Tony McLoughlin & Marlon Klein Where Is Jack? - Fuego 2634
This duo come together for a release that leans heavily on a roots rock formula to deliver 11 songs of atmospheric moods. Nine of the tracks are co-writes by Klein and McLoughlin and with production by Klein, in addition to playing drums, percussion and keyboards, his influence is very present on this project. On previous releases McLoughlin has used fellow Irish musician Ben Reel on co-production and the change of direction supplied by Marlon Klein brings a new edge to the song arrangements.
There is a moody atmosphere to the tracks Another Poor Rider and Eagle Eye which open the record and bring a rhythm that is both restrained and powerful. Only You comes out of the traps with a real driving beat and Heart of Darkness changes the mood completely with a samba-base to the beat that underpins some atmospheric guitar work.
The closing track Red Light Love has a Spanish cantina influence that is gently delivered against the more robust tracks that precede it. There is an ill-conceived song Bomb-maker which is very poorly timed, given the world pulse of terrorism at present, but that glaring slip apart, this is a solid release with fine performances and an interesting production.
Buford Pope The Poem & the Rose - Unchained
A Swedish artist with 4 previous releases, Buford Pope has delivered this 12 song project with some real style and confidence. His last release, Sticks in the Throat, was a rock oriented collection of songs that contained plenty of guitar heroics and hard edged driving rhythm.
So, it is a surprise to encounter this change of direction that reflects a laid back, Band/early Eagles influenced style of country music. It is a very wise decision, based on the quality of playing and writing on this release, with the combined talents of producer Amir Aly, who also plays an impressive range of instruments, joined by Mats Bengtsson on piano & accordion, Peter Andersson on pedal steel, Filip Runesson on fiddle and Mattias Pederson on drums.
Anna Liljeborg adds great colour on harmony vocals, never more striking than on the excellent My Heart Don’t Lie, that channels Levon Helm and the Band in an eerie-but-good fashion. The production is crisp and clear with the quality of the playing given plenty of room to breathe. The fiddle and pedal steel support the song arrangements beautifully, especially on All I Took Was You.
The music and lyrics are credited entirely to Buford Pope and his vocals, guitar, banjo, dobro and harmonica skills are impressive throughout. This is a fully realised project with not a weak track present. The playing skills of co-producer Amir Aly on acoustic & electric guitars, mandolin, bass, percussion & vocals adds much to the overall feel of the arrangements.
Songs such as At the End of the Week, I Light Up a Candle and If Ties Don’t Bind are particularly striking but it seems churlish to select particular tracks ahead of others. All I can say is go out and buy this collection. My favourite release of 2016 – so far…
California Feetwarmers Silver Seas - Shepheard’s
The California Feetwarmers are Based in Los Angeles, and play a heady mix of Ragtime, early swing and Dixieland Blues. Put yourself in prohibition times with a sharp suit, a fedora and a speakeasy playing the vibrant music of the times and you are right in the essence of this record.
With old classics revisited and material from The Blue Ridge Playboys, Scott Joplin, The Memphis Jugband and Emile Grimshaw’s Rag Pickers, the quality just flows effortlessly. This release was recorded live in Los Angeles at the Kingsize Soundlab and the 13 tracks really bounce out of the speakers with a groove and attitude that is irrestible.
Keb’ Mo’ used these musicians as the backing band for his latest album, Blues Americana. The collaboration won them a Grammy-nomination in the Best American Roots Performance category.
Six of the tracks here are originals with The Breeze That Brought Me Home, Wooden Nickel and Betty Brown standing alongside old standards like Scott Joplin’s Weeping Willow and At the Jazz Band Ball by the Original Dixieland Jazz Band 1917. Old time vaudeville and a heady mix of good time tunes.
Meschiya Lake & the Little Big Horns Bad Kids Club Continental Coast
Joining the Know Nothing Family Zirkus Zideshow and End of the World Circus – a ragtag traveling troupe that blended traditional circus arts with modern sideshow entertainment –gave Meschiya Lake all the tools that she needed for a life in front of the spotlight.
In 2007 she began singing with the Loose Marbles, a traditional jazz outfit on Royal Street, New Orleans before going on to create The Little Big Horns Jazz Band. Lake was recognized as Female Performer of the Year three years running at the Big Easy Awards and the Little Big Horns’ debut CD, Lucky Devil, appeared in 2010, followed by Fooler’s Gold in 2013, before the release of this offering.
If your tastes lie in the area of slightly twisted trad jazz, Prohibition era, New Orleans swing, old time rag, barrelhouse fun, or anything in-between then this is the perfect Saturday Night record for you. Full of the swing and swoon of all great jazz-groove vibrations, this release really kicks ass – tracks like 24 Robbers, Flim Flam Man, and the slow burn of Hey Mary Wanna show the true range of talent on display here, while the sassy delivery of You Ain’t Woman Enough is given the right combination of attitude and defiance.
There are 14 tracks included here and they all bounce around the room with attitude - Highly recommended.
Screamin’ Miss Jackson and the Slap Ya Mama Big Band I Heard the Voice of a Donut - Little Paradise
Based in Bristol, U.K. and sounding like the best of New Orleans ragtime and swing, this 7-piece band has a lot of personality and talent. There are elements of many different influences, from Hokum, Jazz, Hillbilly Country and western Swing. The slap ya mama big band are a colour-box of street sounds across the 12 tracks included on this debut release. Most of the band share vocal duties and with a line-up that includes April Jackson (Washboard & Vocals), Marc Griffiths (Guitar, Banjo & Vocals), Becca Philip (Guitar & Vocals), Mark Legassick (Mandolin & Vocals), Henry Slim (Harmonica & Vocals), Mandrake Fantastico ( Double Bass) and AJ Murdoch (Drums), the arrangements are delivered with much energy and dextrous playing. Their infectious sound is quite compelling and you would never know that the musicians are all based in this current century and located far away from the original influences of this vibrant music.
Tracks like One Daddy, The Whiskey Tastes Too Good, Take Jesus On a Date and Boxcar Date are guaranteed to get anybody up and dancing around their furniture. All songs appear to be original compositions although the sleeve notes don’t confirm this and the co-production between the band and Ben Capp is perfectly pitched to highlight the tight-knit playing and harmony singing. An impressive debut and augers well for a future that will grow in a positive direction.
Jenai Huff Color Wheel - Self Release
If there were a category to place this sublime artist into then it would be Jazz-Folk. The wonderfully crafted 9 songs included here are a real joy and the atmosphere created by the production is one of quiet calm and a confident maturity. This artist released her debut album in 2013 with Translations and her soulful voice, reflective words and subtle song arrangements give her craft an immediacy that cannot be underestimated.
Currently living in New York City she has surrounded herself with a small group of special musicians with Ben Wisch (producer, piano and keyboards), Eugene Ruffolo (acoustic guitar and background vocals), George Naha (electric guitar), Zev Katz(upright and electric bass), Chris Marshak (drums and percussion) and Jonathan Preddice (cello).
A cover version of the Marvin Gaye classic What’s Going On is beautifully delivered and apart from one other cover which is a version of Old Man (Bryan MacLean), the Love classic song from Forever Changes album the effect is that of being in the presence of a skilled, sensitive artist who is in total control of her place in the creative firmament. Think Joni Mitchell and add a little blend of understated, restrained, classy midnight soul. One of the best releases this year.
Cliff Howard Spiritual Town - Self Release
A blend of Americana, blues, and country music feature on this debut album by British singer songwriter Cliff Howard. Originally from London and now living in rural North Wales. Twelve songs written by the artist who also produced the record, the vocal mix is somewhat flat and does not add much colour to these tracks. The playing is brighter and the saxophone on a few songs, Columbus Avenue (David Carmichael) and Spiritual Town (Jamie Baxter) are highlights. This would seem to be the direction that this artist should concentrate upon going forward as his wish to gain a foothold in Country music circles seems to be somewhat difficult. Flood Street Blues has a nice lazy guitar groove running through it and Waiting for the Dream has a Neil Young flavoured tempo but never breaks out into a full-on guitar crescendo. Contemporary music that could do with a sense of direction really.
Tia McGraff Crazy Beautiful - Bandana
Port Dover, Ontario, Canada is the place where we can find the talented Tia McGraff. With 6 releases in her career she has earned respect and a growing fan base. This collection was released in 2015 and is produced by her husband, Tommy Parham, who also plays guitar on all 13 songs here.
Recorded in different locations, Ontario, Austin and Nashville, the continuity does not suffer despite the large number of studio musicians used. The country strum of Mesa Gold is underpinned with some subtle fiddle and mandolin while Nineteen recalls a Bob Seger track with its’ look back at youthful innocence and has a guitar driven arrangement that builds nicely. Long Ride Home sings of lessons learned and displays a reflective maturity ("every dreamer pays a price").
The title track is a challenge to those who do not embrace risk and take chances in life – "a story is waiting to unfold; make yours the greatest ever told". All songs are written by Tia and Tommy Parham and the sweet vocals carry them along to a happy conclusion with the Gospel tinged Leaning on the Everlasting Arms. A fine collection of songs and worth investigating.
The Robert Bobby Duo Folk Art - Self release
Quirky, different and full of inventive song-writing, this release by Robert Bobby is Folk music taken in a new direction and given a fresh coat of paint. Forget the self-emotive songwriter who wears his heart on his sleeve and sings of worthy causes. What we have here is the healthy sense of irony that Robert Bobby brings to the table.
Explaining God’s grand plan in the opening song, Constantly Tweaking, we are given the image of him needing a wife to put things straight in the World. Another song, God Couldn’t Wait speaks of ‘If God is everywhere, then He’s spread too thin’. A sense of humour is never far away and the true meaning of Mason Dixon Line is very naughty indeed.
His expressive voice is given great spotlight with I Wish It Would Rain and My Baby Loves Her Man. With 4 previous releases we are dealing with someone who knows his way around a studio and the ability to cover different musical styles is captured with the blues swing of Blue Chevrolet and the folk strum of Too Much Time. With Mrs Bobby on bass and a small group of other musicians who fill out the songs, this is an interesting release that is suitably different.
Fallon Cush Bee in Your Bonnet - Lightly Toasted
Fallon Cush is the performance vehicle for songwriter Steve Smith, a Sydney musician who has released 2 previous albums. This release sees Glen Hannah (guitars), Scott Aplin (keyboards) and Josh Schuberth (bass, drums) joining Smith and producer Chris Vallejo for 10 songs that are full of great melody and pop driven arrangements.
Think Tom Petty crossed with Crowded House and you get some idea of the groove and rhythm that plays out here. With backing vocals supplied by Suzy Goodwin and Stephanie Grace, the tracks really bounce along and the impressive Kings Ransom is followed by Useless Friend with some fine swirling keyboards and sweet guitar breaks.
A rich production sound dominates throughout, perfectly illustrated by the sassy sparkle of Dorothy, all jangling guitars and warm keyboards. The dynamic of the title track with its’ slow beat and melancholy vocal is a highlight and the concluding song Biggest Show is a reflective look at a lost relationship, complete with swooning background vocals and a sweet melodic arrangement.
Ben Kunder Golden - Self Release
A Canadian singer-songwriter who hails from Toronto and has arrived with this debut release. Co-produced by Kunder and John Dinsmore, the sound is very warm with a mellow atmosphere across the 9 tracks. The musicians on these original songs are all very talented players and compliment the reflective vocals of Kunder with very laid-back and comfortable accompaniment.
Half Moon lifts the pace a little with a good beat and chiming electric guitar while Bags & Barrels highlights the restrained acoustic playing of the ensemble. In singing about relationships it is difficult to separate out from the throng of artists that have already covered such subject matter but songs like Don’t Dance with the distinctive clear vocal tone of Kunder linger long enough to leave an impression of real quality. As debut releases go, the songs here give encouragement for ongoing success.
King of the Tramps Cumplir con ei Diablo - Self Release
King Of The Tramps (KOTT) is a roots-rock group, based in the Midwestern state of Iowa. The band includes Todd Partridge on Guitar and vocals, Justin Snyder on Guitar and Mandolin, Adam Audlehelm on Keyboards and Percussion, Ryan Aum on Drums and Ryan McAlister on Bass and Backing Vocals.
The band has released three albums prior to this and their sound has been described as "Whiskey Gospel" with influences from roots rock to rhythm and blues. They channel the Stones, circa Sticky Fingers era, together with a healthy dose of the Black Crowes, paired up with Lynyrd Skynyrd. The 10 tracks here are played with great belief and energy and the band sound is complimented by additional players on trumpet, saxophone, tambourine and acoustic guitar.
The gospel tinged That’s How It Goes is balanced against the rocking opener, See You On the Other Side. A swipe at Nashville and the less than welcoming music machine is the target of Nashville Line, while the bar-room blues of Airplane Bottles is a rant against authority. James Brown is a tribute to the great man which is played with swagger before the driving beat of Depression takes things in a completely different direction. Old Crow veers close to Country while closer ’89 Cutlass is a slow, 6-minute plus, acoustic blues strum.
An enjoyable listen and worth your attention if you like roots rock with attitude and a little bit of soulful blues added to the mix.
