Arthur Alligood 'One Silver Needle' - Newsong

Sometimes when a artist is given the tag folk singer the recorded version of that person's music is a whole lot more. Arthur Alligood is at heart a folk singer, a setter of scenes who doubtless, plays his songs with just voice and guitar on certain occasions but here, for his latest album, his music is often at the centre of a full band session. Though there are some songs like Right Time Rain and Coming For The Heart Of Me which are stripped to essentially voice and guitar and you hear the clarity of his voice and lyric - both of which have an inherent strength. On Ochlockonee his words paint a portrait of a past and of a place "Daddy had that old, brown picture of an old riverboat. He said it was just the kind his Daddy's Daddy rode". His words have a poetic quality and his voice has a restrained passion that suits the songs well. The band has some notable names involved which include the ace rhythm section of drummer Jim Keltner and bassist Leland Sklar, as well as guitarist Michael Ward. Production is from Mikal Blue and he understands how to give these songs the setting that shows them off to best advantage. From the opening uptempo robust Shouldn't Be That Hard through the twangier We Had A Mind To Run about the sense of escapism that many teenagers feel at a young age of restlessness. The title song has a gentle questioning that asks "You got all that golden thread and one silver needle. Think you might mend all my tears?". There is a hopefulness in the wish of the song to change Darkness To Light that again has a nicely building tension over its drum pattern. The swirling organ that overlays another strong repeated drum pattern gives a tension to Go On Back that draws the listener in. It features some strident guitar behind Alligood's emphatic vocal. All in all a well-crafted, roots-orientated album that should have a wide ranging appeal for this Nashville based artist who continues to prefect his musical progression and understanding of the nature of his work.

Matt Keating 'Wrong Way Home' - Sojourn

With a previous nine albums to his credit Matt Keating has a pretty good idea of what his is aiming for with Wrong Way Home. That seems to be a blend of some subtle pop sensibility in terms of melody mixed with a little alternative root and branch exploration that sees brass, accordion, lap steel and strings all given space in a sixteen song set. Keating co-produced the album with Jason Mercer and they appear to enjoy the freedom that had in the studio. From the brass underpinned Too Good To  Lose, to the country tinged Maybe He'll Meet You. Like fellow singer/songwriter Neal Casal Keating has a number of different cards in his hand that can be laid on the table for a winning hand. The title track has a roots feel blended with a more uptown pop feel that makes its appeal  more crossover. Keating is a solid writer who makes his words count as in the restless relationships of Here And Then Your Gone. Baby's Mind has a piano based jazzy feel that emphasizes the somewhat eclectic nature of the songs and also does the same for Keatings versatile vocal delivery. 1913 Coney Island has a historical context that is also subtly hinted at in the music. There is no doubt that Matt Keating has his act together and that his songs are the product of a progressive musical mind that wants to explore the possibilities it creates without making explicitly progressive music. Keating's music is never far from a melody without ever being overtly "pop music". He is an example of the type of musician who may never experience mass success (but may only be one song away from that if the right circumstances arose) but who will continue to follow his muse and his heart to create albums that he is proud of. There is a theme on some of the songs that mention the attraction of lights, carousels and company (Maker of Carousels, Jersey Sky). There's also the  bright acoustic-led sunshine songs like Sound Of Summer Days against the darker sentiments of the folkish Factory Floor. All in all an album to get to know at your leisure and to explore some of it's 16 track delights, there's enough here to at least appeal in parts if not all.

The Agnostic Phibes Rhythm & Blood Conspiracy 'Campfire Tales' - Shoutin' Abner Pim

With a band name like that you don't expect some soft-focused folk picking. No, these self-written folk tales are written in a deeper, darker part of the woods. This Canadian quartet includes punk singer Jackson Phibes (Tom Bagley) from garage punk legends Forbidden Dimension which goes part of the way to explain the ragged electrified nature of this, the bands, fourth album. Previous albums are described as pre-war acoustic blues and banjo workouts. Not so Campfire tales. Here Phibes joins Bob Keelaghan, Vladimir Sobolewski and Jay Woolley on a range of instruments that deliver their punkified, roots blend of blues, country, psychobilly and mountain music. Keelaghan and Phibes take the lead vocals on a set of spikey, howling songs that tell of such nocturnal pastimes that are the essence of Campfire Tales. They ask Who Fears The Devil?, tell of Wolfman Franz, they hear Voices and ask who us Butcher, Maker, Undertaker and listen for the Blind Ghost Moan. These are songs that surely Roky Erickson would understand and applaud. Maybe not for the faint hearted or the traditionalist but those who have come to roots music through the storms of punk rock will understand this rough shod spookiness and applaud the underlying skill with which it is being delivered. Crossroads blues, midnight murder ballads and ferocious folk fables that breath life into songs styles that have been left for dead but have now been given a jolt of electricity that brings them back to a new life. Dancing along a new path that leads from hillbilly hideaways to raucous nights in local hostelries. These campfire tales will warm the hearts of many but, be warned, this is not easy listening but is an easy listen for those who understand.

Sean Taylor & Brendan McCarthy 'The Baltimore Sessions' - Self Release

The Baltimore Sessions is exactly what it says on the label, an album of 11 tracks fine tuned in 18 months of Sunday sessions in Jacob's Bar in Baltimore West Cork. It's a hard one to categorise as it's neither a Trad or Roots Americana package. Instead it brings me back in fond memories to the thriving folk club days in Dublin in the 60's and 70's when the current heroes of Irish Folk and singer somgwriters honed their performing skills on the willing ears of many a late night audience. 

Sean and Brendan have pulled in all their regular session buddies and added the extra talents of one of my favourite visiting bands "The Foghorn Trio" to bring us their own particular read on some fine Americana tunes. I found the lack of sleeve notes a bit of a problem as I had to dig into the memory bank for writer and background details. The album opens with 1952 Vincent Black Lightning culled from either Richard Thompson or Del McCoury and sets the trend for the rest of the set. In a similar vein you'll find Midnight Special, Poncho and Lefty and Evangeline. All folk club favourites over the years. The rest of the CD is made up of some fine instrumentals showcasing all the musicians' obvious trad backgrounds. I would have liked a little bit of frailed or 3 finger banjo on some of the tunes as the flatpicked banjo style held some of the tunes in a very Irish mode but this is the way of the Irish Pub session and in a live performance the enthusiasm on athmosphere takes over. All in all this is a perfect memory of what is obviously a very popular regular session and should be viewd as that. The musical skills are there with some excellent Guitar, Fiddle, Box and Banjo breaks to kep the listener happy and to provide a great rememberence of the sessions or to entice a new potential audience.

It finishes with a rousing version of Steve Earle's Dixieland and left me wishing for a pint in my hand, a seat in the corner of Jacob's Bar and my trusty Martin D-35 nearby ready to jump in whenever a gap in "The Baltimore Sessions" allowed.

The Mandolas 'My Greatest Day' - Self Release

This 5 song EP is a pleasnat surprise in a time when I get quite a few unsolicited self releases dropping thru the Lonesome Highway mailbox. From the classy cover artwork to the excellently produced vocal and instrumental tracks this is a credit to four lads who are best described in this little snippet from the websitewww.themandolas.com. “The Mandolas are a 4-piece folk/pop group based in Cork, Ireland. The band make use of a wide range of acoustic instruments (mandolin, mandola, acoustic guitar, bouzuki, banjo and viola) as well as incorporating lavish 4-part harmonies into their music. The Mandolas perform original material and combine Irish and English folk traditions with a unique blend of contemporary pop. 

The group consists of Michael Grace (Kilkenny), Colm Hayes (Cork), and brothers Paddy & Dorian Kelly (West Cork/ originally hailing from Yorkshire). Drawing inspiration from the likes of Planxty, The Beatles, The Beach Boys, and Fleet Foxes, The Mandolas unique folk stylings combine a wide array of musical influences to create a fresh, warm sound. 

Again as on other self releases I found the lack of sleeve notes to be a hinderence in checking the background to the band. But the time spent hitting the website was aided by a good listen to a mixture of really tight vocal harmonies and some fine acoustic stringed playing. The band name obviously is derived from the mandolin or mandola skills of three of the four group members. And these skills are demonstrated on all of the tracks in a style that would have Donal Lunny or Andy Irvine or even Johnny Moynihan reminising joyfully on their own debut releases

It’s hard to pick a favourite track as I want to let this one travel in the car with me for a little longer to really soak in the unexpected professionalism on this CD. Suffice to say that very listenable Beatlesque harmonies mixed with the fine songwriting and instrumental talents makes this a very welcome adition to my playlist and will be sure of some regular airplay on my Lonesome Highway radio shows.

Rafe and Clelia Steffanini 'Lady On THe Green' Old Willow Tree

Getting this album set me on a quest to find out a bit more about a name that I have seen continuously since I first became interested in Bluegrass and Old Time Americana but had not really followed up on. Rafe Steffanini is a Philadlephia based, Italian national, and multi-instrumentalist whose skills on fiddle, banjo, mandolin etc etc are most often to be heard in the company of such high end acoustic idols as Bruce Molsky or Dirk Powell. On this fine collection he is accompanied by his daughter Clelia on fiddle, guitar and vocals.Throw in Nikki Lee on Guitar, Carl Jones on mandolin and Eric Frey on bass and vocals and you are on your way to a 13 track trip to another stage of your Old Timey history education. The liner notes on this one are just about right to inform while listening to some of the best instrumental music I have heard recently.

There is no chance to get bored on a full listen to the whole CD as the stlyes vary from track to track. The instrumentals feature some exquisite twin fiddle and stunningly clear old time banjo playing, while the guitar in simple Carter Family feel is just perfect in "I Never Will Marry".  Father and daughter feature some fine family harmony on "Blues Stay From Me" and "The Cowboy Trail" is yet another gem.

The title tune "Lady On The Green" has been haunting me since I heard it and I'm still trying to find out the original celtic name that I may have heard it played as at some time in the past. Emails of assistance would be appreciated on this one. The only problem I have with this CD is that I'm now going to have to set out and collect some more of the music of this excellent Old Time musician who once again shows that Europe can still give as good as it gets when it comes to Old Time or Bluegrass music. In the company of Beppe Gambetta or Red Wine, or The Kruger Brotherts, Rafe Steffanini does us proud.

The whole package is produced in longtime Lonesome Highway favourite, Joel Savoy's studio in Eunice, Louisianna which was the home of Rafe's previous CD "Never Seen The Like" This is a project that will sit well in your collection for regular visits when you need just a bit of grit and authenticity in your musical diet.

Random Canyon Growlers 'Dickey Ain't Got all Day' - Hen House.

This band's name suggests that you should know them of old but in fact they were new to me before I jumped headlong into this wild collection of Ozark flavoured tunes played by a band whose instrumental skills where obviously fine tuned by 25 hour days spent woodshedding or jamming together. Don't be fooled by the schoolboyish cover artwork, this is a very professional project produced by Ben Winship whose Fishing Music CD has had me entertained for quite a few years now. 

Most tracks are written or co-written by the guitar and banjo duo of band members Jamie Drysdale and David McMeekin. They are original while showing a love of the genre that makes them seem as comfortable as a well worn pair of old cowboy boots. There are a few surprises in the shape of songs from the Louvin Brothers "Dark As The Night" or "Travelling Kind" from The Country Gentlemen. But the ace in the hole for me was Don Robertson's "Born To Be With You" which I have so many versions of in my collection that this one brings a whole new and fresh approach to such a much loved classic.

I say again that the musical and instrumental skills of this band are way superiour to most of the young blades that have wild noisy old time bands on todays circuit. These lads have put an album together that will stand the test of time and I'll be looking forward to hearing more from them as the years roll in.

As good as they sound on CD I'm sure that a live performance is the right place to see these young guys in action. They are pushing the Old Timey envelope just as far as it will go and the tasters of edgy rock and bluesy vocals show signs of lots more to come from them in the future.

Coyote Grace 'Now Take Flight' - Mile After Mile

The first thing you notice on this most recent of five albums from Coyote Grace is the traditional instruments of a bluegrass band work at a different tempo and styling than we might expect from even the most adventurous of todays grassy bands. So Bluegrass it ain't nor is it folk but instead it's a jazz tinged acoustic set of originals written mostly by Joe Stevens and Ingrid Elizabeth with one from the other third Michael Connolly and a killer version of Springsteen's "I'm On Fire" to complete the mix.

To identify a group that I had never heard of, before getting this little beauty in the post I have nicked a few lines from their website bio. The first thing you notice on this most recent of five albums from Coyote Grace is the traditional instruments of a bluegrass band work at a different tempo and styling than we might expect from even the most adventurous of todays grassy bands. So Bluegrass it ain't nor is it folk but instead it's a jazz tinged acoustic set of originals written mostly by Joe Stevens and Ingrid Elizabeth with one from the other third Michael Connolly and a killer version of Springsteen's "I'm On Fire" to complete the mix.

Armed with a bevy of acoustic instruments from guitar and upright bass to banjo, mandolin, fiddle, and accordion, Coyote Grace’s Joe Stevens, Ingrid Elizabeth and Michael Connolly fill theater, club, and festival stages with a wash of sound seemingly far too expansive for three musicians, mixing bluegrass and blues, soul and Southern twang into a unique sound that hovers just beyond the edge of ‘familiar.

This is obviously a musical democracy with all sharing the vast array of instruments and vocal duties. Ingrid seems to handle percussion and Michael pitches in with hammond on a few tracks but neither of these overpower the mostly lead vocals or the tasteful harmonies and classy instrumentation. The longest track at 5.21 is powerful bass driven and vocal piece that showcases the talents of Ingrid on both. This is followed by the album finisher and title track a very strong and eminently listenable mainly mandolin insrumental that draws you in and insists that you return to track 1 and start the process all over again. 

I can't calssify or categorise this album and nor would I want to. It's a little island of quality modern acoustic music in a sea of mindless pop drivel that we are forced to listen to on mainstream radio these days. These are real musicians who haven't sold out, bringing us a collection their own originals in a style that suits them and is a pleasure to listen to.
I think a visit to their back catalogue is now required to try to see where this very very enjoyable project gets its history and I'll also have to visit my Girlyman CD to hear again what Ingrid Elizabeth does on her breaks from Coyote Grace.

Josh Turner 'Punching Bag' - Humphead/MCA

Not quite the traditional country knockout that the ring-entering introduction suggests, this latest offering from the baritone-voiced Turner has, none-the-less some good tracks with the country instrumentation more to the fore than is often the case these days. Turner makes his religious beliefs fairly apparent not only in his written introduction but also in the choice of songs. His solo written For The Love Of God and the outside song I Was There both are testaments to his faith, largely as statements of his convictions rather than taking some stance of the moral high ground. Gospel and Christian faith have long been a staple of country music/bluegrass repertoires. Fellow Christian Ricky Skaggs joins Turner on mandolin, banjo and harmony vocals for the aforementioned For The Love Of God, a songs with acoustic instrumentation but using drums to give it some added momentum. The opening much of the title track, a co-write between Turner and Pat McLaughlin, is written from the stance of the male taking the hits from his female partner and features the assembled players giving the song some weight. Find Me A Baby is a paen to family that subtly using the voices of his family in the chorus mix. Perhaps the stand-out here is another Josh Turner song Pallbearer which is graced by Iris DeMents harmony vocal which works and contrasts well with Turners lead vocal. Marty Stuart also adds his skill as mandolin players on the track. It is one song that has a darker tone that likens the role of pallbearer to that of man bereft of his girlfriend. It sounds great and more of this would make a great album though one that will unlikely find a place at radio. There is a deluxe edition of the album that features five additional live tracks including the title song and some tracks from previous albums including one of his undoubted highlights. Again it is a song that digs a little deeper, Long Black Train sounds as good in this version as it did in the studio. Josh Turner has the voice, the songs and the belief to further the cause of traditional country and it would be great to her him make an album that didn't have to consider what radio programmers might think fits their restricted formats. An album produced by Marty Stuart and with his Superlatives would be something special. In the meantime this will please his fans and those looking for something that still feels like country music as it was. 

Susan Cattaneo 'Little Big Sky' - Jersey Girl

As is becoming more common these days artists are releasing mini-albums/eps. These means you can maybe put out a couple of release in the period you might only release a single album. This gives you more opportunity to get reviews and to have something new to sell at gigs. With two previous albums under her belt this big voiced singer and writer. It credits Lorne Entress as executive producer and Jan Stolpe with production and engineering. They have gathered some top class players together that included Glen Duncan on fiddle and Tommy White on pedal steel which gives the music some country edge on a sound that is very contemporary and polished. The central focus is Cattaneo's voice which fills the songs with an authoritative presence. The songs as you might expect deal with the foibles of the human heart (A Place Called Love, Better Day the toughened, uptempo rockin' rootsy Spare Parts) and the self-explanatory Let The Music Deliver Me and the search for balance and place in Little Big Sky. Pennies On The Rail reminisces about growing up. The seven songs here are full of hooks, fine performances and not a little passion. Something that will have across the board appeal to those who like their Americana with some confidence, balls and intent. Little Big Sky is wide open for open minds and hearts.

Craig Elkins 'I Love You' - Self-Release

The Huffamoose singer steps out with his solo album and if one is to judge from the first track to greet you it may seem that Elkins is in a somewhat less that fruitful frame of mind as Offin' Myself might suggest. The rest of the album is delivered in a slightly fragile voice that is world weary but honest and self-depreciating. That honesty extends itself from the opening song through the self examination of I Can't Stop Being A Dick or I Wanted To, But I Didn't. Elkins tells a truth about himself that not everyone may want to know, but he does it with elan and a fine set of backing musicians who take his ponderings seriously. Dave Immergluck plays guitar and mandolin, Pete Thomas plays drums and these are but two of 12 musicians involved on this Elkins, Mark Fox co-produced singer/songwriter album. I Love You is the sort of album that will find some echoing the title's sentiment but others may take a different view to it's quirky honesty, restrained rootish rock-sound and memorable songs. Songs that have a subtle addictive quality if you allow them into your head. Craig Elkins is individualistic enough to stand out and get some attention. Indeed the jaunty rhythm of Tumbleweeds wouldn't sound amiss on the more selective radio shows that allow the more creative music some exposure. The album closes with Human Drag, a song with a sound that is not unlike a first cousin to some of Todd Snider's off-the-wall examinations of the foibles of human nature and those who are in tune with Snider's sometimes stoner reasonings may find much to also like with I Love You.

Jason Heath and The Greedy Souls 'Packed For Exile' - Still Small

California Wine opens the album with a sunny, good time disposit ion that, even through some of the songs that deal with the darker ends of the street, never gets overly oppressive. Something that pervades this album blend of Americana, blue collar rock and nuanced folk tales. The accordion is central to many of the songs here giving them a border, folkish lean but the five piece band are joined by a rake of guests who add some additional flavours. Co-produced by Shadwrak, Mike Fennel and the band, it flows smoothly through its 14 tracks and hour plus running time with a hint of Springsteen's concerns for the plight and lives of the working class and the common man and woman fighting corporate greed and corruption. There is a further link in that Jason Federici's father the late Danny Federici played with The Boss. But while these guys have similar themes and some similar sounds that will not be confused with the E Street Band. In the main because Heath's lead vocals are different and the band likewise are their own thing. The tackle the slower, bigger songs like A Fighter's Lullaby deal with a certain despair in a positive way, while the more folkish side is apparent in Truth Rag, a post-Pogues puckishness. The seem to be a band striving to stay close to their collective sense of community and soul. They. like others, dream of better times ahead and make their music to help to realize them, even if for some those dreams may only be illusions for those who hear them. As the title suggest the over-riding theme is one of exile, of feeling remote - even in one's hometown. God's Name In Vain is an anti-war song delivered with a passion and a restrained power that makes it a standout. Fans of the toughened street sounds that Springsteen has used as his stock-in-trade through the years would do well to check out these guys latest offering.

Ed Romanoff 'Self-Titled' - Self-Release

If I was to draw a musical map Ed Romanoff would be a point somewhere between Mary Gauthier, Sam Baker and Leonard Cohen. Territory that is about individuality, well-chosen words, emotional soft spoken voices and above all songs that tell stories and have some real resonance. This is Ed Romanoff's debut album and it's special. After several listens it still reveals and rewards and is a welcome musical experience. It, again, highlights that great singers don't always make for great songs. Produced by Crit Harmon, who also did the honours on those early albums of Mary Gauthier. Gauthier is a friend and co-wrote (with Romanoff and Harmon) Breakfast For One On The 5th Of July. Harmon is central to the album's success, producing the album with a crystal clear sound, he also co-wrote the majority of the songs with Romanoff. Then there are the players, all of whom contribute much to the album and they include the very talented guitarist Duke Levine and the seasoned percussion skills of Dave Mattacks. Romanoff's friend Josh Ritter is co-writer of two of songs and he adds background vocals on three numbers. The lovely Tift Merritt appears on two others. Her voice a contrasting with Romanoff's very effectively on Two Yellow Roses and New Year's Prayer in a way the best of Emmylou Harris vocal contributions tend to. Another highlight is the dark retelling of the one cover song, one deep in desperation, that goes way beyond many of the versions of the Hank Cochran/Harlan Howard classic I Fall To Pieces. It also makes very good use of Mary Gauthier's background vocals and subterranean musical setting. There is a heart of darkness to many of Romanoff's songs. For instance Lady Luck delivers a nightmare story of an unexplained disappearance "Around 4 o'clock or so, he went down to the river, and that's all anybody knows". The jazzy touches of I Must Have Done Something Right add to this tale of misadventure, which is well served by the literate musical mannerisms and references. The textures that are added throughout include cello, accordion, synth and brass and all add much to the atmosphere of what could loosely would be called folk/roots Americana. While melancholy abounds this is an uplifting album and undoubtably one of the best that has been my pleasure to hear this year.

Jon LaDeau 'Self-Titled' - Self-Release

Like many artist playing today Jon LaDeau is influenced by a range of styles and amalgamates them to create his version of Americana, foremost though is the blues, closely followed by rock 'n' roll and there's some country in the mix too. The closing track Rollin' Slow best exemplifies the latter with an upbeat rhythm and some tasty guitar from Scott Metzger. The overall colour of the blues is never too far away though. However this is not specifically a hardcore blues album but rather LaDeau's songs strive for something that is is own. The opening song Lucille is a good introduction to how this four piece sound. Jon LaDeau has a voice that is a distinctive enough presence, there are hints of a young Neil Young, to these ears at least, and in some ways that masters eclectic approach may also serve LaDeau well. This Way, a mid-paced rock song, points in that direction and is an immediate stand-out song on this eight track mini-album.The rhythm section of Jon Shaw and Taylor Floreth hold the bottom line down and allow the songs a base to build on. The train rhythm of Grapple propels the song along and allows the guitar to again take centre stage under La Deau voice and the guest backing vocals. The album was recorded by D. James Goodwin in Woodstock and sounds like it was a relaxed session. The dirty blues of the walking-paced Old Brown Dog, is a shaggy instrumental, a tribute to a favoured mutt perhaps? Midnite Sun is another song with a memorable guitar riff and vocal. All of the elements here show that LaDeau is a capable artist trying to get his music out there in front of people and while there's nothing here that hasn't been done before it is being done with a self-belief and genuine drive that makes this release an enjoyable one and the band are likely to be a lot of fun live. It's a starting point from which both the band and their fans can build.

Alan Jackson 'Thirty Miles West' - Humphead/ACR

The good news, and maybe also the bad news for some, is that little has changed with Alan Jackson's move from Arista to EMI and his own ACR imprint. There is none of the experimentation of his Alison Krauss produced album (Like Red On A Rose). Sticking with a formula has never effected George Strait's sales and the continuity will help the his fans to know they're safe in the familiar territory. His longtime producer Keith Stegall is again at the helm of a group of A-list session players who produce a solid county sound. Visually as well there was talk of the trademark 'tache going but it's still very much in evidence on the cover. So business as usual. The thirteen songs are a mix of 6 Jackson solo-written originals with some outside song choices written by Chris Stapleton, Guy Clark, Shawn Camp, Al Anderson and his nephew Adam Wright in various combinations with others or together. The opening song is the wishful Gonna Come Back As A Country Song, a mid-tempo novelty that opens the album with a sense of purpose and fun. That's followed by the wistful break-up song You Go Your Way. A theme that is repeated in others songs like So You Don't Have To Love Me Anymore - the strong vocal from Jackson reminds just how good a country singer he is. Everything But The Wings is a love song, a ballad with strong steel input. Talk Is Cheap is a motivational song about getting on and doing the things that are often just talked about. You get the picture, classic country fare, that is punctuated by diversions like the rockin' Dixie Highway which features Zac Brown and uses a subtle interpolation of Sweet Home Alabama. It features prominent piano and fiddle breaks. A twist on the opening song can be found in the self explanatory Her Life's A Song. The album closes with two strong performances on the twangy, lively Life Keeps Bringin' Me Down, the sound a contrast to the message in the title. The final song, When I Saw You Leaving, is a heart tugging emotion filled song that Jackson wrote in the wake of his wife's battle with cancer that will mean so much to many. A simple and personal reaction to events over which he has little control and on a par, if a more personal and inward looking song, with Where Were You (When The World Stopped Turning). In a world that keeps turning and where country music turns into pop (all too often) it is heartening to have someone who still believes and makes country music in the heart of Music Row.

Todd Fritsch 'Up Here In The Saddle' - Saddle Up

His latest album finds Fritsch kicking things up a notch. He is a more assured vocalist and has found a sympathetic producer in Butch Baker. The sound is indistinguishable from many a mainstream major label release. Which given the quality of the players involved should be no surprise. The surprise is that Fritsch is still likely considered 'too country' for some programmer's tastes. The presence of 5 Dean Dillon co-writes is a pretty good indication of what Fritsch likes. Dillon is a respected writer (and artist) who has written a lot of songs that were recorded by George Strait. But in these times you will find few albums bearing Dillon's credit, something equally true of such writers as Jim Lauderdale or Kostas. These guys know how to write a country song, but other than generic list songs very few are getting cut these days outside of a still thriving indie sector. The best songs here are those that relate to something that Fritsch so obviously loves and that is being in the saddle or riding in a pick-up. In that respect Fritsch is in the mode of the late great Chris LeDoux. As a Texan he is steeped in the twin traditions of country music and countryside. This is mirrored in the theme of songs like Horses He Can't Ride Anymore and Up Here In The Saddle, the latter is, in fact, a duet with Dean Dillon. But that don't mean that this is a retro cowboy album. Far from it, as Fritsch opens with the drum heavy My Kind Of Crowd that should, in truth, fit right in at radio. Hell, there's even a list song, written by Dillon and John Northrup titled clearly enough Top Of My List. The lost-love drinking songs are there too in the likes of That Ain't Gonna Fly. And he can also deliver a ballad like In A Song with ease. In other words Fritsch has made an album that will have a wide appeal. That Fritsch isn't a writer, on this particular album, means that as a singer he has chosen a set of songs that he is comfortable with and therefore believes in and can deliver with confidence. When Fritsch is in the saddle he's having a good time and his fans will pick up on that and will have a good time with this too.