The Tillers 'Hand On The Plow' - Muddy Roots

influence by old-time string band music this trio from Cincinnati who play close to a dozen instruments between them and who all contribute to the strong vocal identity of the band. They feature some guests here too including chief Dirt Dauber Col. J.D. Wilkes on harmonica. However they're an essentially self-contained unit.

The eleven songs are of a full fervent folk felicity that makes repeated encounter with the songs an ongoing delight. The songs some mix historical stories alongside those with personal insight. They draw from the misadventures of their own families' as well as from more universal topics alongside song that focus specific incidents like Tecumseh On The Battlefield. They are musicians who have grown. They include a variety of musical influences that doubtless at some time in the past included punk rock as a part of their collective background. The certainly have a well spring of raw energy in their delivery. That and the looseness and freedom that an understanding of music from the Appalachias (as well as other musical orbits) brings to their sound. They also have a history of aligning their music with causes they believe in.

The trio are Mike Orbest, Sean Geil and Aaron Geil and this is their latest release. It's associated with the growing Muddy Roots label stable. It also comes in a very fine Keith Neltner sleeve that only adds to the sense that this is a band going places. And indeed they are touring with Pokey LaFarge which can only broaden their appeal. They are obviously committed musicians who are more concerned with the quality of what they do than just mere commercial instincts. But if they continue to put together such strong combinations of music and packaging they can only also make inroads in that area too.

They make foot-stamping, hard-driving, joyous but aware music that stands that out from the many acoustic outfits that are currently swapping their electric instruments for something more organic. The Tillers plough straight and true and they are planting seeds that will grow.

Finnders & Youngberg 'I Don't Want Love You Won't Give Until I Cry' - Swingfingers

A Colorado play acoustic music quintet who fit somewhere between bluegrass and country in overall context. Their songs are originals written, for the most part, by singer Mike Finnders. He also plays the guitar and is joined at the vocal microphone by Erin Youngberg who is also the band's bassist. These two have a strong vocal presence that speaks of a growing maturity and experience. The band is completed by Aaron Youngberg on banjo and pedal steel (an which instrument he plays tends to define on which side of the line the song falls) and Ryan Dickey, who plays the fiddle and Rich Zimmerman who is the mandolinist. 

Together they make a strong sound that even when a song takes a more grounded path as on Infidelity and Lonely Too Long shows the diversity of vision. Hey Ramona is almost a foot stomping instrumental that has just a brief chorus to help it on it's way. The title track on which Erin takes the lead vocal and husband Aaron plays steel is delivered as a bitter/sweet tale of late-at-night longing and hurt.

Although this is a six track ep the band manage to convey their skills and understanding and love of the Americana roots music they have chosen to play. As individuals they have all been involved in the local music scene but their coming together has created something that has the potential for even bigger appeal. The band have a previous full length album and can be seen live on some fun YouTube videos that suggest that the next full length album will have the potential to be special.

The Wiyos 'One More For The Road' - Self-Release

This fun-loving outfit, well they are named after turn-of-the-century New York street gang, have now slimmed down to a trio. The Wiyos have put out this seven track mini-album to tie in with some live dates. They play music that could easily have entertained that Lower East Side gang that they're named after. It is a fusion of acoustic vaudeville jazz and roots influences. They manage to throw in guitar, cornet, double bass, washboard, harmonica and sundry things hit into the rhythm.

Other than Charlie Poole's Milwaukee Blues the remaining six songs are penned by the band in various forms. John Hartford is a tribute to the late great performer diner in a way he would have doubtless approved of. The remaining songs have an energy in the delivery that underpins their noted on-stage appeal. It will serve as a fine souvenir of their full-on live shows. Radio Flier brings to mind the flavour of the sea front entertainment that is conjured in the TV series Broadwalk Empire.

Though the roots of this music come from another time the way The Wiyos bring their influences together is done in a way that is just as appealing now and would account for their attraction on stage and as a recorded unit. One More For The Road, without being a band milestone, is journeyman music that can travel. 

The Lucky Strikes 'The Exile and The Sea' - Harbour Song

This UK quartet have made an album that is pretty much the best thing they have done to date. It follows up their previous Gabriel, Forgive My 22 Sins and it sees them slimming down with Fiddle and banjo player Jim Wilson moving to the bench. That leaves Paul Ambrose, Matthew Boucher, William Bray and David Giles to be lucky. This time out the music moves to more English folk-rock sound that at times recalls the time when bands like Fairport Convention and Trees were making such satisfying albums that then mixed seemingly opposed genres together. A point where the rock and the folk were equally balanced. 

The bass, drums, guitar, piano and fiddle mix solidly and give songs like New Avalon and The Butcher and The Sea their centre and heart. I'm assuming all the songs are written by the band as it doesn't say so on the cover (which, by the way, both this and the last sleeve are examples of good packaging design). Ballet Shoes and Vincent have a more stripped-back delivery. The voice and guitar (and lap steel) highlight how they balance the delivery between a measured approach and a more full band sound. The latter is a stand out as it builds and has more of that vintage folk-rock feel. Goldspring has a sea shanty element with the layered vocals and again highlights Ambrose's ability as lead singer.The Devil Knows Yourself with it's vocal chorus and stomping beat is another striking song that along with Ghost and the Actress reveal that the overall theme of the sea and environs is well considered.

These songs draw on traditional storytelling patterns but do so in way that is both contemporary and compelling and The Lucky Strikes deserve luck in reaching to a wider audience that may appreciate their musical endeavours.

Joe Ely 'The Definite Collection' - Humphead

This excellent collection while maybe not quite definite, as it has only 3 tracks from Ely's later albums and nothing from his early Flatlanders days, does a pretty fine job of bringing together highlights from Ely's career when he was signed to MCA. It runs from in sequence from songs taken from his 1977 self-titled debut album to a track from 2011. It reminds what a stylistic and individual singer Ely is. He is also a strong writer and a good chooser of outside songs, with selections from his friend Butch Hancock as well as covers by the likes of Buddy Holly's Not Fade Away as well as choices from the pens of Dave Alvin, Tom Russell and Robert Earl Keen sitting alongside his own songs.

He has been consistently a good all rounder who deserves his reputation as a legend and someone who has done it his way throughout his time on a major label - and beyond. He may never have reached the commercial heights that some of his contemporaries did, but he has the respect of his peers, friends and fans. Something that must count highly overall any way you cut it.

With over 40 songs there is much to choose from it is indeed difficult to pick a small selection of highlights such is the overall quality of the material on these two CDs. But Treat Me Like a Saturday Night, Dallas, Tonight I Think I'm Gonna Go Downtown, Settle For Love, Letter To Loredo and I'm A Thousand Miles From Home are all great examples, for me, of what he does so well. It also is undeniably country and roots sounding, despite his renegade status. There is more pedal steel here that you will find around currently and that's matched by the righteous roots rock that he played when he had such talents as guitarist David Grissom in his band.

It might behove many of today's rock influenced recording artists to draw from this well rather than the stadium rock that many seem to use as a template. Joe Ely is a treasure and someone who is still making music that is powerful, poignant and perceptive. This collection is the ideal place to start if you're new to his music and a very handy reminder if, like me, you already have the majority of the albums that are featured here. 

Red Herring 'The Mountain Valley Sessions' - Self-Release

Accomplished acoustic music from the Netherlands that features the trio of Arthur Deighton, Joram Peeters and Loes van Schaijk. The album is an interesting mix of original songs and classics. They open with a fair stab at Matty Groves and then run with such songs as older songs as Down In The Willow Gardens, Pretty Fair Maid and such newer material such as (with an obvious liking for Richard Thompson) I Want To See The Bright Lights Tonight and Dimming Of The Day. Also in there is a version of, what is fast becoming a modern day classic cover, The Bob Dylan sourced song from Old Crow Medicine Show Wagon Wheel. Many of these songs are paired with an instrumental ending that give a pretty good idea of the band's skills.

There are a couple of original songs from Deighton and one from Peeters. The former has a strong voice and the later is adapt at bringing her balanced harmonies to the fore. The instrumentation is typical of such a venture with guitar, fiddle, banjo, mandolin and double bass featured throughout in what are, often, sparse, effective arrangements that do justice to their versions of the songs which, in truth, will never challenge the originals but within the context of the album (and live shows too) make for a varied set that by it's nature will immediately connect with a potential audience and to be fair Deighton's Never Understood is a pretty good song and hints at what may come in the future. As this is their debut album I image that in the future the balance of originals to outside material will substantially change with subsequent releases. 

Red Herring have made a solid and enjoyable album that many will enjoy and feel at home with the instantly familiar songs that does indeed have the feel of a open-fired genial session.

Foghorn Leghorn 'Not Before Time' - Slammer

A straight up mix of old time and bluegrass from a North London band who make a fair stab at sounding like they came from the other side of the pond. The songs are all (par Bill Evan's Petersberg Gal) written by various members of the band which is a good sign for the future development of the band. The soon have the feet tapping with their fulsome delivery. The playing is, while not at the very top level, more than enough to give these song the setting that makes them an enjoyable listen. 

Shut Your Face has a fairly upfront message that is full of rollicking banjo and fine vocal harmonies. The aforementioned Petersburg Gal is again given a thorough instrumental workout that shows these guys are no slouches when it comes to playing. It has some nice dobro in the mix too.

There's always that somewhat snobbish attitude that not of value can come from a band playing this style of music outside of the States. But given the roots that doesn't really cut too much mustard. These guys sound like a fun night out for those who manage to catch them in a live venue. While it may not exude the skill on display in The Station Inn it has a validity and a purpose that can only get better with time and experience. I'll freely admit I'm not an expert in this particular area of roots music but Not Before Time seems a fair enough start for the committed players that make up Foghorn Leghorn and makes them a considered on the London circuit and beyond.

Reviews by Paul McGee

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.

Reviews by Paul McGee

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.