Liz Seaver 'Turbulent Bliss' - Self-Release

This County Dublin singer has again chosen the indie path for her second album. That the end result is up to the standard of any major label release is commendable. Seaver funded the recording and release of this folkish-pop album by continual gigging. Something that, no doubt, also helped her hone her craft.

Seaver has written all 12 songs on the album as well as co-producing it with Andy Knightley and playing acoustic guitar and piano. There is a full band on hand for most of the tracks which tends to move it up a notch from the more acoustic folk approach that is often the path of such albums. The playing throughout is strong and supportive. Her vocals are the focal point of the songs and in that department she has a strong and determined voice that, on occasion, has a slight tendency to over-sing certain phrases. She really stands out on the quieter songs like the piano ballads Down In Tears and Little Song or the stripped back voice and guitar of If I Lost It All. She can also handle the uptempo numbers like I Knew and slow build of a song like Exposed.

These are the songs of a person finding their place in the world, someone figuring out relationships and listening to inner voices. Something everyone does, something that a lot of songwriters do but not something everyone can do in a cohesive manner. The songs have a universality that will translate across boundaries but also place her in a tide of similarly-minded independent singer/songwriters struggling to be heard. Seaver can hold her own in that company but at this early stage in her career isn't quite as distinctive as she may need to be to stand out. 

That aside she has produced an album she can be proud of and one that shows a burgeoning talent who will continue to grow and develop her skills. Turbulent Bliss shows confidence and clarity and should bring her an immediate response in the environs that she has and will play over the next few months. She has written some songs that display a growing skill and given the breaks Seaver could easily be a contender. Let's hope she finds more bliss than turbulence.

Review by Stephen Rapid

Cara Luft 'Darlingford' - Blue Case Tunes

This release marks the third recording from Canadian singer songwriter Cara Luft. One of the founding members and creative sources behind the Wailin’ Jennies, Cara has been following her own star since departing in 2004.

The release of her first CD back in year 2000, Tempting the Storm, saw Cara begin to forge the solo career that has taken her folk/roots influences through the release of  The Light Fantastic in 2007, now followed by Darlingford, a collection of 13 engaging  songs that are both a varied and stimulating listening experience.

Despite attempts to  box her off into a particular genre of music, Cara Luft spans a whole range of influences, from traditional banjo tunes to English folk songs, roots based arrangements and  cover versions of songs that have touched this very gifted artist.

We have an impressive line- up of musicians on the recording with 15 separate talents credited on the liner notes, plus a string quartet. The songs were recorded on location in several old churches, living rooms, hotel rooms and studios spanning Canada, England and the USA.

There is always a risk in such a diverse recording that the parts are too spread and take away from a cohesive whole.  Happily this is not the case here and the overall feel is seamless as we are given songs of lost love coupled with the aspiration that only love can save in the end.

A cover  version of Mike Scott’s Bring ‘Em All In is particularly arresting and a superb version of She Moved through the Fair sits easily alongside  My Darling One, a song originally penned as a poem/prayer by Cara’s mother when her daughter was travelling the miles in pursuit of a career in music.

Portland Town is a sad lament of a parent for children lost in in a war and Idaho tells the tale of an Aunt who holds strong right-wing views that sit uneasily with the writer. The production and musicianship is of the highest quality and makes for an entertaining 50 minutes plus.

The redemptive nature of many songs is summed up perfectly in the opening track Only Love Can Save Me with the lines – ‘I’m shedding all the pain inside me, burning fires through the night; Rub the ashes all over my body, take a step into the light’.

Review by Paul McGee

The Kennedys 'Retrospective' - Self-Release

It is entirely appropriate that this fine retrospective collection of sixteen songs should begin its’ journey with the song Half a Million Miles. Not only does it some up the very strong touring ethic displayed over many years by this duo, but it also captures the events surrounding their first meeting and a pilgrimage to the graveside of Buddy Holly.

From this excellent start, Maura and Pete Kennedy work their way through a number of stand- out songs that span their nine studio releases, plus a live recording or two, since the mid 1990’s. Building a loyal and strong following both playing with and supporting country legend Nanci Griffith over the years, The Kennedys display outstanding song-writing sensibilities, coupled with a very melodic approach to the arrangements and production.

Maura is a very talented singer and her sweet delivery sits comfortably alongside the virtuoso playing abilities of husband Pete. Breathe visits the fear that we hold of uncertainty and the way that it can stop us from living our lives to the full – ‘just like being born but you’re wiser this time’.

Matty Groves is a traditional English Folk song that is given a compelling makeover as it spins a tale of jealousy and lust. When I Go is a song that was penned by Dave Carter and colours strong imagery of a life fully lived while the excellent guitar playing of Pete Kennedy serves the tune with some aplomb.

Stand is a live favourite and both life affirming and celebratory in the message. A Bend in the River and Midnight Ghost both set a strong tempo and highlight the fine playing of both Maura and Pete as they swoop and weave around the song dynamics.

It is on the final track, Life is Large, that the full power of this duo is displayed with a live version of their anthem. ‘Be yourself and stand your ground’ sings Maura and you know that she means every word.  Everybody should have a little bit of the Kennedys in their life and I recommend this release together with a trawl back through past recordings.  

Review by Paul Mcgee

Eddie Spaghetti 'The Value of Nothing' - Bloodshot

This is the Supersuckers' singer's fourth solo album and the first one with all the songs written or co-written by Spaghetti. It is also the first to be co-produced with Jesse Dayton, himself a noted artist in his own right. Dayton plays guitars and more with the duo being assisted by the venerable Mickey Raphael, Chris Von Streicher - the current Supersuckers drummer and Alvaro Del Norte on accordion. Anyone familiar with Spaghetti's previous albums will know what to expect with his mix of cow punk and his ingredients of humour and anger fueled by a metal/punk bedrock with a degree of twang and testosterone.

Like Mike Ness of Social Distortion and Mike Herrera's Tumbledown or Nick 13 of Tiger Army Eddie Spaghetti manages to combine his potent mix in a way that is so much more believable that the often embarrassing sub-southern rock that many of the acts emanating can manage to make credible. First off Spaghetti has a distinctive voice, an important assent in any genre. He also doesn't lose sight of the hooks and melodies in his songs. There is a danger that this time the amalgamation might fall between stools but rest assured Eddie Spaghetti arse is firmly rooted on his barstool.

The songs run from the late seventies punk of Fuckin' With My Head to the denouncement People Are Shit and the duet of Dayton and Spaghetti trading lines on the ballad One Man Job or the grounded reality of When I Go, I'm Gone. People Are Shit is given a delightful twist with the Tex-Mex flavours of Del Norte's accordion which belies the somewhat down beat message against the thoroughly uplifting music with Dayton's invasive guitar riff remaining firmly in there memory banks. 

All in all I've enjoyed all Spaghetti's solo albums but this may be his best yet and the partnership of Dayton and Spaghetti brings them to a mutual place where Dayton's countrified roots and Spaghetti's punk roots are perfectly entwined to grow their music. The Value Of Nothing is worth a lot to anyone who was energised by late 90's country where Rockpile and Marty Robbins could be equally powerful influences. This Spaghetti is as unwholesome as it is tasty - and that's a good thing.

Lachlan Bryan 'Shadow Of The Gun' - Core

Former singer with Australian alt. country band The Wildes is releasing Shadow Of The Gun under his own name. He hasn't strayed too far from that path here. It is produced by stalwart of the alternative country scene Rod McCormack and has a full and warm sound. Whistle and Waltz is a duet with Kasey Chambers and those who are familiar with her work wouldn't go amiss in checking this album out. I'd Rather Sing In Churches speaks of the passing of a friend and how the singer would "rather sing in churches" because he's "sick of singing in bars". This is delivered over an uptempo beat and mood. 

Bryan's deep voice is well used on songs like the ballad Lily Of The Fields which has the sombre lyric noting that "lilies love you when you're gone" the mood is enhanced by the guitar and accordion refrains. Many of the songs are painted in darker hues with titles like Secret I'll Take To The Grave, Home of The Blues, The Sweet Or Bitter End which ends the album in a more acoustic mode.

A fan of writers like Guy Clark and Townes van Zandt it shows that that kind of story telling and intriguing back stories are not just limited to Texas or Nashville and that Bryan has an affinity with that body of crafted writing that tends to improve with age and understanding. The songs are infused with life's little ups and downs and occasionally the very deep downs.

The production as expected is excellent and Bryan is joined by vocalist Catherine Britt on 3 songs. The musicians include Bill Chambers, Glen Hannah, Jeff and Rod McCormick all well known names on the Australian roots music scene. The songs are memorable and strong and Bryan has the kind of world weary voice that is entirely suited to the job at hand. Which is being believable and thoughtful. Not a voice of elegance but one that is efficacious.

This is an auspicious debut and marked Lachlan Bryan a name to watch and this an album to savour.

Mando Saenz 'Studebaker' - Carnival

Born in Mexico, raised in Texas and currently residing in Nashville Mando Saenz is therefore not unexpectedly a singer/songwriter in the roots Americana arena. His third album was produced by Mark Nevers in his home Beech House studio and has a powerful and punchy sound. This is Saenz's third album. I had a fondness for his debut Watertown some time back and this latest is more confident and confidential.

The seasoned players who make this sound so good include guitarists Jedd Hughes and Kenny Vaughn and the inclusion of these two is enough to warrant investigation on my part. Veteran Steelie Pete Finney also adds his skill to the sound on occasion. Though Saenz wrote all the songs on his debut he has since began writing collaborations on a number of tracks. Here he writes with Kim Richey, who he had previously written with for his last album. Shelly Colvin and Wade Bowen are among the other writers involved though seven of the 12 songs are solo compositions. 

The album opens with Breakaway Speed a Richey co-write and she joins him on the song's choruses. Things getting a little more stripped back on the opening of Battle Scar before the band kicks in with a twangy riff fuelled song of relationships. They Don't Make 'Em Like You Anymore is a sadder reflection of loss and he is joined again by a female harmony vocal that enhances the songs but who it is uncredited on the preview copy. Pocket Change is the songs from which the album title is extracted "Where's my Studebaker, I'm nobody's pocket change". It motors along like the car of the title and is again bolstered by some fine guitar playing, as is most of the album. Other songs follow a similar path, Nobody is a more stripped back song full of atmosphere and sombre cello. Colorado has a sense of menace while Smiles At The Door closes out the album on a song of the duality that is faced in some relationships with its "tears on the pillow, smiles at the door". Bitter sweet reflections that show a writer capable of understanding and conviction.

The rest of the songs follow on down that rocky roots strewn road and while the meaning of some of the songs may not be immediately clear the sound is captivating. Saenz has an agreeable tenor that slides around the songs and often he's joined by a second voice to good effect. The overall album, soundwise, sits somewhere between the last two albums. Studebaker is a grower and the marks Mando Saenz as a welcome addition to Nashville's non-Music Row writing community. He has delivered an album that will enhance his reputation. 

Barney Bentall 'Flesh & Bone' - True North

The Canadian artist again show himself a fine storyteller with songs like The Ballad of Johnny Hooke. Bentall and band are joined by several guests including fellow artist fiddler Kendal Carson. The sound is full and Bentall's production gives room to the songs to explore a range of interesting arrangements. From the celtic mood of Johnny Hooke to Annabel's more reflective piano centred ballad through the banjo infused direction of High Up On The Mountain. Bentall is well able to use his voice to set the tone for these songs. Many of which allude to old-time or other musical territories but he never lets the music loses sight of his overall sound.

The tale of Four Went To War is again another picture in words that expresses comradeship and the joy of survival with a strong sing along chorus of a tale of Canadian Civil War participants. Say Goodbye To Albert Comfort is a slow ballad of facing up to fate. By way of contrast On Fine Day rocks with another big chorus and it's sense of getting there - a tribute to longevity of relationships. A theme also picked up for Long Lovely Love Affair which closes the album.

Barney Bentall and his band make music that has a wide-ranging appeal that would doubtless find a bigger audience outside of Canada and given the quality of every aspect of this and previous albums deserves to be. But things don't always happen the way they should so his mix of the personal and the pictorial that moves from the pensive to some more heartland rock workouts will find its audience if the effort is made to listen to the songs of this talented rancher and songwriter. We are all made of flesh and bone and can relate to the reasons that these songs exist.

Tim Barry '40 Miler' - Xtra Mile

The fist that forms the central part of the logo graphic on the cover is a pointer to the confrontational element of the music. That element is often directed at the songs subject rather than an outside source, but they're a target too. Driver Pull is about leaving on a train and not particularly caring where exactly. Barry leads a spirited band that features acoustic guitar, violin, bass and percussion as a base and adds banjo, piano, electric guitar, organ and harmonica to the line-up as required.

The songs range from the quieter reflection of Driver Pull to more intense situation of Adele and Hell, wherein he laments to the lady in question her course of action on a number of situations. That one of those situations is pawning his gun for his bail suggests that this is not some neat garden suburban setting. This is borne out by the titles and subjects of such songs as Hobo Lullaby, Banker's Dilemma and Fine Foods Market. This is the attitude of punk transferred to earthy folk rock. 

Tim Barry has a hard-edged, worn and worldly voice that is central to the songs being believable and boisterous, although there are times when the songs are delivered with restraint but always with an understanding of the song central message.

There is a hard underbelly to the stories told. These are people on the edge but being there gives them a comradeship that may be all they are left with. 40 Miler has an energy and ebullience that brings the songs out of any sense of depression that the titles might imply and in that they celebrate the human spirit in a rough shod way that gives them their heart.

Thomas Hine 'Forgive My Future' - Self-Release

This album finds Thomas Hine playing a whole variety of instruments to give his songs the extra touches that sit behind the voice and guitar structures that they were built from. The album was produced by Steven Hine as was the last album Into The Bottomlands. It follows a similar pattern and develops his sound which is pretty much kept in the family with Sadie Hine joining on Conquistadores. Swedish artist I'm A Kingfisher is the only other guest helping out on Ploughman.

Hine songs have a directness that allows them to be interpreted by the listener and in that he brings enough variety to them to never make them sound too samey. Old Troubles has multi-tracked vocals over a simple tin whistle and harmonium led backing that makes it an immediate standout. Bright Shining Mountains is again delivered with the harmonium and harmonised vocals that underscore the sense of place that alludes to something deeper. Overall the music and production work hand in hand to produce what could loosely be described as folk or perhaps folk-pop due to the memorable hooks that are imbedded in the songs.

I don't think Thomas Hine is expecting his music to exactly change the world, rather it is about changing his world by expressing the music that he has inside. He does this well and the album is full of moments that will connect and make you realise that there is more going on than you might initially expect and that Forgive My Future is worth listening to (online, at the very least). He expresses his self doubt and assessment of his place in the two versions of Dance Harder where the overall message is "must try harder". However in this case I think Hine has done just that.

Taylor Swift 'Red' - Big Machine

A country music breakthrough artist at the tender age of sixteen, Taylor Swift has achieved incredible success since arriving in Nashville. As a songwriter, she has been honoured by the Nashville Songwriters Association and the Songwriters Hall of Fame. Swift's other achievements include seven Grammy Awards, eleven American Music Awards, seven Country Music Association Awards and six Academy of Country Music Awards. She has sold over 26 million albums and 75 million digital downloads worldwide.

One cannot argue with such achievements and now, at the age of 24, Taylor Swift is achieving further success with the release of her fourth studio record, Red. She has gradually moved direction into the arena of Pop Music and her commercial instincts to conquer ever more territory, are sharply observed with the inclusion of two songs; Taylor shares vocals with teenage heartthrob Ed Sheeran and also, Gary Lightbody of Snow Patrol who appeals to a slightly older generation, but is certainly in the arena of melodic, stadium rock.

So, now aged 24, Taylor Swift is well established and has more industry experience behind her than most artists see in a lifetime. By pushing her career in a new direction, she is certainly making a brave move, but one that makes good commercial sense. In the years ahead I have no doubt that Taylor Swift will develop her talents even further. Right now she is trying to decide whether she should channel Cher or whether Shania Twain might prove to be a better role model in the long run.

The tracks here are all very polished, if perhaps, a touch over produced. However, her song-writing is strong and she has a hand in all sixteen tracks on display here. Her two recent hits Trouble and We Are Never Getting Back Together are included and the new Princess of Pop will undoubtedly continue to reap the rewards of her prodigious talent.

Grace Potter & the Nocturnals 'The Lion The Beast The Beat' - Hollywood Records

I had the pleasure of seeing Grace Potter play live in Dublin recently and her performance was compelling and inspiring, in both her stage presence and her vocal range. If you are looking for the vocal power of Janis Joplin and the stage confidence of a Melissa Etheridge, then it is probable that Grace Potter would be a regular feature in your CD collection.

This is her fifth release within the last ten years and the collection really kicks into a different gear with the wonderful Stars, a tribute to a lost friend, where her heartfelt vocal sends a shiver down the spine. Followed by the excellent Timekeeper, ‘please won’t you slow it down tonight’; the songs really start to kick into life. Turntable has all the ingredients for a chart hit with a great beat and a lyric that implores you to ‘put your needle in my groove’.

Perhaps the frustration for an artist like Grace Potter lies in the need to reach for commercial recognition, without giving up on her instinct to push her sound into new territory. The production on the CD plays a little safe and between the lines for these ears, especially when I believe that Grace Potter is so much better than the overall impression gained across these eleven tracks.

Great Adult Oriented Rock and the songs certainly run along at a pace. Closing song, The Divide, sounds too much like a Fleetwood Mac workout and the artwork does little to attract a new audience. However, I can’t help thinking that the power of a ballad like One Heart Missing is the true course that this really talented artist should be navigating into her future recording career. Do catch her live if you can, as the real soul of this band is best captured in a room where the essence cannot be distilled or overly polished. 

Anne Marie Almedal 'Memory Lane' - Self-Release

This is the third CD release from Norwegian singer/songwriter, Anne Marie Almedal, an artist with a very special talent. Across twelve intimately crafted songs, her hauntingly beautiful voice teases and gently wraps the listener in a sense of warmth and well-being. The arrangements and production display a lightness of touch at the hands of Nicholas Sillitoe, who also co- wrote ten of the songs and plays a variety of instruments on the recording.

We embark on a journey which takes the listener into a world of sweet sensuality and spectral imagery. The musicianship across the songs is of a very high quality with much sublime playing, including Danny Thompson on double bass and Kjetil Grande on electric guitar. The string arrangements are a real bonus and bring new dimensions to these gentle songs of love and longing, with the sensitive playing of violin, cello and viola intertwining and colouring the music.

 Two cover versions are inspired in their selection and given a freshness in their treatment; John Martyn (May You Never) and David Gates (If). There is a strong folk music influence and the gentle melodies and singing remind me of Sandy Denny and Fairport Convention. Anne Marie Almedal is a very interesting talent and this collection comes highly recommended.

Slaid Cleeves 'Still Fighting The War' - Music Road

You can tell very quickly when listening to a new album that it is something special. Most singer/songwriters to one degree or another have some to say and do the best they can to say it. With some the writing, through experience or insight, takes it to a more lyrical and poetic level. Mark down Slaid Cleeves as one of those. His body of work is testament to his skill as both songwriter and as a distinctive singer. 

Cleeves uses three different producers on this album and it is telling that his focus means that the album comes across as a cohesive whole. If you didn't read the credits it would be difficult to distinguish the different players and producers. Former Highwayman (no, not the famous ones) Scappy Jud Newcomb utilises a tight combo for his songs while Mark Hallman tends to be a one man band bringing in an additional player as required. These two handle the bulk of the production with two tracks further tracks helmed by veteran Lloyd Maines. 

The songs are memorable with many sticking around long after they're played such as the story of a couple facing hard times in Hometown USA. The humorous Texas Love Song with it's clinching line "I Love you more than Texas". The title song considers the hardship faced by returning veterans who leave part of themselves back in the war zones they have physically left. Like life there is humour as well as hostility and acceptance in these songs. Most are written solo, some with co-writers. A couple are written with his friend and equally talented singer/songwriter Rod Picott. Welding Burns has appeared on a Picott album too but as a tribute to a working father it's full of realism and like many of the songs paint a true portrait of the characters who people the songs with their worries and dreams.

God's Own Yodeler is a tribute to the late Don Walser, the man they called "the Pavarotti of the Plains". It also finds Cleeves himself in fine yodelling form. Maines' pedal steel underlines the song's subject devotion to pure country music. Throughout these songs are concise and clear. They bring the words to life in the way that only the best storytellers can. Although there are three producers and there is an overall consistency, as mentioned, it would be wrong to say that each of the producers doesn't bring something different to the mix. But the end result is perhaps the best album that Cleeves has produced to date and he is right up there with his heroes and mine. Still Fighting The War is a frontline album that should cement Cleeves reputation as one of the (really) good guys.

Rackhouse Pilfer 'Back To The Country' - Lake

A six piece, bluegrass acoustic/roots band who have for their first album recorded a set of covers of songs that suits their lively, robust style. They hail from Ireland and have recorded the album in a Lake Studios in Roscommon. These songs sound like they would brew up a storm in a live setting and this album serves as a perfect souvenir for such a setting as well as introducing Rackhouse Pilfer to the world at large.

All six players are accomplished and take turns on the vocal microphone either as lead or backing singers. The main instrumentation is guitar, fiddle, banjo, upright bass and drums. The latter pair giving the songs their drive. The vocals are good and with the band playing skills give the chosen songs a run for their money. The choices are, I would imagine, drawn from the band's inspirations and album collections. They bring the songs through their sound filter with that "hey, I recognise that song" factor. So there's Neil Young's Back To The Country, Ryan Adam's Oh, My Sweet Carolina. Leon Payne's classic Lost Highway, the often covered Long Black Veil as well as Springsteen's Atlantic City to name a few of the ten tracks. All of which fit together well given the band treatment.

They take these songs and give them a uniform approach that will appeal to many and as a first step is an ideal way to get their particular sound and band name across. The way they develop from here is going to be interesting as they will need to look for some lesser know songs as well as developing some original material on which the stamp their own identity on if they want to be taken seriously as more than a glorified covers band, albeit a sassy roots one. 

Be that as it may Rackhouse Pilfer have made an foot-tapping, hoedown honed collection that will stand them well as an introductory step to a wider audience. There is no doubt that they will be a hoot in a live setting and have the ability to take it further but for now let's get back to the country - we're we belong.

Various Artists 'The Beautiful Old' - Doubloon

This collection is sub-titled Marsteller and Rhodes present Turn-Of-The-Century Songs. Both are know for their work with the Fiery Blue, who have released a couple of albums under that name and the later for his work also with his mother Kimmie Rhodes. This is a wonderful album that matches song that were likely hit parade hits in their day. In those days, of course, it was sheet music sales rather than any other form. To people of a certain age many of these songs will be familiar. Home Sweet Home is the earliest song here having being published in 1823 while Beautiful Ohio dates from 1918.

Marsteller and Rhodes, respectively executive producer and music producer have matched these classic songs to a distinctive vocal performance while the music is largely an acoustic bed that could have been present when these songs were first played and is equally appropriate to a contemporary listening audience. The arrangements allow each vocalist complete freedom to sing these songs in a way that shows their individual talent to best advantage. There are also a couple of instrumentals included Garth Hudson plays The Rosary with his customary skill.

However the attraction here will be the array of vocalists that the producers have assembled and matched to the songs. They included Richard Thompson and Christine Collister, Graham Parker, Jimmy LaFave, Eric Bibb, Kim Richey as well as, not unexpectedly, Kimmie Rhodes. However the least expected turn here comes from Dave Davies. The Kinks' guitarist delivers a vulnerable After The Ball that adds a poignancy to the song's sense of heartbreak and regret. 

The assembled players do a great job of bringing the songs to life behind the vocalists. Yet there is a question as to how an audience completely unfamiliar with many of these songs will enjoy them. In truth the context of some of the songs and their language may not be that current but the sentiment is clear and often universal. But that may not be enough to connect them with a wider audience who may not get the chance to hear them, which is a great shame as there is much to enjoy in The Beautiful Old. Performances that will make it an album that once heard will not be easily forgotten. Kudos to all involved for the concept and for the execution.

Ruth Moody 'These Wilder Things' - True North

A member of The Wailin'Jennys Moody now has completed here second solo album and first off you are aware of the clarity and credence of her voice. But Moody is also a fine songwriter and instrumentalist. David Travers-Smith's production is expansive and uses strings as well as a range of instruments including drums to give the songs the settings they need to make them as appealing as they are.

Guests include Mark Knopfler on electric guitar and vocals and Jerry Douglas on dobro. All of which makes for a varied vignette of songs from the cover of Bruce Sprinsteen's Dancing In The Dark, where the footsteps take place in a less spotlit setting than that of the original to the emotional trauma of the title track. In each case Moody delivers a performance that is both as true as it is intuitive. Pockets is a song of journey, friendship and the need for both company and solitude. It builds slowly to a decisive guitar break that underlines the emotion of the songs.

Ruth Moody's music, a mix of folk, bluegrass and more is varied enough to never fall into any easy category yet has a consistency of concept due to her writing and singing. This is enduring music that has long roots but seeks its sunshine too. The celtic sounding Life Is Long has hope even though it is about loss too and reminds us that life is indeed long and that we have to make of it what we can to the best advantage of ourselves and for others.

These Wilder Things has a resonance in Moody's music travels and as a Australian resident in Canada and traveling with her music around the world she is well placed to find meaning from a sense of restlessness. That and finding the time to place down roots and find friendship and love as she says in the song of that name which closes the album that we are all "nothing without love". Amen to that.

I See Hawks In LA 'Mystery Drug' - Blue Rose

Described as psychedelic country rockers this latest offering from the Los Angeles band draws a line in the sand back to the California country scene that pawned Buck Owens, Gram Parsons and Dwight Yoakam and more. However the music here is less rooted in Bakersfield and more in a cosmic consciousness. The key members here are founders Rob Waller, Paul Lacques, Paul Marshall and Shawn Nourse. Paul Lacques again also serves as the album's producer.

These four are joined by six other players including Anthony Lacques on drums for a couple of songs and Rick Shea on pedal steel. The ensemble delivers some warm, country styled songs that are easy going, easy to like and smile along with. There are songs about being on the road in We Could All Be In Laughlin Tonight through to a tale of a marriage tradition that is told in One Drop Human Blood. The western vista is considered on Sky Island while more earthly and mundane actions are outlined in the tell it like it is Stop Driving Like An Asshole. 

The writing is shared by Rob Weller and Paul Lacques with Anthony Lacques, Paul Marshall, Robert Zierenberg and Victoria Jacobs. But the overall band sound is very much apparent throughout with a the three front men sharing vocals with harmonies abounding. They can also rock out when the song requires as they do on My Local Merchants a short sharp song praising the human contact found in the video store, the coffee shop and in buying a burrito. The album closer The River Knows is a seven minute plus tale of the course that the river of life may take when it flows black and slow using the pedal steel as undercurrent beneath the acoustic guitar and vocals.

I See Hawks In LA are a band in it for the long hall and their mix of humour and hope is appreciated by such luminaries as Dave Alvin. As they circle they know how to find the mystery drug and turn us on to its charm and to their appealing music.