Amelia Curran 'Spectators' - Six Shooter

This female singer/songwriter hails from the island of St John’s in Newfoundland, Canada and has a number of excellent recordings to her name. Amelia Curran is a very clever songwriter and her use of language points to a mature and realised talent. Her ruminations on life, love and everything in between are sourced from personal experience and observations that place her among a coterie of talented songwriters whose special gifts bring the listener on a rewarding journey.

The ten songs here span a little over thirty minutes and the quality of the writing, together with the players and arrangements, make for a particularly interesting listen.

The opening song Years speaks of the hopes of youth at the turn of the century and the grim realisations that dreams don’t always come true – a call to arms for the disillusioned.

What Will You Be Building is a song that asks what is the measure of a life  and what has been our legacy when it comes to leaving this mortal coil and ‘emptying my pockets at last to my maker’. The Modern Man is along a similar theme and questions our place on the Earth and our sense of entitlement.

The Great Escape deals with the concept of freedom and the prisons, both real and apparent, that we make for ourselves.  Soft Wooden Towers is a song tinged with personal regret and speaks of how everything is a hammer to a sensitive soul and how “I miss you like hunger in a desert of thirst”. 

San Andreas Fault continues the personal and reflective themes of this song set and delves into the darker side of relationships that contrive to break a couple apart. ‘I’ve said sorry all the time’ sings the writer and you feel the pain of her words.

Face on the News is the closing song and deals with our willingness to believe our misconceptions and subjective opinions that turn out to have no basis in any kind of reality. The shock involved in the changing of a perceived view.  ‘Time passes, grows up and trespasses’ just about sums up this journey of life. The sudden fade of the song does leave me wanting a more complete conclusion but this is looking for fault in an impressive work that delivers many riches. 

Lisa Richards 'The Beating of the Sun' - Kimbaroochie

This is the fifth release from an experienced singer/songwriter who has been recording since 1998. The eleven songs are beautifully arranged with strong melody lines and insightful lyrics. What Love Looks is a particularly interesting look at relationships from the view of an outsider who wonders about the look of love. 

The Songs, First Sin and Into Graves, were inspired by a Holocaust novel by writer Jenna Blum, titled “Those Who Save Us”. Both are intimate, mature and thoughtful vignettes, illuminated by sensitive playing. The blend of instruments moves from Cello, Mandolin, Piano and Accordion supported by Upright Bass and assorted guitars, to place the listener on a journey that reveals many hidden delights along the way.

The title track is an arresting insight into a relationship that hints of both compulsion and obsession beyond the superficial surface. Open speaks of “whatever doesn’t kill you makes you grow” and is a well observed song to perhaps a younger, inexperienced person of what life can hold in store.

The song, Before I was a Girl, reminds me of the Dar Williams ‘When I Was a Boy’ classic, but is no less poorer for highlighting all that can be lost in growing up in the world and losing the innocence of youth.

 Save Me is a confessional song to close the CD and hints of a fear of being lost and in need of somebody to save her from the darkness where truth has no sound.

Lisa Richards sings of the person who is “looking for a tragedy to define you” and in listening to these finely crafted songs and words; I think that the tragedy lies in the fact that this artist is not more widely recognised. Lisa recently returned to live in Australia, her country of birth, having lived in America for more than twenty years. I am sure that this has been a personal decision for family reasons and the possibility of her touring in Ireland is somewhat remote. However, Lisa Richards would be a very welcome visitor to these shores. I cannot recommend this release highly enough.   

Matty Powell 'Kiss the City' - Self-Release

This is the full debut release from a singer-songwriter who hails from Saskatoon in Saskatchewan, Canada. Matty Powell was discovered singing in the bars of Toronto and has recorded these thirteen songs with some very experienced and talented musicians from the local music scene. The playing is very laid back and stripped down, with lots of nice vocal harmonies.

The Creek opens the CD with a pleasant lilting melody and is followed by a song to his daughter Freja, which is both touching and thoughtful with some very tasteful guitar playing from Mike Daley.

Any Other Way is a plea for peace and an escape from the rampant greed of the powerful few over the vulnerable “while we take and take, eating from someone else’s plate”.  

Yellowquill is written about a Native Indian Reserve formed by a treaty that was signed in 1876 and is a strong example of the mature song-writing craft that Matty Powell brings to the songs featured here.  Still Love You is a heartfelt communique to a lover who is not quite on the same page as the writer where “every fight had its’ story...”

Toronto features some fine guitar playing from Ron Tomasson and is a song that charts a failed love affair with the city; “doomed from the start with all your bright lights and my big heart”.

On the title track, which closes the CD, there is a lament for a relationship that has not worked out with the song lyric asking that the partner perhaps stay. Again, the song arrangement is full of bright playing with plenty of space.

Matty Powell has lived in Nicaragua as part of his travels and the acoustic campfire feel on many of these songs draws from his experiences on the road.

A striking debut and an enjoyable listen. 

Kevin Breit & the Upper York Mandolin Orchestra 'Field Recording' - Poverty Playlist

Kevin Breit is quite an accomplished session musician with a string of collaborations to his name and a very diverse experience when it comes to musical voyages.  He has played with some top names, including Rosanne Cash, Janis Ian, Norah Jones, KD Lang and Cassandra Wilson.

In addition to releasing three solo recordings, Kevin has played with Harry Manx and a trio called Folkalarm, with whom he released an improvised, instrumental banjo recording.

I also discover that Kevin Breit holds a Juno Award in his native Canada for a CD that covered Neil Young songs with his Toronto residence band, Sister’s Euclid .

Field Recording should not work, as listening to an orchestra of Mandolins, Mandolas and Mandocellos across eleven songs is not everybody’s idea of a compelling experience. Apart from learning about the family of instruments in the mandolin family, thoughts jump to this offbeat concept sounding like something from another planet; but it has a strange hold over the listener and works in the adventurous style that blends the arrangements and melody together.

He can sound like Elvis Costello in his vocal delivery and Nothing About Us is a beautifully arranged song with a heartfelt vocal from Sue Patrick Breit – ‘It’s all about you and all about me, but nothing about us’. There is plenty of variety to choose from in the range of song styles on display, which move from the light strum of There Was a Girl, to the upbeat workout of King Kong Strut.

Johnny Dollar, loosely based on an old radio drama character and Big Bill Broonzy, a song that seeks to explore the love life of the American blues singer/songwriter, are enjoyable songs and the quirky structure of Bring Me Down ends the recording and leaves a sense of wanting just a little more. 

Reviews by Stephen Rapid

DAVID LATTO BAND  & RED MOON JOE Midnight Trains 

There is always a question hanging over a band not from the USA who play Americana. That question is; authenticity. With a host of human jukeboxes playing passable covers of country classics to audiences who only want to hear the same old songs, being original is not an easy task, especially playing a form of music that, although part of its roots are from these Isles, is essentially seen as American.

There have been, of course, some fine examples of UK and Ireland based acts who understand and underscore the fact that good music is universal. My Darling Clementine and Bray Vista are two such examples and there are others. Some recent releases include The David Latto Band  (Self Titled Self-Release). This accomplished five piece band hail from Fife in Scotland  and their songs, bar one, are self-written. That is the litmus test - how good and memorable are the songs? While the standout song is a cover of Wait A Minute written by Herb Pedersen, there are other songs well worthy of attention. There is a reflection and maturity to songs like Song You'll Never Hear or Black Horse. Latto's lilting voice has a warmth and texture that holds the songs together while he and the band feature pedal steel, banjo, dobro, fiddle and mandolin over a solid rhythm section to give the songs some musical depth. 

There may be nothing particularly unusual or different about the music of the David Latto Band other than the fact that it is accomplished, skilful and relaxed. This music flows and doesn't pander to other places and times and is rooted in its own reality. Whether it is a song of a hanging (Plummer's Song) or one that shows the need to let of steam (God, I'm Drinking Tonight). Overall this is an album that holds its own and is just one example of original homegrown roots music you can be happy with. 

Another album of note is Red Moon Joe's Midnight Trains. The band is a vehicle for guitarist Mark Wilkinson, who originally formed the band 1985 and reformed it in 2010, rounding up original members to record this album with Gary Hall at Hall’s Voodoo Rooms studio. The album features 11 songs written by various band members, solo or in combination, but with Wilkinson’s name attached to the majority of them. They capable and seasoned players who feature steel, dobro, mandolin and banjo over the bass, drums and guitar foundation. Wilkinson handles the lead vocals with all of the other members adding vocals so there is no shortage in that department. The music incorporates some touches of  both blues and bluegrass into its rootsy mix, showing that, although this is their first album in 20 years, they understand and are fully at home with the music they play. Again you won't hear anything you haven't heard before but that's not the point. These guys obviously felt they had unfinished business and that they still mean business. 

The harmonica on The Blues heightened the songs sense of loss for a dying town. Listen To Her Songs is about hearing someone play music at night. Midnight Trains is full of atmosphere and without naming specific places suggests another continent and another time. One Day Ahead is acoustic instrumental, Save Me is a vibrant up-tempo rocking rootsy blues. In some ways, the song that sums up their attitude is the closing tribute, a  memory of once rolling Guy Clark a cigarette Those times and hopes and wishes is delivered in the way that the master himself, Guy Clark might do it. It ends the album with a smile and shows that Red Moon Joe have their hearts in the right place and that their music is coming from that place too.

Another album out now,  but one that we haven't received for review is The Rockinbirds:  The Return Of… on Loose. It reunites the band after many years and is another example of homegrown country-influenced music that these currently grizzled gents have been doing since their debut album in 1992 and Whatever Happened to The Rockingbirds in 1995.

Phil Lee 'The Fall and Further Decline of The Mighty King of Love' - Palookaville

The latest album from the mighty Mr. Lee is a cracker. It is once again produced by his friend,  ace guitarist Richard Bennett - a man whose name is not on album credits as much as it should be these days. Phil Lee is a character and his songs also have a quality that makes them special. The songs have his usual mix of humour and pathos and are decidedly rootsy with strong flavours of soul, blues, folk and rock abounding.

I Hated to See You Go,  a co-write with Barry Goldberg,  has a Stax vibe running through it. Songs dealing with death are not easy to write sympathetically and with empathy without sounding false or morbid, but Cold Ground, Lee's song about a departed loved one is realistic, accepting the inevitable, but does so with understanding.  All You Need is a powerful ensemble reading of a song co-written with the late Duane Jarvis, a much missed friend and guitarist. The essence of the lyric is "your faith in love has turned to dust, you simply need someone you can trust"- wise words. Every Time is a train blues that features Lee's distinctive voice and his harmonica over a rhythm that powers the song without overpowering the song, something is often done in music these days. The band here, including Richard Bennett,  is top notch and features Dave Roe, Ken Coomer, George Bradfute, Gunderman and Lee’s friend and sometime touring companion Tom Mason along with some fulsome backing vocals from the Taryn Engle Singers.

There is much here to recommend this as a complete package, from the cover onwards. It is the best album that the much underrated Lee has recorded to date, one of those albums where all the parts fit together seamlessly and it is done with humour, real soul and humanity.  This is real people making real music for all the right reasons and each of the 12 tracks are worthy of repeat plays.  The final bonus track is a live recording of Lee's interchange with an audience. Though it's not always clear what's being said, it illustrates the fun element of a Phil Lee show. All Lee's albums are good but this one tops the lot. Check out philleeone.com for more.

Birds of Chicago 'Self-Titled' - Self-Release

These birds can sure sing and that much is obvious from the opening song.  Birds of Chicago are JT Nero and Allison Russell,  both of whom have released albums previously, Russell as a member of Po'Girl.  Here they bring their voices together on a set of soul-tinged Americana and roots rock. There is a lot going on in the mix, from a robust rhythm section to a wide variety of instruments including keyboards, brass, banjo, guitar and ukulele all adding interesting tones and texture. This is all marshalled into an interesting mix by the Birds themselves with Zach Goheen as producers.

Jeremy Lindsay (aka JT Nero) is the main writer of this strong material,   while Russell also brings a couple of songs to the party. Russell’s Before She Goes is a subtle understated song that shows her unique voice, especially  if you have not encountered it previously. Lindsey's song' Moonglow Tapeworm equally shows his vocal qualities on a song that manages to rhyme’ tapeworm’ and ’sojourn’ on what may be the only paean to a tapeworm you'll ever hear. Russell sings her beguiling Sans Souci in French, a song built on a insistent bass riff that is both funky and yet understated. There is a lot going on here that makes this an album to savour; one that has voice and instruments in harmony and homogeneity. 

Lindsay's songs are full of imagery that is revealed when you read the accompanying lyric booklet. This is also strong visual package that again shows that indie releases are often way ahead of their major label contemporaries. But it is the voices that are the focus and point of the Birds of Chicago. Under those voices are layers of music that draw the listened into its warm heart. Catch these Birds when you can. 

Jarrod Dickenson 'The Lonesome Traveler' - Self-Release

Dickenson is a singer/songwriter who has a passion for the blues, yet one who has taken a broader path on his travels. He listened to writers like Guy Clark and Townes Van Zandt along the way and his focus shifted to storytelling from a solely blues base. Jarrod Dickenson has written all of the songs and recorded them with a group of musicians who have helped realise his vision, and his warm voice delivers these tales with a sense of understanding and conviction. 

The songs range from the opening Ain't Waiting Any Longer, about wanting to get married, to Rosalie (a co-write with Seth Walker), a song of love. That feeling and the search for it and holding on to it are fundamental to many of Dickenson's songs. There is a darker hue to Bravery (A Bottle of Gin) about those who wait for a loved one to return from war. The title song finds a troubadour heading back home after a long time on the road. The final track Seasons Change is dedicated to his grandfather Homer and is perhaps best summed up by assurance of the line "We are not alone" which is delivered here with just voice and a guitar.

Jarrod Dickenson has the songs and a voice to deliver them but what makes this album work on record is the assembled players, headed by multi-instrumentalist and fine player Greg Leisz with cast of other fine players who give these songs depth and texture. It was produced by Ryan Freeland, who has worked with Ray LaMontagne, amongst others. Dickenson has a smoother voice than LaMontagne but has an equal ability to draw the listener in. 

Dickenson is a literate writer who continues to learn his craft from past masters and who brings his mainly uplifting worldview to his songs. The playing is subtle and flexible and totally in keeping with the sentiments of the lyrics and the music. There are elements of folk and country in the music but nothing too obvious and that may be the strength of the album. There is much here to admire without forcing the music in any one particular direction which gives his lonesome traveler’s music a universal appeal.

Sweethearts of the Rodeo 'Restless' - Good Trade

Sweethearts of the Rodeo (sisters Kristin Arnold and Janis Oliver) have come back from raising kids (Arnold) and personal hassles and a bad case of writer’s block (Oliver) with an absolute gem. Their ‘80s career included Top 10 albums, 9 Top 10 singles , all from their 4 CBS albums. In the ‘90s they switched to Sugar Hill and produced 2 excellent rootsy albums, but nothing, excepting a compilation album in 2000,has been heard from them since 1996.

 Restless almost makes up for the years of silence. The Sweetheart’s sibling harmonies are impeccable, the band are wonderful (Kenny Vaughan and Richard Bennett – guitar, producer Dave Pomeroy  - bass,  Al Perkins – steel & dobro,  Rick Lonow on drums, which are where they belong, folded exactly into the mix)and Kristin Arnold’s voice is, as always, one of the natural wonders of the world.  Even though I’d get out my earlier Sweetheart’s albums and listen I’d really forgot just what a wonderful singer she is, singing rockabilly (Too Little, Too Late) as easily as the insinuating  Restless or the tender Maybe Tonight.

The song choice is excellent as well, with 7 Janis Oliver co-writes, songs by Jessi Alexander, Ashley Monroe, Jon Randall. The only track I haven’t fallen  for is a new version of  the Kingston Trio/Youngblood’s song Let’s Get Together but I didn’t much like it then and it doesn’t appeal to me any more now. And really, I’m only mentioning it because I can’t really find anything else to criticise. This is the way music should be made with care, joy and nuance – and Kristin Arnold’s fabulous voice cradled by her sister Janis’ perfect harmonies. Please ladies – don’t wait this long for the next album, I couldn’t stand it!

Tim O’Brien & Darrell Scott 'We’re Usually a Lot Better than This' - Full Light

Live recordings from 2 benefit concerts in 2005 & 2006 for the Arthur Morgan School in North Carolina where both Tim and Darrell had kids studying. The title comes from Tim’s introduction to Mick Ryan’s Lament and is a misnomer – these guys are both great musicians and writers, natural performers – and the CD is a delight. The songs are well chosen cover versions (Gordon Lightfoot’s Early Morning Rain, Lefty Frizzell’s Mom and Dad’s Waltz and Keith Whitley’s You Don’t Have to Move that Mountain) among others; songs of their own (Darrell Scott’s Long Time Gone, Tim’s  Climbing up a Mountain) and several traditional songs they have arranged.

My favourite is an acapella version of Hank William’s House of Gold, powerful sing of a superb song. This is the next best thing to having been there on the night(s). Darrel Scott’s liner notes are worth quoting: ‘herein lies the folk fire, through instruments, through harmonies, through song that Tim & I have when we get together…we egg each other on towards the edge of crash & burn – hopefully there is more crash than burn here.’ It is all burn and getting scorched has rarely been more enjoyable.

Jackson Delaney 'Self-titled' – Self-Release

Delaney has an amazing voice, as deep as Josh Turner’s, but he sings in a more musical and very country fashion, not unlike Alan Jackson. This 6 track EP is, according to his website, his second release. Although Delaney is referred to as a singer/songwriter he has only co-written one of the songs , the humourous You Make Me Wanna.

The production is by songwriter Gary Hannan (Back When I Knew It All) who also co-writes 4 of the 6 tracks, 3 of them with Eddy Montgomery of Montgomery Gentry. Surprisingly, this doesn’t result in the booming drums and homogenized gloss of most mainstream Nashville music, although I do lament the OTT Strat solos in a couple of the songs. A twangy Telecaster would have suited the sound much better.

The songs themselves are interesting, my favourites being Long Black Cadillac (not the Elvis song, this ones written by Daniel Scott Miller and George McCorkle) which has an irresistible groove after a keyboard wash/acoustic guitar opening, Ugly, Lucky and Me which has a slightly Foster & Lloyd feel with nicely sentimental lyrics and Shotgun Wedding which is straightforward but a nice balance between banjo and full band. Although I just am not in love with that screaming guitar sound lads…

Good EP, good enough so that I want the first one and am looking forward to the next one, hopefully a full length album. Great cover photo as well.

Annabelle Chvostek Ensemble 'Rise' - Borealis

Canadian singer-songwriter Annabelle Chvostek has released a number of fine recordings over the last ten years. You may know her from her association with the Wailin’ Jennies and on this set of songs, Annabelle displays her political and social concerns with tracks like the G20 Song and Do You Think You’re Right (Jesus Camp). We get a Polka influenced rhythm and an acoustic strum reminiscent of Joan Baez at her most indignant.

In between, we are treated to some fine musical arrangements and understated guitar motifs from David Celia, who really fills out the songs and shines throughout this strong set. Cover versions of a Lou Reed song, Some Kinda Love, and Equal Rights by Peter Tosh finish the twelve tracks in a slow groove that leaves the listener wanting to hit the play button again, just to soak up the diverse soundscape on display here.

The track Rise paints a picture of corporate greed, while All Have Some is a rebuke to the taking of Indian lands by a Government, where native people found themselves ‘imprisoned in the land of the free’. Bruce Cockburn turns up on this track for moral support and the themes of injustice and community standing strong, run through many of these songs like a bright light. I am reminded of the great talents of Eliza Gilkyson in the vocal delivery and writing of Annabelle Chvostek; both warm and full of powerful inflection.Songs for the expanding community of socially aware musical brethren.

Lowlands 'Beyond' - Gypsy Child

This is the third release from a band that was formed in Pavia, Italy in 2008. The main influence is UK born, singer – songwriter Edward Abbiati, who penned the ten songs here and who selected Joey Huffman, ex Soul Asylum, to produce and play both Hammond organ and piano throughout. We also get the talents of Mike Brenner (Marah, Magnolia Electric Co.) and Richard Hunter (harmonica virtuoso) together with a terrific rhythm section of top Italian musicians.

The music starts out like a train and rocks through the early tracks with a Mellencamp/ Petty stride and strut. The band displays a tight sound and the mood slows into a more country groove with standout tracks like Ashes and Homeward Bound, showing a softer side to the arrangements.  Fragile Man is another reflective song that looks at life’s challenges and the resolve to face down the demands made in order to persevere. The counterbalance to the driving beat of Hail Hail and Waltz in Time is provided by the soft strum of tracks like Beyond and the celebratory final song Keep on Flowing sums up the mood perfectly with a classic rock line ‘we’re on this boat together darling, you and me’. All aboard then

Rebecca Pronsky 'Only Daughter' - Nine Mile

Rebecca Pronsky hails from Brooklyn, New Jersey and she has three previous releases to her name, the earliest of which dates back to 2003. She writes all of the songs and has her husband, Rich Bennett, to add not only guitar, keyboards & ukulele but also production credits. The one cover version is an interesting choice, Glenn Tipton by Mark Kozelek. It is a dark song whose ambiguity caused many discussions upon its release. Rebecca Pronsky brings innocence to the song arrangement and a new perspective with her airy vocal. Equally on the track The Garden, she sings that these are dark times while laying down a strong beat to the rhythm of uncertainty.

We also have Suzzy Roche and Lucy Wainwright Roche, guesting mother & daughter, singing on the up-tempo beat of Better That Way, reflective lyrics and all. Another is an interesting song that speaks of the passing of idealism for a cause. Having implored everybody to Rise Up against mediocrity with the opening track of this cd, it is as if the protagonist has admitted the defeat of the weary traveller who has lost her thunder and now only aims to please.

The final track brings a jaunty swing to the otherwise serious lyricism of the earlier songs by pleading for a lover to Please Forget Me. The playing displays a light touch throughout with some fine guitar parts by Rich Bennett. This is an engaging release and worthy of your attention.

Rob Heron and the Tea Pad Orchestra 'Money Isn’t Everything' -Self-Release

Well, this is refreshing discovery. Based in Northern England, but sounding every bit like a Cajun band, born of the Bayou and grooving with a New Orleans swing, Rob Heron and the Tea Pad Orchestra combine jazz boogie, barrelhouse piano, mandolin and accordion into a mix that makes this debut CD a compelling listen. We have folksy blues skiffle on Great Fire of Byker and the title track. There are drinking songs and laments about lost love, taxes and debt. There is even a song about the dubious joys of fish.

My favourite song is Hot Bath which jumps out of the speakers with a real ragtime groove; ‘hop right in while I give you a scrub’. Barro Alto shows a different side to the band and stretches their playing into new areas of finesse. The happy stomp of She Don’t Like Fish is pure Django Rinehardt territory with fine guitar parts complimenting the cornet playing.

Top marks for the production which is bright and airy. The eleven songs are perfectly paced and make this CD a really vibrant listen. Highly recommended.

Livewire 'Livin’' - Way Out West

Livewire are a straight down the middle, country rock band. The vocals are right out of the Garth Brooks stable and the song arrangements are melodic, with some fine guitar playing laced through the driving beats. The production is very strong and the ten songs are a pleasant listen overall. 

The band has been around for quite some time but has only released a 6 song EP prior to this, their first CD. Trying to get recognition in an already crowded country music arena is very difficult and I guess that Livewire have paid their dues on the touring circuit in honing their sound.

Songs of love lost, the power of the female form, longing and regret are all tinged with a sense of aimless wishing and a failure to move beyond the past. Breakup songs coupled with the threat of prison in protecting family; reading the good book and whiskey based tales do not stray very far from the country music formula.

‘Our history is history’ and ‘forever turned to never ‘ are clever lines in the track History and this song  stands out, along with the sombre tale of a righteous life lived in What Makes you a Man.

Closing on the rocking Gone, Livewire make a statement that they are here for the battle and looking at the band pictures on the gatefold sleeve, I would not like to disagree and pick a fight with any of them.