rap.
His fifth solo record, BLACK ON BLACK, combines all these elements and often each surface in individual songs. Take the opening and title track as an example. It starts with Johnny Cash-like vocals, acoustic guitar and pedal steel, before exploding mid-song into a full-on and delightful mix of heavy bass lines, tingling piano, and killer backing vocals. It's simply wonderful and matched by the equally eclectic Angels and Heathens, which also highlights Cauthen's ability to combine components that shouldn't necessarily work in unison but do so spectacularly well.
Lavender Jones tips its hat in the direction of the Tulsa Sound with a J.J.Cale-styled rhythm, and Innocent is autobiographical and pleas for acceptance for the non-conformist ('take me as I am, I ain't perfect, Lord you know I've never been'). Sweetheart From The Trailer Park is a lively tribute to the often overlooked ('She grew up tall and she was raised right, She's my smalltown girl on a Saturday night, she sewed her own dress from her granny's curtains'). The influence of Cauthen's early years singing hymns at church regularly surfaces on his albums, and he slows things down with the gospel-sounding Black Roses, which is enriched by a backing choir and delicate pedal steel, evoking a sense of nostalgia and spiritual connection.
Recorded in Cauthen's hometown of Tyler, Texas, at Rosewood Studios, the songs were penned over the past few years as Cauthen regularly toured around the States on his motorcycle or tour bus. The album's production was overseen by Jason Burt, a regular collaborator with Cauthen, who brought his unique perspective as a producer and songwriter (and DJ known as Electrophunck) to the controls.
Prepare to be whisked away into Cauthen's unparalleled sonic world in BLACK ON BLACK. As is his trademark, this space is adventurous in its arrangements and production, rugged and ragged, and, above all, immensely enjoyable. It's a musical journey that is well worth your attention.
Declan Culliton
Liv Greene Deep Feeler Free Dirt
Folk singer-songwriter Liv Greene's ten-track sophomore album, DEEP FEELER, is an eloquent and profoundly personal project. With the emphasis particularly on her vocals, she delivers her messages honestly and without restraint. The East Nashville resident's chosen studio to record the album was the hallowed rooms at Gillian Welch and David Rawling's Woodland Studios.
Self-producing and working with Grammy award-winning engineer Matt Andrews (O Brother, Where Art Thou?), Greene's vocals are at the forefront, inviting the listener to concentrate on songs that play like diary entries.
The supporting instrumentation, skillfully arranged and performed alongside Greene's guitar work, is perfectly placed in the mix and features a talented ensemble of musicians. The supporting players included Jack Schneider (guitar), Hazal Royer (upright bass), Dominic Billett (drums), Elise Leavy (accordion, piano), Sarah Jarosz (mandolin, harmony vocals), Christian Sedelmyer (fiddle), Mike Robinson (pedal steel), Emily Mann (electric bass), Sean Szoch (drums, guitar) and Jordan Tice (acoustic guitar). Their collective contributions elevate the songs, adding depth and texture to Greene's heartfelt lyrics.
Matters of the heart are a recurring feature across the album. The confessional and countryfied Made It Mine Too, the beautifully melodic Wild Geese and Katie - the latter a stripped-back tribute to a former girlfriend - are all uncluttered songs, rich in content and detail. I've Got Work To Do is a defiant honky tonker with slick mandolin and guitar breaks, and the opener and title track slowly builds up from a vocal and acoustic intro, soon joined by backing vocals and weeping pedal steel. The closing statement I Can Be Grateful, set to a minimalist acoustic background, is forward-looking and signs the album off with a note of acceptance.
What may have been bleak times for Greene are conveyed impressively on the album without ever being overly sentimental. Unrushed vocal deliveries, excellent instrumentation, and well-constructed songs should herald a breakthrough for a gifted singer, musician, and songwriter.
Declan Culliton
Loose Cattle Someone's Monster Single Lock
With combined backgrounds in jazz, ska punk, musical theatre, alternative rock and electric roots, the musical direction of longtime collaborators Michael Cerveris and Kimberly Kaye, who front the New Orleans-based band Loose Cattle, could have veered in a number of musical directions. Their chosen genre is Roots /Americana following their interest in the story writing and offbeat characters that often frequent that classification. It's little surprise, given this album's title and that many of the songs were penned during the uncertain lockdown period, that darkness lurks in the background on several of the album's twelve tracks.
Two tracks include contributions by household names Lucinda Williams and Patterson Hood of Drive-By Truckers. Lucinda adds her vocals to a cover of Lady Gaga's Joanne, and the fiddle-led folky version by Loose Cattle is in no way a lesser version than the original. Patterson's input is contributing guitar on the hauntingly gothic God's Teeth, evocatively articulated by a grainy-voiced Cerveris. Other notable artists who play on the record include Alex Chilton's former rhythm section and also members of New Orleans band The Iguanas, Rene Coman and Doug Garrison. Jon Graboff (Ryan Adams, Willie Nelson) played pedal steel, Jay Gonzalez (Drive By Truckers) was on Hammond B3 and electric guitar, and Rurik Nunan's free and fiery fiddle playing is a highlight on several tracks.
Bemoaning the missed opportunity for a universal post-pandemic empathetic reset, Further On opens the album in fine style with Nunan's raging fiddle breaks alongside a driving rhythm section and shared vocals between Cerveris and Kaye. Offering a somewhat more promising and accepting outlook, the less frantic Tender Mercy closes the album and is enriched by a striking acoustic guitar solo by the acclaimed New Orleans singer-songwriter Alex McMurray. Other songs that leave a deep impression are busted-hearts tale Cheneyville and the high-spirited, nostalgic, and deeply melodic Crescent City.
Instantly catchy tunes with unfussy lyrics, SOMEONE'S MONSTER is a well-crafted excursion into what used to be called alt-country.
Declan Culliton
Dwight Yoakam Better Days Via/Thirty Tigers
This new album ignites strong memories of the artist who arguably was my gateway to country music. Much here resonates with his previous releases, and it makes me wonder how well it might have fared if it had indeed been his debut release. Of course, that view is coloured by listening to his music since that 1986 debut, so it lacks the initial impact of hearing an artist who brought some rock' n' roll attitude to the largely safe and staid vehicle that was being passed off as country music had largely become (then as now). There were exceptions, of course, such as Rank' n' File or Jason and The Scorchers, who came from a more punk background, which also held a big appeal at the time, and preceded Yoakam by four years with their first releases.
Yet, somehow, GUITARS, CADILLACS … seemed a little further steeped in the music of the honky tonks and in the Bakersfield sound. Then there was that unique voice that seemed so immersed in the past, on one level and also, as it has proved, pointing to something more lasting and forward-thinking over time. Similar to that singular nasal tone of Hank Williams Sr and others that has remained so distinctive and one of a kind since then. Here it has not lost its appeal or power.
The album overall has a positive frame of mind, a little less heartbreak and a little more love. It opens with a positive statement in Wide Open Heart, a song full of the energy he displayed back when he started out and listening to it; you know how much you missed new music from Yoakam. The last album was in 2016, and a couple of tracks released digitally in 2018 were released on Warners, Then Here Came Monday and Pretty Horses, neither of which are included on this album. As with the past albums Yoakam mixes his original songs with some interesting cover choices - ones which, in the main, that he has made his own. Here we have a version of the song Bound Away previously recorded by Cake, Time Between, written by Chris Hillman and recorded by the Byrds and a vibrant uptempo version of the traditional Keep On The Sunny Side (a choice that emphasises his positive frame of mind at this point in his life).
The remaining songs are either written solely by Yoakam or with like-minded co-writers like Jeffrey Steele, who contributes to five tracks; three are also with writer Bob DiPiero, and two include Shane Minor. Bryan Joyce has his name on another song. But overall, these are details as there is consistency in the album that flows without causing one to question any song's inclusion. There is one credit that is deeply personal, and that is a co-writing credit for his son Dalton, who appears at the end of the title track. Many of these recordings are classic Yoakam, whose vision, while open to experimentation, remains true to its original intentions. Some may have preferred for the album to hit one particular tone throughout, but that would not be true to Yoakam's spirit, and the album's variety is also one of its strengths.
At this point, there are a number of songs in the fourteen that deserve special mention for the opening Wide Open Heart (as mentioned), the hi-octane rockabilly of Can't Be Wrong, with its occasional use of distorted vocal and yelps (and John Lennon inspired quote at the finish of the track). The expression of love in the more reflective, quieter tone of I Spell Love has a great delivery and arrangement. The "if you ever leave me" message of A Dream That Never Ends. That theme of wishing things had remained as they were and might have been is what I Don't Know How To Say Goodbye (Bang Bang Boom Boom) is at the core of his duet with Post Malone (a track that highlights what Malone's solo 'country' album might have been in different hands. It was the album's debut single, as it is downright catchy. Taking a more sombre tone, Hand Me Down Heart again allows the vocal the space to emphasise its potential for understated emotion. But as already said, there's nothing here I would skip over since the album plays without having to make such a consideration.
While it is understandable to wonder what this album might have been had Pete Anderson been involved, given their previous track record. Yoakam has learned much from their association and his own recent production endeavours. He does a pretty fine job here, as does his band who including regulars Mitch Marine and Jonathon Clark as the solid driving rhythm section, with bassist Eric Baines also appearing. Multi-instrumentalist Brian Whelan and guitarist Eugene Edwards are both front and centre, while Drew Taubenfeld and Jamison Hollister, on pedal steel and other instruments, add their valuable skills. Long-time associate Skip Edwards plays Hammond organ and piano. There is an effective use of backing vocals from several players alongside those from Ken Stacy. However, there is little doubt that the heart of this album is Dwight Yoakam and his inimitable approach to his music.
Having such a uniformly strong album from the artist who was, for all intents and purposes, a major entry point to country music for me is heartwarming and a largely unqualified success. One hopes that it gets the credit it deserves and will see another release from Yoakam in the not-too-distant future. He is now his own label boss, so that may be a welcome possibility.
Stephen Rapid
Danny and the Champions Of the WorldYou Are Not A Stranger Here Loose
If Danny and the Champs was an American band I suspect that they would have already taken their place as one of the most recognised rock acts of the last decade. Their guitar driven sound is one of great passion and power, infused with a deep devotion to their craft and an ability to allow other genres into the mix, such as country and soul. This is their seventh album as a collective and the first since 2017, apart from a live album which surfaced in 2021, and which captured a memorable gig in Spain back in 2018.
The last studio outing, Brilliant Light was very much a heartland, roots rock sound with great guitar riffs and warm melodies in abundance. Danny himself has also been active in a side project Bennett Wilson Poole and two albums were recorded in 2018 and 2023 respectively. He also released a solo album in 2021, Another Place, and his decision to now return to the Champions of the World is one that will be greatly welcomed by their loyal fan base.
The players on this release include Thomas Collison (producer, multi-instrumentalist), Paul Lush (guitars), Steve Brookes (drums and percussion), Geoffrey Widowson (sax, keys), Henry Senior (e-bow, lap steel), Dan Hawkins (bass), and Lachlan Wilson (saxophone). There are also appearances from Joe and Robin Bennett, Catherine Parkin and Svitlana Prystupa on backing and harmony vocals. They all join Danny George Wilson (vocals, acoustic guitar) in delivering an album that is every bit as good as anything they have released across their previous six studio albums.
However, there are marked differences in the sound on this album and it stands as something of a leap into the unknown regarding the change of direction taken. For the first time since their debut in 2008, this album is a real break from the previous sound of the Champions in that programming, samples, and sound effects are introduced and the strong influence of Thomas Collison as both producer and keyboard maestro are very much a prominent feature. The focus on more ambient soundscapes are both innovative and interesting in their delivery and the opening Talking A Good Game resonates with a rich bass line and a song about looking for love and truth in these challenging times ‘Because when you look behind the curtain, There's really nothing to see, There’s just a fella with a loud voice, He seems a lot like me.’
Kicking Tyres is the longest song here and it slows everything down with some atmospheric keyboard sounds and understated guitar hues. There is a floating ambient feel to the next two tracks, which are back-to-back short instrumentals, Last Exit / Every Door You Have Ever Opened, that contain random background noises of what appears to be daily life. I’m In Love has a mid-tempo arrangement and captures images and references such as a Japanese book about Barbra Streisand, collage artist Peter Blake’s work, street photographer Lee Friedlander, movie characters such as Miracle Max and Watchmen, together with Nudie Suits, hand embroidered with colourful designs. It captures an almost Roxy Music vibe in the rhythm.
There is a strong preoccupation with love in all its various forms and the manner in which it can manifest. This album is a long way down the road from the Americana based music of Grand Drive, the band that Danny formed with his brother Julian back at the end of the nineties and who shone brightly across five albums. The use of programming sounds and samples is really inventive and the whole listening experience is certainly one that rewards the risks taken in reaching out for a different soundscape. The use of saxophone also brings an interesting layer to some songs and it is used to great effect on another instrumental The Poetics Of Space along with the sweet acoustic guitar technique of Paul Lush and the sound effects of Thomas Collison.
Future Past is a song that seems to look at love lost, reflected in the lyrics ‘Love is not a new town, It don’t travel on straight roads’ and elsewhere, ‘All the thoughts that you had planned, Will slip right through your hands, Like silky grains of sand in an hourglass.’ There is a sense of looking back with regret. The Robot Cries is a song that celebrates enduring love and the journey that we all share ‘Don’t tell me we’re not two of a kind, Don’t tell me that we’re not on the same side.’ The closing track is perhaps the strongest here and the pulse of Sooner Or Later shows the band in full flow and playing in great harmony. The lyric encapsulates the central theme of the album ‘Ain’t love what it’s all about? Removing doubt.’
Danny has certainly asked questions of himself and examined his place in this never-ending race. Whether he has gained any substantive answers is something that only he can resolve. I think that the album is worthy of your time and attention. It could be passed off as an electronica experiment wrapped in too many different colours, but there is real substance to these songs and the new road being travelled is brighter for the view.
Paul McGee
Si Kahn and George Mann Labor Day Strictly Country
Take a civil rights activist and add a trade union advocate, then introduce them both to a community organiser with a shared interest in bringing all interests together… What do you get? The answer lies in the persona of Si Kahn, a singer-songwriter who reflects everything that is honourable in the struggle of ordinary folks to gain equality and human rights. Since 1974 he has been releasing music that captures the movement of people to come together and share a common goal of improving their quality of life in society.
Wherever there exists inequality and suppression of basic freedoms, that is where you will find Si Kahn with guitar in hand and a passion to write a song to highlight the inequity. Dozens of albums have been recorded and the fight has always been ongoing as the goalposts shift on a regular basis. Undaunted, Si Kahn has been at the forefront of cataloguing the issues of the day. Think in terms of Woody Guthrie and Pete Seeger, Phil Ochs and Joan Baez, Tom Paxton and Bob Dylan; the protest songs of Billy Bragg and the fight against bigotry and racism.
Earlier this year British Folk artist Phoebe Rees released an album that was comprised of Si Kahn’s songs of courage and resistance. Now we have Ithaca- based musician George Mann inspired to capture a number of unrecorded songs from the pen of Si Kahn; apparently he has a sizeable treasure chest of songs that have yet to be recorded. Mann produced the entire project that includes twenty-one songs and includes appearances from the likes of Peggy Seeger, Kathy Mattea and Billy Bragg, alongside others like Odetta and Tom Chapin.
Song titles like Solidarity Day, The Power Of the Union, Spinning Mills Of Home, Go To Work On Monday and You Are the ‘U’ In Union give a strong indication as to the core content of the album and the subject matter may not appeal to everyone over the course of sixty-two minutes, but there is no doubting the earnest intent of the marking of 50th anniversary of Si Kahn’s debut album, New Wood. As the album notes highlight it is “A tribute to hard working people everywhere.”
Paul McGee
Michael Menager Line In the Water Self Release
This musician is originally from California and he currently lives in Australia where he has been creating music since his debut album appeared in 2015. That album featured Heath Cullen on a variety of instruments and their relationship continued into a follow-up album in 2016. Both were also produced by Cullen and we now find him involved again in this third release.
The ten songs feature Michael Menager (electric & acoustic guitars, vocals), with The Devil's Creek Rounders, comprised of Rusty Lavonne, Bess Maloney, and Slim Fitz. Their interplay is quite superb on this slow-burn of an album that leaves quite an impression. Heath Cullen wrote one song and the feeling of space on the recording is perfectly honed to boost the instrumentation and the atmospheric vocals of Menager.
The title track is a highlight and speaks of the relationship between the apostles and Christ as a metaphor for how life can change in an instant (dedicated to the memory of John Prine). Nature features in these songs and both High Water Ahead coupled with Autum Flood On Devil’s Creek feature some excellent ensemble playing and great dynamic in the arrangements.
Fire Up the Mountain is another song that reflects the power of nature and the impact that it has upon our daily lives. Another track is What Is It That I Really Need? And it reflects that ‘You could build yourself a lifeboat, Or you could live a life of crime, With High water up ahead, And shallow water behind.’ On Just This the writer ponders our very existence and comes up with the suggestion that ‘Whatever can be known, Has all been known before.’
Menager has developed nicely into a career of some substance. There is an all-encompassing sound present on these songs and plenty of room for expressive playing on the spacious arrangements and crystal clear production. An album worthy of your time.
Paul McGee
Rob Heron and The Tea Pad Orchestra Feet First Tea Pad
Album number six arrives in the continuous journey of this UK five-piece that arrived on the scene when they released their debut recording back in 2012. The only remaining musicians from that album are Rob Heron himself (lead vocals, rhythm guitar), and Tom Cronin (baritone guitar, mandolin, harmonica, backing vocals). The current line-up is completed by the talents of Ben Powling (tenor sax, clarinet, backing vocals), Adam Richards (upright bass, electric bass, backing vocals), and Paul Archibald (drums, percussion).
The fourteen songs that feature are all written by Rob Heron, with one exception, and they span as many genres as you have fingers to count.. western swing, blues, country, rockabilly, soul, rock n’ roll, bossa nova, rhythm n’ blues, gypsy jazz, skiffle and anything else that you may wish to hear in the music. The end result is an incredibly versatile sound from a band of musical brothers who deliver on all fronts in what is a really entertaining album. Additional players also joined in the fun with Doc Puky adding baritone sax on six tracks, Alex Praefcke on lead guitar for one track and Jason Starday on backing vocals on three tracks.
The entire album was completed in just two days at Lightning Recorders in Berlin with Alex Praefcke acting as recording engineer. The rockabilly sound of tracks like Every Day Is Misery and Good Lovin’ recall the heady days of Elvis and the crooning vocals blend with the backbeat to deliver such an authentic sound. Elsewhere the classic country swing of Three Button Suit and More Fool You, Babe are very engaging, while the jazz groove of Broken Down and Broken Hearted and I Blinked and It Was Over are real highlights.
Loved You More In My Dreams and the title track Feet First are other notable tunes and include a Jimmy Rogers inspired yodel, plus a Johnny Cash-style story song with the declaration in the lyrics ‘the only way I’m leaving this bar is feet first.’ When you look up the name Tea Pad, the definition highlights them as speakeasy-style spaces where people of all racial and ethnic backgrounds could come together. That neatly sums up the inclusive nature of this music and the addictive qualities in the delivery. Rob Heron never disappoints, and this album cements the cult status of the Tea Pad Orchestra as one of the most sought after bands when it comes to live performance.
Paul McGee