Old Buck "Self-Titled' - Tin Halo

Sixteen songs, four musicians; fiddle, clawhammer banjo, guitars, mandolin and string bass combining to deliver enough old time music to stop a train.

Old Buck just keep it pure and simple with vocal harmonies to lose yourself in and playing that honours the memory of a time honoured, stripped down, country influence.

The link with Irish traditional music is always on the edge of this recording with ‘Nancy Ann’; ‘Highlander’s Farewell’; ‘Free State Hornpipe’ & ‘Rocky Road to Dublin’ (obviously) displaying the close connection between the influence of Irish, Scottish and Appalachian music traditions. 

The wonderful ‘False Hearted Lover’s Blues’ with lead vocal from Riley Baugus (Cold Mountain/ Krauss & Plant “Raising Sand”) evokes a time long past but no less vital, in the delivery of love gone bad.

This string-band is comprised of Emily Schaad, Debra Clifford, Sabra Guzmán and Riley Baugus and all musicians display an impressive mastery of their craft. This style of music is rustic and rural with a tint of something long lost in the values that we held as a society. Perhaps it is just purity in the playing or maybe a hint of how things may yet return to; either way the joy of a recording like Old Buck should not be underestimated in its power to deliver a feeling of harmony in the world.

The closing track ‘You Win Again’ by Hank Williams, with Debra and Sabra singing it pure and simple is the perfect statement in closing this fine recording of heartfelt tunes.   

For lovers of swing-band sounds it does not get better than this.

April Verch 'Bright Like Gold' - Slab Town

Twenty tracks, spanning a total playing time of sixty minutes; this is not a recording for the faint-hearted. The songs include a number of traditional airs that are given a contemporary feel by the April Verch Band; bassist and claw hammer banjo player, Cody Walters, guitarist Hayes Griffin and April Verch, who combines both fiddle and step dancing as part of the rhythmic mix.

The band is an energetic, virtuosic, tradition-celebrating trio, joined by various guests, who serve up a heady combo of fiddle, mandolin, dobro, pedal steel, clawhammer banjo, bass, guitars and general good vibes all around.

Produced by Verch, Walters, Griffin, and their engineer Chris Rosser, Bright Like Gold has an old-time Canadian medley made up of ‘Dusty Miller,’ ‘Fiddle Fingers’ and ‘Grizzly Bear.’ These three arrangements bring to mind all that is good in traditional/folk/roots music and point to the close similarities across the oceans between Cajun, Irish, Scottish and Breton music traditions.

The music on display here rewards you with an experience of both the breadth and scope of the playing coupled with past influences. The doo wop of ‘Foolish Heart’ underlined with a jazz feel arrangement is counterbalanced by the stark feel of ‘Raven in the Hemlock’ and the celebratory stomp of ‘Jeff Sturgeon.’

A fine cover of ‘Don’t Come Home A Drinkin’ originally written by Loretta Lynn & Peggy Willis is followed by ‘Six Feet of Earth Makes Us All of One Size’ written by Ola Belle Reed; a salutary reminder of life, however lived.

The closing track ‘Morris & Boris’ is April Verch at her most engaging; all energy to the fore and a swell of fiddle music underpinned by bass accompaniment and traditional vocal, with a coda of parlour sound, stripped back and bowing to the roots of where this all began. Compelling stuff.

Kayleigh Leith 'This Woman' - Amazing

This is an impressive release from a fine country singer. No frills, no over produced fillers; just some fine arrangements, crisp production, excellent songs and all delivered in a strong voice by this talented artist.

Kayleigh Leith was reared in Philadelphia but now lives in Holland. Perhaps you do not need to move to Nashville anymore in order to make it in the country music industry. Establishing a European base may not be such a bad move for an artist who is trying to gain a foothold for her songs and sound.

She is certainly doing something right to be able to boast the heavyweight talents of Rob Crosby as producer and song-writer. Having written songs for many great artists, including Paul Simon, Martina McBride, Brooks & Dunn, Lady Antebellum and Lee Greenwood, he also comes to this project with the experience gained from a number of hit singles in the country charts during the 1990’s. 

‘Feels Like Letting Go’ showcases the fine vocals of Kayleigh with a bluesy delivery of emotive power. She has all the sass of a hard rocking chick but can also shift into a different dimension with her sensitive performance on ‘I Go There’, a reflective memo to the memory of a former lover.

Similarly ‘My Heart Goes Back’ trawls similar territory with some fine performances from a band of session musicians picked from the Nashville music circle, including the talents of Doug Dugmore.

‘Too Much of a Good Thing’ sings of her desire in the lines ‘You Go to my Head Like a Fine Red Wine’ and this perfectly sums up the vibe on this impressive second release from Kayleigh Leith. The great blues feel to ‘Be Here All Night’ and the final, country groove of ‘Bet You!’ leave the impression of an artist on a fast track to the top. Impressive on all counts.

Rusty Belle 'Common Courtesy' - Self-Release

Founded back in 2006, Rusty Belle hail from Massachusetts and comprise of brother/sister combo Matt & Kate Lorenz, plus the talents of Zak Trojano.

The band has released six records to date and display an off-beat, quirky approach to song arrangements with a stripped down approach, augmented by intelligent and restrained playing.

For this release, the band has enlisted the talents of David Goodrich as producer. He has worked with Chris Smither, Peter Mulvey, Jeffrey Foucault and Cold Satellite, to name but a few, and there is a clear, stripped down feel to his interpretation of the 10 songs here.

We have the eclectic, inventive sound of ‘Change my Heart’ with a fuzz guitar tone that would not be out of place on a Fleetwood Mac record, while the arrangements of ‘When We Were Older’  and ‘Anything’ display a more roots oriented, bluesy focus.

From the slow burn, Tom Waits influence, of ‘Devil in your Smile’ to the sweet strum of ‘The Waves’ which conjures up  a Jack Johnson groove; the songs continue to surprise and tease the listener.

The final song ‘Light in the Tunnel’ leaves me wanting to explore a great deal more about the back catalogue of this interesting band of innovative musicians.

Tony McLoughlin 'The Contender' - Wild Eye

Based in Germany, this experienced singer songwriter has been releasing critically acclaimed records since his debut in year 2000.

The 13 songs here are very much based in the tradition of driving rock arangements and reflective ballads with much to recommend the playing and melodies on display.

Tony McLoughlin sings with a strong, lived in, vocal style reminiscent of many old American troubadours who have lived the highs and lows of a life on the road. Kicking off with a very appropriate song ‘The Contender’ with its boxing imagery, this could be just as well sung about the artist himself; ‘The bigger they come, the harder they fall; I’ll be the last man standing, I’ll fight them all’. A driving beat with some fine guitar playing pushes this song forward with a real statement of intent.

Opting for a ballad as the second song loses some of this bright momentum and however excellent ‘I Found a Star’, I can’t help wishing that the song order had served up another rock production to continue the pace.

In all, there are 5 different electric guitar players, across the 13tracks and their respective playing is of a very high standard throughout. It is the guitar histrionics that lift the songs beyond the ordinary and the clear production sound delivered by both Tony McLoughlin and Ben Reel adds to the sense that we are listening to a quality recording.

The Country feel of ‘In the Time’ brings a new colour to the record before ‘Turn the Music On’ recovers that previous attitude and swagger.

Mixed into the song choices are some nice ballads that highlight the fine vocals of Tony McLoughlin and the slow burn of ‘Keep Your Powder Dry’ stands up well against the kick provided by the heat of ‘Harlan Road’ with the band finding a whole different gear.

Many bright moments to enjoy then, with plenty of impressive playing and a rewarding listening experience.   

The Original Rabbit Foot Spasm Band 'Party Seven' - Jump Steady

Now here is a band that sounds just like a breath of fresh air on a muggy day. Opening with ‘Birdman of Barley Mow’ their good-time sound jumps out of the speakers, with a heady mixture of Brass and Jazz swing, coloured with barrelhouse beats and jiving grooves.

This strong number is quickly followed by more of the same on ‘Matassa’s Ice Cream Parlour’ and a pastiche New Orleans tribute to the great days of Dixieland Jazz.

We then veer off into a Salsa swing of ‘King of Wine’ rounded out with some tasty guitar runs from Carlo Matassa. On ‘The Great Outdoors’ we have a classic big band, dance hall arrangement with  the double bass and drum beat laying down a classic tempo for the trumpet and saxophone solos.

‘Eynsham Witches’ has some dextrous Spanish guitar playing and a Gumbo of smouldering sounds that evoke an atmosphere of dark, Southern nights on the Bayou.

Lead singer Stuart Macbeth is credited with all music and lyrics and he sings with both originality and personality, while playing some very tasty piano.

This fine collection of 12 songs comes highly recommended and I can only wait with anticipation to catch these English troubadours on a live date. I am sure that they stir up a fine frenzy among those lucky enough to catch them. 

Sandra Coffey 'Morning Zoo' - Self-Release

This is the debut release for an Irish singer songwriter who lives in Galway and has been playing live for a number of years on the local circuit.

The eight songs span a little over 30 minutes and the production is handled by Trevor Conway who also wrote the songs and appears on selected tracks, along with a coterie of seven other players. The music is a mix of violin and cello, piano and harmonica that augments the standard guitar & drums arrangements.

The songs are given a simple airy feel in the production and the distinctive vocals of Sandra Coffey are given plenty of room to breathe. She sings in an evocative style and this is highlighted on the key song here ‘A Hot Water Bottle Ain’t No Substitute for a Man (Afterwards)’.

‘Connected’ has some nice guitar lines interspersed with cello and violin and brings proceedings to a close with the lines; ‘she is a woman of the modern age, she lives from page to page’.

Sandra will be touring this release into the months ahead and she is deserving of local support in trying to build a career in this overcrowded marketplace.    

M.G. Boulter 'The Water or the Wave' - Harbour Song

Looking like a gunfighter from the Old West or a Bible belt preacher, with his flowing locks and beard, M.G. Boulter presents his third collection of songs for public consumption.

Hailing from Southend on Sea in Essex, this interesting musician has played support roles on a number of recordings for other artists, including Simone Felice. In demand for his lap and pedal steel prowess, M.G.Boulter has produced a roots recording of great depth and understated charm.

The eleven songs cover themes of personal regret, reflection and lost relationships. The playing is beautifully restrained and the vocal harmonies blend effortlessly with the melodic arrangements to seduce the listener into a warm embrace.

There are songs of snow and winter, of living half-lives and images of winding water and whispering winds. The support vocals of Byrony Afferson and Lizzy O’Connor enhance the mood of the songs and lift the gentle atmosphere created by guitar, fiddle, mandolin, banjo and keyboards.

The overall listening experience is mellow and relaxing with songs like ‘Above the Café Curtain’, ‘The Thistles & the Thorns’ and ‘High Water’ highlighting the fine ensemble playing of the musicians.

Overall a very strong and self-realised collection that bears repeated listenings.

Kristina Stykos 'Wyoming Territory' - Thunder Ridge

Kristina Stykos is a singer-songwriter who is based in Vermont.  Her first self-produced release, In The Earth’s Fading Light (2005), was designated “Best Vermont Album of the Year” and more recent albums include two collaborative projects, Beautiful Blood (2013) with singer-songwriter Steve Mayone of Boston, and Raven (2011), co-produced with Grammy-nominated pianist Philip Aaberg of Montana.

This solo album, Wyoming Territory (2013), was aided by the Ucross Foundation & Brush Creek artist residencies of Wyoming. Spending time there helped develop the overall sound of these twelve songs and we are given a big sky vista, with the Wyoming landscapes standing as metaphors for love unrequited, disillusionment and an isolated, lonely heart.

Watershed is a fine opener and speaks of the fragmented life that ensues from loving the wrong kind of guy, a liar and an outlaw. There is some fine fiddle playing on this song by Patrick Ross and indeed the quality of musicianship is very much to the fore throughout this project.

A separate, dislocated life comes across in the words and the simple arrangements that wander into similar territory to that travelled by Lucinda Williams. This artist has a distinctive voice and it certainly draws the listener into a world of couples in strife and trying to understand life. We join the lonely traveller on a number of trips out of town looking to find herself in another start up situation.

We have the vote of confidence given to a loved one in Love the Distance, where there is a crisis of self -doubt. Without Eyes is a plea for answers to the great questions of life and the loss of dreams and the flame within.

Kristina Stykos delivers reflective and thoughtful songs, with a maturity that living brings and a sympathetic nod to the fire within us all that burns. This is a collection of great depth and one that is recommended.

Lee Palmer 'One Take' – Self-Release

Born in New Brunswick, Canada and now a Toronto resident, Lee Palmer is an experienced Blues player who has enlisted some of Toronto’s best players from the folk, country and blues traditions for this debut release.

The ten songs here are taken from a live gig at Canterbury, a village in York County, in the Canadian province of New Brunswick. The playing is easy on the ear with a laid back feel. The stripped down arrangements are coloured with some sweet keyboards and backbeat to accompany the guitar playing of Lee Palmer, Elmer Ferrer and Wendell Ferguson.

The decision to cover House of the Rising Sun so early in the live set could perhaps have been avoided and seems to sit uneasily with the rest of the set included here. That apart, the songs are delivered with a steady groove and the closing track That’s All is a good example of the band playing in unison and enjoying the moment.  

Ivan Rosenberg 'Oldies & Old Time' – Self Release

This is a very interesting listen. Across thirteen tracks, both original compositions and traditional arrangements, Ivan Rosenberg displays a wonderful feel in the sparse playing on various banjos and resonator guitar.

 Since releasing his first solo album in 2001, Ivan Rosenberg has gained a dedicated following for his independently-produced recordings of melodic, expressive acoustic music on Dobro and claw hammer banjo. Reflective pieces such as Abject Woodchuck and Sloth up a Gum Tree take the listener away to an America, long forgotten in the hills of rural townships, where camp fires burned into the night to warm the migrant workers.

We get inspiring versions of Georgia on my Mind and Blue Eyes Crying in the Rain, followed by Maryville Waltz, a wonderful and innovative melody played to perfection on a Clinesmith Resonator Guitar and a Martin D-16; it doesn’t get much better than this..

Tracks such as the standards You Don’t Know Me and the Christmas Song will have their critics as they are such strong favourites, but you have to allow for creative licence and an open ear when being musically challenged. I recommend this release to everybody who likes to indulge in old time songs that breathe new life.

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.