Jerry Castle 'Desperate Parade' – Self Release

This singer-songwriter was born in Virginia before moving to Nashville where he has spent most of his adult years in honing the craft of song-writing. This release includes the talents of saxophonist Bobby Keys (Rolling Stones, John Lennon, Elvis Presley, Joe Cocker, Eric Clapton), Audley Freed (Black Crowes, Sheryl Crow, Dixie Chicks, Peter Frampton), and backing vocalist Regina McCrary (Bob Dylan, Bruce Springsteen, Tom Petty, Stevie Wonder) just to name a few.

So, quite a collection of experienced players to give this release some gravitas. The sleeve lists a total of 13 musicians with an additional 7 singers on backing vocals and apparently the recording took 18 months to complete; so money no object then?

 Most songs stay within a country rock feel in the arrangements and although the production cannot be faulted, the sense of this artist trying too hard to write a commercial hit becomes increasingly apparent with Nashville Nights  about as close as this gets.

Calm is a love song that rolls out to an easy beat while the frustration of misconnection is highlighted in Close to You.  Equally we get a memory of looking back to when things were better in So Far From Heaven, the best song in this collection by a distance.

Philip Boone 'A Light & A Line' – Self Release

Originally from Dallas, Texas and now living in Southern California, this singer-songwriter releases his second recording and the twelve tunes here make for a pleasant listen. His voice has a sweet tone and the song arrangements are melodic and easy on the ear.

Beginning with Either Way, the singer displays a self-sufficient attitude to the vagaries of love with the lines ‘either way I’ll be ok; I dust my heart off every day’. Reflective songs that reference good friends such as Margarita, play against up-tempo numbers like Nowhere to be Found. 

Brother channels the recognition in another of a tired traveller on life’s road; ‘if a brother is what you need, a brother is what I’ll be’. The innocence in the sentiment of One Star is well balanced when looking at matters of the heart against the colder message of After Morning, where love on the run is all that matters.

The playing is very restrained and there is simplicity in the arrangements with guitar, banjo, harmonica, piano and organ blending together into a mix of melody that drives the songs along.

The Truth Is, displays a rather cynical message that sneers at the prospect of making a ‘good thing’ stay, with the refrain that ‘the truth is, I don’t even want to know’. Well ok then and good luck on the hard road to happiness.

The CD ends with a reflective instrumental on piano as a coda to Don’t You Know; an appropriate example of all that has gone before; earnest; heart felt and touching in parts.

Emerald Rae 'If Only I Could Fly' – Green Jewel

Hailing from the city of Gloucester, Massachusetts this talented songwriter with the arresting name, arrives on the musical radar with a strong statement of intent. Twelve self- penned songs are played exclusively by Emerald Rae with Fiddle, Guitar, Foot Percussion and a Crwth, an ancient Scottish fiddle, for company.

There is richness in the playing and vocal delivery, which makes for an engaging listen and the Celtic influence in the arrangements, blended with old American folk infusions, results in a surprising debut.

Listening to the title track, If Only I Could Fly, you are transported to another time and place with an engaging, almost Asian influence to the beat. Followed quickly by the standard guitar strum of Sweet Arrest, a sweet melody and interesting lyric, concerning an offer to kill a lover rather than go on fighting. Suddenly you are hooked into the spell of these tunes and find yourself waiting with interest for the next instalment.

The primal sound of the Cruth instrument is very compelling and sets a base line for the more melodious instrumentation which is laid over it. Fire Fly is a perfect example with an instrumental that has me instantly tapping my foot until the build- up leaves no choice but to leave my chair and dance around my table like some dervish. Heady stuff indeed

  Go Dig My Grave is absorbing in its melody and tempo and reminds me of the best Ani Di Franco tunes in the intensity. Summer Time Will Come and Sugar Baby are two traditional songs that are also brought to modern life by the fine playing of this talented artist.

Finishing this song collection with two really strong tracks in the instrumental Moon Dance and the reflective message of The Way That I Am Now; Emerald Rae delivers a very individual and interesting release. What she does next is going to be worth watching but she certainly has set the bar high indeed.

Davy Jay Sparrow and his Western Songbirds "All Nite Long" - Self-Release

That the band playing behind Davy Jay Sparrow has become the Western Songbirds rather than his Well-Know Famous Drovers is an indication that Sparrow moves has become bigger and more rooted in western swing. That his new band is a completely different set of musicians than on his previous album indicates there are musicians out there who want to play this music. They do so with relish with Sparrow upfront in full Bob Wills mode urging his troops on as well as playing great fiddle and guitar. He's leading from the front.

The music was recorded line in a single session which explains the vibrancy of the performances and the live feel that the music has. Although Sparrow has a great feeling for the music of the past these are originals songs apart from the three traditional songs, the most well know of which is My Bucket's Got A Hole In It. There is no doubting that fans of Wayne Hancock will also love this album. The drums, doghouse bass, guitar and steel guitar are given a run for their money by the alto sax, clarinet and slide trombone. Everyone is having a good time here and that spreads out from the speakers and fills the listening space with swinging sounds.

The jazz influenced blend of hillbilly, boogie, swing, ragtime with the occasional yodel is a potent one that feels as authentic as anything today could. Authenticity may be a buzz word but in reality an overused and somewhat abused one. This is music that is inspired by a different era but is a welcome reflection of that earlier time put not stuck in it. It is made relevant to a new audience by the conviction with which it is delivered. 

The next generation of Sparrow's makes an appearance here, as he did on the last album, and suggest that "Railroad" Jack Sparrow may well be carry this music even more into the future. Doubtless some will not appreciate what's on offer here when played against … well almost anyone currently charting on the country charts,  but that doesn't take away from the fact that Davy Jay Sparrow fans will be listening to this music all nite long.

George Ducas "4340" - Loud Ranch

Its been, believe it or not, 17 years since Ducas last released an album. Back then he had two excellent Richard Bennett produced albums on Capitol but since then the landscape has changed considerably. On first glance thinks look promising with Ducas wearing his cowboy hat and a stylish western shirt. But the first track on the album, Cowtown, conforms more to the demands of country radio with a song co-written by Ducas and Jim Beavers (who has written songs with Dierks Bentley). It is the kind of turbo charged country that radio favours with the theme being boys looking for a good time and to "let's go kicking it in Cowtown". The guitar here is right upfront and rocking. This album was co-produced by Ducas and Matt McClure and shows that they are well aware that things have changed a lot since his last releases.

Given that there are still strong country elements at play, even if they take into account current demands. Dan Dugmore plays steel as he did on the previous albums and that instrument is a key component of the sound. The fiddle has all but vanished this time out though. It is a strong sound that features keyboards as a key part of the sound. But Ducas is in great voice and can still handle a country song as on Ain't That Crazy which along with Gimme Back My Honky Tonk are the most traditional sounding songs here and may have many wishing for more of the same. But that's not to take away from the power of the other songs which still sound more country than many of his current contemporaries.

That Ducas had a hand in writing every song here shows that he has kept up his songwriting skills. He co-writes here his friend and mentor Radney Foster on I Need To Love You, a song about the importance of loving a special person. The final song Your Song is also a committed love song while the man in Amnesia is looking to have a selective case of that condition in order to forget about a former partner when he sees her picture or in person. It's one of the best song on the album.

So while it might not quite reach the heights of the Capitol albums it is good to have Ducas back and he's writing well and singing better than ever and pretty much in control of his destiny this time out. Making music that will please many of his old fans while likely to make him some new ones too. Hopefully this album will see him garner some mainstream airplay to make his return all the more worthwhile. 

Rod Picott "Hang Your Hopes On a Crooked Nail" - Welding

A seasoned performer with some fine work under his belt Rod Picott latest album is one that explores the thoughts of a man post-relationship with all the regret and sadness that that entails. Titles like I Might Be Broken Now, Just A Memory, All The Broken Parts are testament to that. The feelings expressed however are more universal and can there be something that others can easily find sympathy with.

The album was produced by R.S. Field who has also brought a wealth of experience to the project placing Picott with a group of players who explore the song's parameters with skill and understanding. Brothers Joe and Mark Pisapia alongside Dave Coleman, harmony vocalist Jennie Okon and producer Field form the backbone of the musicians. They deliver a nuanced and natural sounding Americana mix that uses mandolin, strings, piano, pedal steel and a variety of acoustic and electric guitars over a solid rhythm section that are the bedrock of a strong roots sound. Picott understated but effective vocals and thoughtful words are at the centre of the album's attraction and allure.

Picott along with his friend and occasional co-writer Slaid Cleeves are part of the continuing tradition of singer-songwriters who offer salve to the souls of a range of mature listeners who all face their own dilemmas and look for music that understands. They can find it here. Hang Your Hopes On A Crooked Nails is a line from Dreams that readily sums up the hopes of many and the ability to make the most of what's on offer in life. There is a underlying resilience and an understand of the strength of human spirit that can survive most of the knock backs that life throws at the average person.

But in the end it's the music we're here for and on that score Rod Picott has delivered one of his finest albums to date that shows although the nail may be crooked it still holding firm.

Maurice Tani 77 el Deora "Blue Line"- Western Independent

This Californian singer-songwriter is an entertaining and eclectic musician who can slip from honky-tonk to roots noir with ease. HIs band and guest singers are right there with him well able to assume the position that his mainly original songs require. There are a lot of highlights on offer here from the darker love-lorn despair of the ballad I Think Of You to the bar-room shuffle of When I'm Drinkin' (I Ain't Thinkin') to his late night cover of the Chuck Berry Nadine or his diverting take on the Bacharach/David classic Walk On By.

Tani allows his guests their space here as on New Dress where Pam Brandon takes the lead vocals and shows she has a equally strong vocal presence. As does Jenn Courtney who joins Tani on Three Flights to L.A. The lonely ambience of Red Wine is another slow complementation of sorrow alleviated through the intake of the aforementioned salve with the presence of saxophone highlighting the early hours bar-stool philosophy. The title track is a stripped back short story of street people and one Big Jimmy in particular that again emphasises the strength of Tani's noir writing and versatility of the overall direction of the album. Some have already made comment that this album may be too diverse and thatTani could make a full honky-tonk album that might find favour with one set of listeners but that would only be showing one aspect of his musical talents. 

This twelve track album, well thirteen if you include the bonus take on traditional touchstone Hank Williams' Your Cheatin' Heart, is testament to a talent deserving of wider exposure. Tani is a singer, songwriter, guitarist, producer and graphic designer who knows what he wants. Like many of the writers he admires that have gone before him Tani explores the darker sides of human relationships that are tinged with neon signs and alcohol sodden lies.

Maurice Tani & Mike Anderson "Two Stroke" - Western Independent

During down time with his band Tani and bassist Mike Anderson played a series of gigs as Briggs & Stratton. That directly references the title of this album which is released under their own names. They are joined on several tracks by an additional guest on such diverse instruments as violin, pedal steel and mandolin. The songs are a mix of originals and covers, the best know of which would be Stephen Foster's Hard Times Come again No More and George Harrison's I Need You.

The album further underlines Tani's talent as a singer and guitarist as well as a writer. The themes are as diverse as on the Blue Line album but there is a greater consistency of arrangement as it is essentially just the two or three players in an immediate and intimate setting. There are songs that stand out immediately like Dancing With Devils and others that take a little longer to infiltrate the consciousness. 

You also get to listen to Tani's skill as a wordsmith which is notable, as is his strength as a singer. I had previously encountered Tani as a member of Calamity & Main whose 2003 album Honky Tonk Heaven was more rooted in that sound. Here Tani has a broader appeal as the sound is more acceptable to those who are less inclined towards the sound of the honky tonks and towards the broader folk/singer-songwriter sound that is presented here.

 

However between these two releases you can discern that there is something very tangible in the music of Maurice Tani that can only be applauded whether is is two stroke or of a bigger engine capacity. 

Humphead new releases by Stephen Rapid

George Strait  Love Is Everything / The Cowboy Rides Away  

By now there can be few who listen to country music who don't know what George Strait sounds like. He has stayed pretty much on track since he started. However if you compare the earliest tracks to the later ones on the 3 CD compilation The Cowboy Rides Away you can hear the changes in production techniques and the difference in how instruments are mixed. On Strait’s latest album, Love Is Everythin, g the drums are bigger and the guitars a little bit harder but that doesn't distract from the reason why George Strait still has such a big fan base and continues to make some convincing country music.

His voice is as good as it ever was -  better in fact now. The years of live and studio work have added a little timbre to his tone, yet it is still distinctively Strait. He has stuck to his path and still sells large quantities of records.This suggests that there are still many listeners who are not convinced by the ongoing "modernisation" of country, supposedly for an ever younger audience.

Another change is that Strait is more involved in the recording  process these days. He is writing songs, mostly with his son Bubba. There are a couple here that are written by the two of them with longtime supplier of songs Dean Dillon. I Just Can't Go On Dying Like This is a fine ballad written by Strait solo and it shows a continued confidence in his ability. Another name that might surprise some is that of Keith Gattis, who as well as being a solo artist in his own right, once served as Dwight Yoakam's lead guitarist. One of the standout songs here is Blue Melodies, a song about songwriting with some stellar pedal steel, which was written by Gattis and Wyatt Earp.  Other well know names here include Al Anderson and Chris Stapelton, both artist who now concentrate on writing rather than any other aspects of their careers.

Love is Everything is one of the best of Strait's recent albums, all of which have seemingly re-engaged the singer,  maybe as a reaction to what he's hearing on the radio these days. A fine album with a solid country setting that has lots of fiddle and steel , two instruments which have always been prominent aspects of George Strait's music.

The Cowboy Rides Away is full of solid country performances from the cream of Music Row's writers and players. There are classic hit songs from his back catalogue that include Does Fort Worth Ever Cross Your Mind, Blue Clear Sky, Ocean Front Property, Amarillo By Morning and All My Ex's Live In Texas. But of course with such a strong back catalogue there are songs here that have not appeared on previous best of compilations.

George Strait is such a consistent artist that any such compilation will be full of great songs and singing and The Cowboy Rides Away is no exception but Love Is Everything is proof enough that this cowboy isn't ready to hang up his saddle just yet and with many the old masters no longer around it's good to know that George Strait is as straight and true to his vision as he ever was.

Lee Ann Womack The Definitive Collection 

This is a career overview from Humpead,  who are doing sterling work with their compilations and current releases. Lee Ann Womack originally appeared as a traditional country singer who then crossed over to a more mainstream, pop-orientated series of hits such as I Hope You Dance before reverting back to a more straight country style. Since then she has been moved aside by a set of younger singers which finds her moving on from her stint with MCA in the USA. 

Whatever she sings Womack has a powerful voice with an undeniable twang that is to the fore on songs like I'll Think Of A Reason Later.

Throughout her time at MCA she worked with different producers like Mark Wright, Byron Gallimore and Frank Liddell (who is Womack's husband). Through the different styles she maintained a consistent voice with a recognisable twang and tone gave her a strong country identity. Much of the material she has recorded comes from both left-field talents as well as the Music Row mainstreamers like Chris Stapelton, Leslie Satcher, Buddy and Julie Miller, Rodney Crowell, Bruce Robison, Jamie O'Hara, Gretchen Peters and Hank Cochran. 

The songs here include Never Again, Again,  A Little Past Little Rock,  Ashes By Now,  Lord I Hope The Day Is Good, Does My Ring Burn Your Finger?,  Last Call, I May Hate Myself in the Morning and I'll Never be Free and Mendocino County Line – the last two duets with Willie Nelson. Womack may have lost out to the new names currently riding high in the charts but she will, no doubt, be back. In the meantime this collection sums up a singer who deserves the kudos she received and the lasting work she delivered for MCA.

Bill Anderson The Definitive Collection

Best known as a songwriter and for his relaxed vocal style which was the source of his nom de plume "Whisperin'", Bill Anderson is a stylist who has written songs recorded by performers from Ken Dodd to country singers Connie Smith and George Strait and even Aretha Franklin. This collection has 50 songs that span the late 50s to the late 70s, with songs like Po' Folks, Happiness, Five Little Fingers, Bright Lights and Country Music through to his smooth version of Lionel Ritchie's Three Times A Lady, the final track on this two CD set.

The chronological running order goes from his more traditional sounding songs,  recorded with then A Team players like Pete Drake, Grady Martin and Floyd Cramer,  to the more cosmopolitan pop country of his later songs. Bill remains a writing force today and has written in recent times with current hit makers like Brad Paisley. He remains a man in love with his work and while he may not appeal to everyone, there is plenty here to cement his reputation as a consistent hit maker.  

Steve Earle  The Definitive Collection 1986-1992 

Showing the diverse nature of these collections,  this one brings together Steve Earle's work from his MCA albums. This period produced some of his hardest, twang-filled music,  songs that included Guitar Town, The Devil's Right Hand, Copperhead Road, Someday, Billy Austin, and I Ain't Ever Satisfied; songs that have stood the test of time and ones often still included in his live set.

There are 39 tracks here including live versions of the Rolling Stones' Dead Flowers and Nebraska  which both show his affinity with both blue collar rock and Stones' styled raunch. Most Earle fans will have these songs in their collection,  but if you're coming to Steve Earle from his recent live performance and albums,  this bookends them well.

Earle is an always engaging writer and these songs have relevance and righteousness. They show that Earle had learnt from his contemporaries if not from life. Some of this music comes from a time when he was in thrall to various addictions and it has a rawness that was tempered later by a more acoustic approach after fronting the Dukes, a band who could rock pretty hard when required. 

Steve Earle's career has spanned more than 30 years and he is still focused on what he is saying and playing; still a good old boy getting tough, but one with a fearless heart.

George Strait    Love Is Everything / The Cowboy Rides Away

By now there can be few who listen to country music who don't know what George Strait sounds like. He has stayed pretty much on track since he started. However if you compare the earliest tracks to the later ones on the 3 CD compilation The Cowboy Rides Away you can hear the changes in production techniques and the difference in how instruments are mixed. On Strait’s latest album,  Love Is Everythin, g the drums are bigger and the guitars a little bit harder but that doesn't distract from the reason why George Strait still has such a big fan base and continues to make some convincing country music.

His voice is as good as it ever was -  better in fact now. The years of live and studio work have added a little timbre to his tone, yet it is still distinctively Strait. He has stuck to his path and still sells large quantities of records.This suggests that there are still many listeners who are not convinced by the ongoing "modernisation" of country, supposedly for an ever younger audience.

Another change is that Strait is more involved in the recording  process these days. He is writing songs, mostly with his son Bubba. There are a couple here that are written by the two of them with longtime supplier of songs Dean Dillon. I Just Can't Go On Dying Like This is a fine ballad written by Strait solo and it shows a continued confidence in his ability. Another name that might surprise some is that of Keith Gattis, who as well as being a solo artist in his own right, once served as Dwight Yoakam's lead guitarist. One of the standout songs here is Blue Melodies, a song about songwriting with some stellar pedal steel, which was written by Gattis and Wyatt Earp.  Other well know names here include Al Anderson and Chris Stapelton, both artist who now concentrate on writing rather than any other aspects of their careers.

Love is Everything is one of the best of Strait's recent albums, all of which have seemingly re-engaged the singer,  maybe as a reaction to what he's hearing on the radio these days. A fine album with a solid country setting that has lots of fiddle and steel , two instruments which have always been prominent aspects of George Strait's music.

The Cowboy Rides Away is full of solid country performances from the cream of Music Row's writers and players. There are classic hit songs from his back catalogue that include Does Fort Worth Ever Cross Your Mind, , Blue Clear Sky, Ocean Front Property, Amarillo By Morning and All My Ex's Live In Texas. But of course with such a strong back catalogue there are songs here that have not appeared on previous best of compilations

George Strait is such a consistent artist that any such compilation will be full of great songs and singing and The Cowboy Rides Away is no exception but Love Is Everything is proof enough that this cowboy isn't ready to hang up his saddle just yet and with many the old masters no longer around it's good to know that George Strait is as straight and true to his vision as he ever was.

Lee Ann Womack   The Definitive Collection  

This is a career overview from Humpead, who are doing sterling work with their compilations and current releases. Lee Ann Womack originally appeared as a traditional country singer who then crossed over to a more mainstream, pop-orientated series of hits such as I Hope You Dance before reverting back to a more straight country style. Since then she has been moved aside by a set of younger singers which finds her moving on from her stint with MCA in the USA. 

Whatever she sings Womack has a powerful voice with an undeniable twang that is to the fore on songs like I'll Think Of A Reason Later.

Throughout her time at MCA she worked with different producers like Mark Wright, Byron Gallimore and Frank Liddell (who is Womack's husband). Through the different styles she maintained a consistent voice with a recognisable twang and tone gave her a strong country identity. Much of the material she has recorded comes from both left-field talents as well as the Music Row mainstreamers like Chris Stapelton, Leslie Satcher, Buddy and Julie Miller, Rodney Crowell, Bruce Robison, Jamie O'Hara, Gretchen Peters and Hank Cochran. 

The songs here include Never Again, Again,  A Little Past Little Rock,  Ashes By Now,  Lord I Hope The Day Is Good, Does My Ring Burn Your Finger?,  Last Call, I May Hate Myself in the Morning and I'll Never be Free and Mendocino County Line – the last two duets with Willie Nelson. Womack may have lost out to the new names currently riding high in the charts but she will, no doubt, be back. In the meantime this collection sums up a singer who deserves the kudos she received and the lasting work she delivered for MCA.

Bill Anderson   The Definitive Collection  Humphead

Best known as a songwriter and for his relaxed vocal style which was the source of his nom de plume "Whisperin'", Bill Anderson is a stylist who has written songs recorded by performers from Ken Dodd to country singers Connie Smith and George Strait and even Aretha Franklin. This collection has 50 songs that span the late 50s to the late 70s, with songs like Po' Folks, Happiness, Five Little Fingers, Bright Lights and Country Music through to his smooth version of Lionel Ritchie's Three Times A Lady, the final track on this two CD set.

The chronological running order goes from his more traditional sounding songs,  recorded with then A Team players like Pete Drake, Grady Martin and Floyd Cramer,  to the more cosmopolitan pop country of his later songs. Bill remains a writing force today and has written in recent times with current hit makers like Brad Paisley. He remains a man in love with his work and while he may not appeal to everyone, there is plenty here to cement his reputation as a consistent hit maker. 

Steve Earle  The Definitive Collection 1986-1992    

Showing the diverse nature of these collections,  this one brings together Steve Earle's work from his MCA albums. This period produced some of his hardest, twang-filled music,  songs that included Guitar Town, The Devil's Right Hand, Copperhead Road, Someday, Billy Austin, and I Ain't Ever Satisfied; songs that have stood the test of time and ones often still included in his live set.

There are 39 tracks here including live versions of the Rolling Stones' Dead Flowers and Nebraska  which both show his affinity with both blue collar rock and Stones' styled raunch. Most Earle fans will have these songs in their collection,  but if you're coming to Steve Earle from his recent live performance and albums,  this bookends them well.

Earle is an always engaging writer and these songs have relevance and righteousness. They show that Earle had learnt from his contemporaries if not from life. Some of this music comes from a time when he was in thrall to various addictions and it has a rawness that was tempered later by a more acoustic approach after fronting the Dukes,  a band who  could rock pretty hard when required. 

Steve Earle's career has spanned more than 30 years and he is still focused on what he is saying and playing; still a good old boy getting tough, but one with a fearless heart

By now there can be few who listen to country music who don't know what George Strait sounds like. He has stayed pretty much on track since he started. However if you compare the earliest tracks to the later ones on the 3 CD compilation The Cowboy Rides Away you can hear the changes in production techniques and the difference in how instruments are mixed. On Strait’s latest album,  Love Is Everythin, g the drums are bigger and the guitars a little bit harder but that doesn't distract from the reason why George Strait still has such a big fan base and continues to make some convincing country music.

 

His voice is as good as it ever was -  better in fact now. The years of live and studio work have added a little timbre to his tone, yet it is still distinctively Strait. He has stuck to his path and still sells large quantities of records.This suggests that there are still many listeners who are not convinced by the ongoing "modernisation" of country, supposedly for an ever younger audience.

 

Another change is that Strait is more involved in the recording  process these days. He is writing songs, mostly with his son Bubba. There are a couple here that are written by the two of them with longtime supplier of songs Dean Dillon. I Just Can't Go On Dying Like This is a fine ballad written by Strait solo and it shows a continued confidence in his ability. Another name that might surprise some is that of Keith Gattis, who as well as being a solo artist in his own right, once served as Dwight Yoakam's lead guitarist. One of the standout songs here is Blue Melodies, a song about songwriting with some stellar pedal steel, which was written by Gattis and Wyatt Earp.  Other well know names here include Al Anderson and Chris Stapelton, both artist who now concentrate on writing rather than any other aspects of their careers.

 

Love is Everything is one of the best of Strait's recent albums, all of which have seemingly re-engaged the singer,  maybe as a reaction to what he's hearing on the radio these days. A fine album with a solid country setting that has lots of fiddle and steel , two instruments which have always been prominent aspects of George Strait's music.

 

The Cowboy Rides Away is full of solid country performances from the cream of Music Row's writers and players. There are classic hit songs from his back catalogue that include Does Fort Worth Ever Cross Your Mind, , Blue Clear Sky, Ocean Front Property, Amarillo By Morning and All My Ex's Live In Texas. But of course with such a strong back catalogue there are songs here that have not appeared on previous best of compilations.

 

George Strait is such a consistent artist that any such compilation will be full of great songs and singing and The Cowboy Rides Away is no exception but Love Is Everything is proof enough that this cowboy isn't ready to hang up his saddle just yet and with many the old masters no longer around it's good to know that George Strait is as straight and true to his vision as he ever was.

 

 

 

Lee Ann Womack   The Definitive Collection  Humphead

 

This is a career overview from Humpead,  who are doing sterling work with their compilations and current releases. Lee Ann Womack originally appeared as a traditional country singer who then crossed over to a more mainstream, pop-orientated series of hits such as I Hope You Dance before reverting back to a more straight country style. Since then she has been moved aside by a set of younger singers which finds her moving on from her stint with MCA in the USA. 

Whatever she sings Womack has a powerful voice with an undeniable twang that is to the fore on songs like I'll Think Of A Reason Later.

 

Throughout her time at MCA she worked with different producers like Mark Wright, Byron Gallimore and Frank Liddell (who is Womack's husband). Through the different styles she maintained a consistent voice with a recognisable twang and tone gave her a strong country identity. Much of the material she has recorded comes from both left-field talents as well as the Music Row mainstreamers like Chris Stapelton, Leslie Satcher, Buddy and Julie Miller, Rodney Crowell, Bruce Robison, Jamie O'Hara, Gretchen Peters and Hank Cochran. 

 

The songs here include Never Again, Again,  A Little Past Little Rock,  Ashes By Now,  Lord I Hope The Day Is Good, Does My Ring Burn Your Finger?,  Last Call, I May Hate Myself in the Morning and I'll Never be Free and Mendocino County Line – the last two duets with Willie Nelson. Womack may have lost out to the new names currently riding high in the charts but she will, no doubt, be back. In the meantime this collection sums up a singer who deserves the kudos she received and the lasting work she delivered for MCA.

 

 

 

Bill Anderson   The Definitive Collection  Humphead

 

Best known as a songwriter and for his relaxed vocal style which was the source of his nom de plume "Whisperin'", Bill Anderson is a stylist who has written songs recorded by performers from Ken Dodd to country singers Connie Smith and George Strait and even Aretha Franklin. This collection has 50 songs that span the late 50s to the late 70s, with songs like Po' Folks, Happiness, Five Little Fingers, Bright Lights and Country Music through to his smooth version of Lionel Ritchie's Three Times A Lady, the final track on this two CD set.

The chronological running order goes from his more traditional sounding songs, recorded with then A Team players like Pete Drake, Grady Martin and Floyd Cramer,  to the more cosmopolitan pop country of his later songs. Bill remains a writing force today and has written in recent times with current hit makers like Brad Paisley. He remains a man in love with his work and while he may not appeal to everyone, there is plenty here to cement his reputation as a consistent hit maker. 

Steve Earle  The Definitive Collection 1986-1992   Humphead

Showing the diverse nature of these collections,  this one brings together Steve Earle's work from his MCA albums. This period produced some of his hardest, twang-filled music,  songs that included Guitar Town, The Devil's Right Hand, Copperhead Road, Someday, Billy Austin, and I Ain't Ever Satisfied; songs that have stood the test of time and ones often still included in his live set.

There are 39 tracks here including live versions of the Rolling Stones' Dead Flowers and Nebraska  which both show his affinity with both blue collar rock and Stones' styled raunch. Most Earle fans will have these songs in their collection,  but if you're coming to Steve Earle from his recent live performance and albums,  this bookends them well.

Earle is an always engaging writer and these songs have relevance and righteousness. They show that Earle had learnt from his contemporaries if not from life. Some of this music comes from a time when he was in thrall to various addictions and it has a rawness that was tempered later by a more acoustic approach after fronting the Dukes,  a band who  could rock pretty hard when required. 

Steve Earle's career has spanned more than 30 years and he is still focused on what he is saying and playing;  still a good old boy getting tough,  but one with a fearless heart.

Patrick Sweany 'Close To The Floor' - Nine Mile

More blues than country,  but steadfastly Americana,  Patrick Sweany’s latest album cements his reputation as a hard-boiled song slinger. He occupies that space where there is a level of realism and truth to his delivery of a timeless form although sometimes this becomes an overwrought formula. In much the same way as JD McPhearson has developed a stance with his take on the music that inspired him,  Sweany expands his remit with a series of self-written songs. 

He has been compared to Ry Cooder's depression-era songs, which puts you in the right frame of mind for this set of songs and there's a touch of John Fogerty on occasion too. This mix of hard garage blues, rock 'n' roll and sweaty r 'n' b may go in some different directions. There are both the reflectiveness and effectiveness of songs like the The Island, the murky atmosphere of Every Gun, the grit of It's Spiritual and the hard moan of Every Night, Every Day. These songs have a toughness, but also have their share of romance and that pinch of that other soul that makes songs resonate. The closing, slide guitar led,  Terrible Years is like an updated Hard Times in its pleas to keep the wolf (in whatever form) from the door.  An old story but one with much meaning for these troubled times.

A tight four-piece helps Sweany deliver these sparse sound songs and it is a sound that should cross borders and boundaries. These songs, like all good blues, appeal on a number of levels. Joe V. McMahan's production has the clarity that these tough and tender songs need to breathe. 

Buck Owens 'Honky Tonk Man' & Don Rich 'Sings George Jones' - both Omnivore

Omnivore is a label founded by record industry veterans who specialise in limited editions and reissues. They also release some albums not previously issued for one reason or another. Two such items are these albums. The Buck Owens collection is taken from the songs he recorded  for the Hee Haw TV show, which were recorded at his studio in Bakersfield and included his current band and a Owens guide vocal. That vocal was removed when used in the show band with  Buck singing over the backing track.

However once in the studio Buck Owens never delivered a half-hearted vocal,  so these tracks are up to the standard of anything he released. It was quite a common thing for country artists of the time to play the hit songs of other artists for radio and TV shows,  as well as in concert. Here we have Owens and his band delivering the hits of Johnny Horton, Ray Price, Hank Williams, Webb Price and Waylon Jennings to name but five of the fifteen artists covered in this collection. 

You could spend time individually comparing theses versions against the originals,  but that would seem somewhat churlish as you pretty soon get into the swing of this and it becomes another throughly enjoyable Buck Owens and the Buckaroos album that stands up on its own. They make these songs sound like they were recorded first by the band,  such was the strength of the sound they created together.

An important part of the band as a instrumentalist and harmony vocalist for Owens was Don Rich,  his friend and alter ego. When Rich was killed in a motorcycle accident it took the wind from Buck’s sails to say the least. Sings George Jones was recorded in The Buck Owens studio and features Rich, Jana Jae, Doyle Curtsinger, Jerry Wiggins, Jim Shaw, Jerry Brightman and Buddy Alan Owens. It was intended as Rich's first solo album but for one reason or another was shelved.

As with Buck Owen's album there is the obvious dichotomy of a musician who was not even the lead singer in the band taking on a vocalist who was considered the best in the business by many. That misses the point to a degree; yes Don Rich is not George Jones in the vocal stakes,  but he has a strong enough voice to give these songs their own take. If you ever wondered how these well known songs  - The Race Is On, The Window Up Above, White Lightening or Walk Through This World With Me -  might sound done the Bakersfield way,  well then look no further. 

The ten track album is enhanced by four further recordings of the band with Buck Owens taking the lead vocal on Jones songs recorded again for the Hee Haw show. Two The Race Is On and Too Much Water are common to both singers.

If you, like me, are a Buck Owens/Bakersfield fan then these two albums will be a welcome addition to a collection. If you're a George Jones' fan you may not be able to get past the originals,  but I think that may be your loss. Either way the race is on.

Other recent releases from Omnivore include reissues of essential albums from Townes Van Zandt that include The Late Great Townes Van Zandt that has some of his best know songs such as Pancho & Lefty and If I Needed You. High, Low and In Between , To Live Is To Fly, Mr. Mudd and Mr. Gold. All Townes Van Zandt albums are important and these two are among his best.

The label has also compiled selections of classic country artists like Wanda Jackson The Best Of The Classic Capitol Singles. If you aren't acquainted with this innovative woman's country sides, as opposed her more lauded rockabilly tracks,  then this is a welcome introduction to an iconic artist. There are other important artists here in the series which includes Merle Haggard The Complete '60s Capitol Singles. Again this is a superior collection of some of his most vital recordings including Mama Tried, Silver Wings, Workin' Man Blues, The Bottle Let Me Down and, of course, Okie from Muskogee. There a George Jones set The Complete United Artist Solo Singles that features songs from the period he was produced by Pappy Daily which may be not as well known as his Billy Sherrill produced output, but none-the-less well worth having. By this time Jones was finding his own voice and developing his distinctive style with songs like The Race Is On and She Thinks I Still Care.

A lot of people who consider themselves fans of classic country may well already have these tracks in their collection but these well-packaged and presented sets are still essential albums for newcomers and those who would like these selections on a single disc.

Crowdis Bridge 'The Seasons & the Rhymes' - Self-Release

This traditional bluegrass band hail from Nova Scotia in Canada and this is their debut release. Across eleven songs this trio, with support from a further three guest musicians, play with an enthusiasm and spirit that displays their passion for the music. The region of Nova Scotia is a rich territory for traditional music and there is a high degree of competition among the various bands who are trying to get their music heard.

The CD opens with a fine workout called Edge of Town which has fiddle and mandolin playing off each other in a brightly arranged melody and tempo. The following tracks occupy a similar groove with Little Green Houses skipping along like an old pickup truck along a dirt road. Amy’s Song ends proceedings with a flourish and hints at better days to come.

The vocals of Ellen Furey should feature more as they bring a welcome addition to the songs and the need to move towards a more individual style becomes evident. There is a sense of repeating much of what has been done before in this genre. The tunes do tend to run into each other a little as the arrangements repeat and the sound of mandolin and fiddle high in the mix can become somewhat predictable.

Old Man Markley 'Down Side Up' - Fat Wreck

This is the second full release from a bluegrass band that started out in Los Angeles back in 2007. Gigging live around the local music scene has honed the energetic sound that is part of the trademark of Old Man Markley. Think Mumford & Sons or Flogging Molly and the vocals of Annie De Temple are reminiscent of Kirsty MacColl.

There are thirteen songs here and I cannot help feeling that the set would have gained somewhat from a certain amount of trimming. The playing is earnest and the energy is high but the overall feel is one of repetition with the individual songs drifting by in a mix of banjo, fiddle, guitar and autoharp. The drumming is very prominent in the production and this does not always allow the colour of the other instruments to shine.

Seven musicians do make a wide sound but variety is somewhat lacking on repeated listens. I am sure that in a live setting, the band can really whip up a storm, but on disc the dearth of sufficient originality in the song arrangements is all too evident to these ears.

The Band Perry 'Pioneer' - Republic Nashville

These three siblings have been singing together from an early age and it certainly shows in the tight harmonies that are very evident in many of the twelve songs here. This recording is the second full release from the Perry family, following a string of successful singles over the last four years.

Playing on the same pitch as Taylor Swift they veer close to the edge of Pop music aimed at a teenage fan base, rather than a true country direction. It is a commercial decision to focus on big production hits and a lot of the song content talks to the problems of young romance. The opening song Better Dig Two is a strong arrangement and the closing song End of Time highlights what a fine singer Kimberly is. She can certainly hold a tune and has a decent vocal range but the songs are just a little too lame for me in the lyric department; witness the line ‘We’d walk on grass that’s greener and the dishes would be cleaner’ as just one example of lazy writing. We also get ‘Your daddy is a pistol and you are a son of a gun’ – I rest my case. Points for effort but must try harder…

Joanna Mosca 'Let It All Begin' - Dolce Diva

This six song EP from NYC resident Joanna Mosca is a pleasant listen without challenging the established country music genre to any great degree. There are a number of references to driving and the old cliché of leaving town, or a lover, crop up.

The final track Where Does Love Go is a duet with Lonestar’s Ritchie McDonald and is perhaps the standout performance here. Let It All Begin is also a well- produced number with a nice guitar part and the opening Dream on Savannah is very catchy. However, there is a feeling of having heard it all before under the names of other female artists that have covered similar ground.

Joanna has a pleasant voice and an interesting background in acting. She was under the tutelage of Sir Anthony Hopkins at one point and I am sure that she does not lack stage confidence. However, stronger song content would serve her well on the next release.