The Third Mind's Live Mind Yep Roc
What started in 2018 by Dave Alvin as an experimental supergroup intending to breathe psychedelic life into selected songs, continues to grow legs almost seven years later. It's hardly surprising, given the creative mix of talent that Alvin recruited to join in his adventure. Bass player Victor Krummenacher (Camper Van Beethoven, Cracker, Monks of Doom, Eyelids) was the first to come on board and was followed by drummer Michael Jerome (Richard Thompson, Better Than Ezra, John Cale) and guitarist David Immerglück (Counting Crows, Monks of Doom, Camper Van Beethoven). The final piece of the jigsaw was to recruit a suitable vocalist to complete the band's vision, and Jesse Sykes (Jesse Sykes and The Sweet Hereafter) proved to be an inspired choice.
Two studio albums followed, THE THIRD MIND (2020) and THE THIRD MIND 2 (2023), alongside some memorable live shows, the first of which was at 2023's Hardly Strictly Bluegrass in San Francisco's Golden Gate Park. The success of that performance led to a ten-date West Coast tour, which featured guest players Mark Karan (RatDog, Planet Drum, The Other Ones) on guitar and Willie Aron (Ricky Lee Jones, The Bangles) on keys.
This one-hour live album was adapted and recorded from their 2024 shows at the Troubadour in Los Angeles, Ventura Hall in Ventura, California, and The Kessler Theatre in Dallas, Texas. Featuring mainly material from their studio albums, the versions highlight their masterly improvisation prowess, as noted by Mark Karan ' We re-interpret the songs nightly, never playing anything exactly the same way twice… staying true to the musical approach I've loved for so many years playing in the Grateful Dead family.'
Sally Go Round The Roses, a hit for all-girl group The Jaynetts in 1963, weighs in at a lengthy thirteen minutes plus, exceeding the studio recording version on their 2023 album by a few minutes. It's the optimal album opener that defines precisely the band's vision, with woozy guitar breaks in front of a fine rhythm section and, of course, Sykes's haunting vocals. It's not the album's most extended statement either, and it is exceeded time-wise by the jamming instrumental East West. It's fitting that a song composed by Jesse Sykes is included, and Doralee, previously featured in RECKLESS BURNING, the classic 2009 record by Jesse Sykes and The Sweet Hereafter, is beautifully performed without straying too far from the original version. Morning Dew, written by Tim Rose and Bonnie Dobson, kicks off on a similarly low-key tempo before shifting into high gear spectacularly mid-song. Also included is a reconstruction of Groovin' Is Easy, written and performed in the late 1960s by the Mike Bloomfield-led band, The Electric Flag and also from the same decade, the Fred Neil written, A Little Bit Of Rain.
At a time when mind-expanding jam bands are a rarity, THE THIRD MIND are torch carriers for the underrepresented genre. Forget about dusting down your Grateful Dead albums for a blast of cosmic psychedelia, slip on your headphones and check this album out. Satisfaction guaranteed.
Declan Culliton
Horsebath Another Farewell Strolling Bones
Listening to ANOTHER FAREWELL, the debut album from Canadian band Horsebath, you could be forgiven for thinking that you had stumbled upon an undiscovered band from the late 1960s. EXCLAIM! magazine, who hailed this album as ‘one of the most anticipated Canadian albums of 2025’, made comparisons with fellow countrymen, The Band, when referencing their style. That likeness includes the four-piece band members (Daniel Connolly, brothers Dagen and Keast Mutter, and Etienne Beausoleil) sharing songwriting and vocal duties and their tendency to switch instruments from one song to the next.
Having won the approval and support of Strolling Bones Records, the sister label of New West Records, the self-produced album was written and completed in a whirlwind ten days. The recording took place at The Treatment Room Montreal, with the mastering completed by Rufus van Baardwijk at Hidden Gem Studio in Amsterdam.
The comparisons to The Band ring true in the deep grooves of Hard To Love and Another Farewell, and those themes of lost love and dejection, whether self-experienced or fanciful, reoccur with regularity on the album. Long and Lonesome recalls Lee Hazelwood’s COWBOY IN SWEDEN material, and that 1960s vibe also holds up on the haunting In The Shade, which nods its head toward The Doors. Really Did A Number On Me and Turn My Lover Loose are weather-beaten and bluesy barroom numbers, and Only In My Dreams is a toe-tapping slice of bubble gum pop.
Musically, ANOTHER FAREWELL may reach back to an earlier time and place, but it’s much more than a tribute to the band’s influences. A reflection of a quartet having the time of their lives in the studio while making a profound statement, it’s also an exciting introduction and gateway into a band with endless potential.
Declan Culliton
Dean Owens Spirit Ridge Continental Song City
THE RIDGE TRILOGY EPs, released by Dean Owens last year, provided a sneak preview of what to expect from SPIRIT RIDGE, the latest addition to the hugely impressive and growing back catalogue of Edinburgh, Scotland artist, Dean Owens. The three EPs included demos of songs recorded for this record alongside a number which did not make the final cut.
A globetrotter, continually in search of new inspirations to fuel his creative juices, Owens travelled to Tucson, Arizona, to collaborate with Joey Burns and John Convertino of Calexico fame to record his 2023 album EL TIRADO (The Curse of Sinner's Shrine). During a casual conversation, Owens, whose great-great-grandfather was born in Italy, expressed an interest in recording a project in Italy. With that in mind, Convertino facilitated an introduction to Italian musician, producer and filmmaker Don Antonio. That contact led to SPIRIT RIDGE being recorded in a four-century-old farmhouse in Crinale, Emilia-Romagna, Italy, with Owens and Antonio sharing production duties. A common interest for the two was their fascination with the American-Mexican border, both in geographical terms and the music it inspired.
The warm-hearted and gentle Eden Is Here, which opens the album, pays homage to Emilia-Romagna's stunning landscapes. The exquisite My Beloved Hills, which featured in the first instalment of last year's trilogy GHOST WALKING, finds Owens recalling loved ones who have passed away. Charged with strings and horns, it's a majestic affair and, for this writer, one of the standout songs of last year. Sinner Of Sinner is a sinister tale of a bloodthirsty and menacing orphan. The funky Burn It All explores the plight of the expelled and powerless, and that border-related concept is also at the heart of the short but explosive horn-driven instrumental, Spirito.
There is also space for a romantic and optimistic ballad, and Spirit Of Us ticks that box. Continuing on that thread of positivity and longevity, that song is followed by the album closer, Tame The Lion, inspired by Owens' great-great-grandfather's occupation as a lion tamer and how his spirit lives on in this sacred location.
SPIRIT RIDGE continues Owens' exploration of a broad canvas of issues, from loved ones passed to the quandaries facing the less privileged. Working with a talented crew that included Don Antonio (guitars, lap steel, piano, mellotron), Luca Giovacchini (guitars, dobro), Piero Perilli (drums, percussion), Danilo Gallo (bass) and an ace brass section, it's a continuation of Owens' ever engaging musical journey. Highly recommended.
Declan Culliton
The Delines Mr. Luck & Ms. Doom Décor
Country-soul band The Delines has been recording and performing Willy Vlautin’s narratives of hapless, out-of-luck and destitute characters and couples for over a decade, since he disbanded his band, Richmond Fontaine. Passing the baton to Amy Boone (formerly of Texan band, the Damnations) to add her silver-tongued vocals to his words, the band’s impressive back catalogue consisted of five albums before releasing this latest one.
Much as Boone is the perfect foil to bring Vlautin’s stories to life, the consistently depressing themes and references in the songs led to a simple request from her to Vlautin, ‘I’m just a normal girl. Can’t we have a song where the good guy gets the girl, and they fall in love once?’ Taking on board the not unreasonable request, Vlautin wrote the album title and opening track, MR. LUCK & MS. DOOM. Not exactly a classic romantic commentary, it tells of a chance encounter by two hapless characters, a failed criminal recently released from jail and a house cleaner. Finding solace in each other’s arms, the couple drift from town to town, their lovemaking passionately wearing out hotel mattresses before moving on. Of course, the story has no happy ending, but its fundamentals of drifting and luckless lovers are at the pulse of the album’s eleven songs. Vlautin’s further attempts to pen love stories with happy endings may have fallen flat, but he did, tongue-in-cheek, inject a degree of romance into the project by scheduling its release for Valentine’s Day.
Tragic train-hopping hobo teenage runaways (Her Ponyboy), a short-term relationship doomed by mental illness (JP & Me), and a series of abusive affairs (Left Hook Like Frazier) continue the theme of dead-end liaisons. Other powerful tales include a teenage bride controlled by a towering pimp who successfully plans her exit (Nancy & The Pensacola Pimp) and a woman on the run after helping herself to the proceeds of drug dealers (Maureen’s Gone Missing).
Since its formation, The Delines have perfected a quite unique country/soul crossover sound that fits ‘hand in glove’ with Vlautin’s chapters of impending doom and unfulfilled dreams. Those dark sentiments are aired flawlessly on MR. LUCK & MS. DOOM, bringing together Boone’s deeply felt vocals supported by exemplary musicianship.
The album was recorded at Bocce in Vancouver, Washington State and produced by their regular collaborator John Morgan Askew (M.Ward, Margo Cilker, Howe Gelb). Band members Amy Boone (vocals), Willy Vlautin (vocals, guitars), Cory Gray (keyboards, trumpet, flugelhorn), Freddy Trujillo (bass) and Sean Oldham (drums) were joined by guest players Tucker Jackson (pedal steel), Mark Powers (percussion), Noah Berstein (saxophones), Amanda Lawrence (violin, viola) and Colin Oldham (cello).
The Delines play their only 2025 date in Ireland at the Kilkenny Roots Festival on Sunday 4th May.
Declan Culliton
Cristina Vane Hear My Call Red Parlor
Italian-born singer-songwriter and multi-instrumentalist Cristina Vane has not been sitting on her hands since arriving in Nashville six years ago. Integrated into the bohemian musical community in East Nashville shortly after her arrival, HEAR MY CALL is her third studio album following the release of her debut record, NOWHERE SOUNDS LOVELY, in 2021 and MAKE MYSELF ME AGAIN, which followed a year later.
A student of both the technical and lyrical aspects of music, Vane has been writing songs and playing guitar since her teens. Her teen years saw her studying classical vocals, music theory, piano and flute. From there, she progressed to the art of slide guitar before moving to Los Angeles, where she studied and perfected the clawhammer banjo technique. Next up was a self-managed tour of over twenty states in America, where she absorbed and learned the various musical traditions as she travelled. Armed with those skills and still eager to widen her musical horizons, she settled in Nashville, where she continues to record and perform.
It's hardly surprising that the playing on the thirteen-track album is top-notch. Alongside Vane's bluesy guitar skills and crystal-clear vocals are guest slots by Kenny Vaughan on Telecaster, guitar contributions by JD Simo and Molly Tuttle, bass guitar by Geoff Henderson, Ty Bailee on organ, mandolin by Karl Smakula, and drums by Roger Ross. Tuttle, Bronwyn Keith-Hynes, and Brenna MacMillan also contribute backing vocals.
Although blues emerged as the dominant musical direction in Vane's previous albums, there were also nods to her eclectic influences, with splashes of roots and rock also incorporated. She does not veer too far from that template this time around and continues to fashion what has become her own quite distinctive Americana strain.
Two co-writes are included, the raunchy blues track Shake It Babe, composed with Mike Harris (Old Crow Medicine Show), and the swampy Do You Want To Lose, which was written with singer-songwriter, Silas Lowe. She cuts loose on the full-on rockers Little Girl From Nowhere, and Everything Is Fine. Getting High In Hotel Rooms, the first single from the album, is a gorgeous, road-weary, love song showcasing Vane's exquisite vocals. The title track is a lively bluegrass affair with slick instrumental breaks and sticking with that country vibe, You Ain't Special and My Mountain also impress.
Signing off with the explosive Lost You In The Mountains, the lasting impression I'm left with is one of an artist whose fusion of musical styles works to perfection.
Declan Culliton
Joe Ely Love & Freedom Rack 'Em
A force of nature in so many ways, Joe Ely is a performer who had an eye for the future and a foot in the past and who forged his own blend of hardcore country, folk, border music and renegade rock. He was equally at home playing the honky-tonks as he was the bigger stages that came his way. He has more than 25 releases under his name and is also an accomplished artist and author. In 2007, the AMA conferred him a Lifetime Achievement award. However, Ely is far from done. Even though there have been recent reports of ill health, he continues to work on the many songs he has recorded in recent years.
He built a home studio (Spur Studio in Austin) in the 80s and was able to record finished tracks and demos there. These recordings form the foundation of many of these recent releases. To bring some of these songs to life, he worked with Lloyd Maines, who was able to add additional instruments to the existing tracks. Following on from last year's DRIVEN TO DRIVE comes this collection of material, written in the main by Ely, but as with the last album, featuring a number of songs written by fellow troubadours such as Guy Clark and Townes van Zandt. Perhaps the biggest takeaway here is the physical presence of his voice; it has power, passion and personality. Allied to his writing, which covers many aspects of his writing themes from relationships and real-life stories to thought-provoking social issues - hence the overall title.
The opening track, Shake' Em Up, finds a solo Ely playing synth, electric drums and guitars in an effective collage over a message of what life can do to you and what you need to do to your life. More in line with previous recordings is Adios Sweet Dreams, and a feature of a number of the cuts here is the material cut with accompaniment by longtime accordion player Joel Guzman, which again also uses an additional rhythmic element to fill out the track. Guzman's contribution is fundamental to that border feel that underlines the lyric's wish to return to a lost love but is perhaps unable to the ongoing issues of crossing a border.
A story that rings true, Sgt. Baylock is about an officer of the law (given a pseudonym here) who delights in arresting Ely and how they meet again much later in different circumstances. It is delivered with a certain humour on fondness. It features Guzman and Lloyd Maines and is a stand-out track. Today It Did with a lyric that contemplates how a single day can change many things - "His car never started on the very first time / But today it did … He never thought that the truth would ever do him in / But today it did." It, as do many of the songs, shows that there is much to admire in Ely's skill as a writer. Band Of Angels sings of the freedom of riding on a horse of solid steel, of leaving those left behind, heading for the border, and hoping to get there alive.
The four songs that close the album all touch upon a wider theme of intolerance, misunderstanding and mistakes. They are Here's To The Brave, What Kind Of War, Surrender To The West and No One Wins, the latter written following a visit to Ground Zero in New York. All reflect the man Ely is and his concerns for the way the world is turning.
As an interpreter of others' material, Ely is also a master with another highlight in his reading of Clark's Magdalene, the Woody Guthrie classic and oft-recorded Deportee, which benefits from a duet vocal from Ryan Bingham, whose rough-hewed delivery fits well with Ely's own. Townes van Zandt has two of his better-known songs covered, Sake Of The Song and Waitin' Round To Die; Ely captures the spirit and poignancy with understanding and ease in both cases.
All of this means we should celebrate the talent and tenacity of Joe Ely in being true to himself, his music and the path he has chosen. May he continue to bring us his music as he has over the years, with the undoubted respect of his peers. Love and freedom are both needed right now.
Stephen Rapid
Philip Rambow I’m An Artist Fretsore
An artist with a history of being a solid singer/songwriter, Philip Rambow was born in Canada. He moved to London during the pub-tock phase (an era often reflected in the songs here). He was a member of the short-lived band The Winkies, who released one interesting album. They were chosen by Eno as his backing band for some days to tour the ex-Roxy's star debut album. Following that, he worked with a number of artists contributing songs, perhaps There's A Guy Down The Chip Shop Who Swears He's Elvis is the best known, but the fact that he has had a three CD compilation released shows that he kept pretty busy in the intervening years. His last album, CANADIANA, in 2019, indicated his current direction.
This album delivers another ten new songs written, or in two instances, co-written by Rambow. Produced by Malcolm Doherty, it features Rambow on vocals and guitars, with Doherty adding additional instrumentation. Bill Clift added backing vocals here and there. There's a lead guitar from Luke Edney, some violin, and additional vocals from Bob Loveday. But it's pretty much Rambow and Doherty's show. The songs were written during the Covid lockdown, and then the ones Rambow felt worked best were sent to Doherty.
These included the r’n’b influenced drive of A Dollar Short, the country-tinged The Road To Hell, and the rockin' swagger and energy of Mother F*Kazz (you know what he means there). The Man In The Iron Mask considers his place in the scheme of things with a hint of a non-folk-focused Dylan. The musical direction of his last album is also here in a couple of tracks, Roots And Wings and Bus Stop. While more grounded in current world affairs is The Emperor's Clothes, written during the first term of the current US president and is as valid now as it was then. The closing song, Lost Without You, has an engaging light touch of New Orleans jazz swing.
All of these factors show the diversity of Rambow's range and the natural survival nature of his ethics. This is not an album that will change a great deal in terms of creating something you haven’t heard before but is one from a performer who has not lost his ability to deliver his songs with an overall satisfaction. It's an album that will keep you engaged with its high points, which may well change from track to track for each individual listener.
Stephen Rapid
Joel Timmons Psychedelic Surf Country Self Release
This is a multifaceted album that touches on the genres mentioned in the title, as well as other influences. Timmons is a guitarist, songwriter, producer, and collaborator; it says on his website and on this album that he is all of those, as well as a vocalist of some accomplishment. He was a part of the band Sol Driven Train and, more recently, a member of Sally & George with his partner Sally Means. This time out, he’s releasing his debut solo album under his own name. One that draws on his love for city and seashore (but never really becoming a Buffett-like entity).
The album was produced by Maya de Vitry, with whom he has worked in the past, so the two undoubtedly knew what they wanted from the album and its inherent diversity. The opening song is a tribute to his father, a song that begins to emerge from a swirl of ambient sound to reveal a tale of a person who was ‘just a man’ with simple aims who was a good Christian man who did what was necessary to have his family grow within set parameters. Just A Man uses some striking fiddle from Jason Carter in a strong instrumental bridge. Turbo is a more straight-up rock with a Hammond B3 featuring prominently on a tale of life on the road. Cary Ann Hearst adds a striking duet on the pedal steel loaded (from Brett Resnick), The Bullfighter, an album highlight with an “I am the greatest” boast. Another guest, Jason Carter, is featured in the tale of the American way, or at least one of them, that is Guitars, Guns And Pickup Trucks.
End of Empire is more of a solidly built-up piece that grows into something more anthem, one of the more textured soundscapes here. Cottage By The Sea is more laid back, a folky tune with some pedal steel adding to the effective vocal choruses. As well as some more serious messages, there is a sense of humour at play here, too. Perhaps best exemplified by The Swimming Song and East Nashville Cowboy. The former is an upbeat surf twang outing about the joys of learning to swim and the recklessness that might ensue doing so in various locations and using different strokes. With the stand-out line of “this summer I swam in a public place and a reservoir … at the latter I was in formal and at the former I wore my suit.” The latter is the straightest country song about a man who dresses for the occasion of playing a bar. Who will sing you a song or make you the best cappuccino you ever tried. It also features a small bit of yodel and mentions icons Haggard and Jones in the lyrics. It could be taken as a send-up, but I think it’s, while tongue in cheek, a warm tribute and probably a true depiction of a character for many.
Some thirteen people (and one dog) are credited on the cover, which points to the variety that their contributions brought to the multiplicity of sound these eleven tracks have. It, therefore, may be too diverse for some tastes. Still, Timmons has himself (as mentioned above) come from a wide musical background and manages to blend these elements into an enjoyable and assorted mix with many stand-out and memorable tracks that are worthy of returning to.
Stephen Rapid
Hola Texas! The Mexican Standoff Self Release
An EP featuring the voices and musicianship of Hola Texas! has some very Tex-Mex accordion-fuelled up-tempo dance music as its calling card. This all-female band takes such border influences as country ranchero and mariachi to create music with a lot of attitude and authenticity. Produced by Fernanda Ulíbarri, Max Bacca, and Joe Treviño, it has contributions from the legendary Flaco Jimenez, amongst others. One track, El Pantalón Blue Jean, is a spirited female reinterpretation of a 1950s classic by Flaco Jimenez’s father, while Amor Bonito is a tribute to a trailblazing fellow female musician, Lydia Mendoza. So, there is an understanding of a strong heritage here as well as a way to keep the music relevant and real.
Hola Texas! is a four-piece band led by founder Fernanda Ulíbarri, who formed the band some years back and will shortly release this debut of six tracks, all but one in Spanish. The other one, In Heaven There Is No Beer, is an amusing song partly sung in English and Spanish. It tells us that in heaven, there is no beer; that’s why we drink it here! It is performed in a manner appropriate to that good time sentiment.
Truthfully though, other than for a specific segment who find a lot to enjoy in that particular combination of cultural influences, you won’t hear much of this genre of music on the radio (or live) in this part of the world. If, on the other hand, the accordion, with its overall sense of place when played in this distinctive style delivered with energy and attitude, appeals, then Hola Texas! It is going to be worth checking out.
Stephen Rapid