Sam Outlaw 'Nobody Loves' - Black Hills

This debut album from Sam Outlaw is rather good. It reminds me of many of the neo-traditionalist acts of the late ‘80s and early’ 90s where a contemporary attitude and sound was applied to music that was  steadfastly country. This  brought together such diverse artists as Dwight Yoakam, Randy Travis and Steve Earle who have all continued to explore their muse to this day, while no longer having a place on today's country radio playlists. Nobody Loves will also probably be given the cold shoulder at mainstream radio and that is a loss to the variety that the genre should have. This is one of those album that hits the spot and one to which I return to frequently. Outlaw has plaintive voice that gives his songs their heart and soul. There is a sense of heartache at the root of many of these songs that  are declarations of lost love. The opening song Diamond Ring observes "I see no diamond ring on your finger", leaving you to wonder whether it is about finding someone or about the realisation that the person desired will never be in the position of having that ring on their finger from the singer. 

That theme of seeking to eliminate loneliness and find love is further elaborated in Two Broken Hearts,  but here two broken hearts find each other and head off in to the sunset. It Might Kill You is built around the concept of what doesn't kill you makes you stronger. And so it goes with titles like Lonely Man, Get to Know Me and Who Do Think You Are?. These are songs written from both sides of the emotional fence, but the pleasure in the album lies in the overall sound. This is not a traditional fiddle and steel country album, although there is a lot of steel throughout the album which emphasises the lonesome sound that pedal steel makes as an integral part of good country music, which is what this album is all about.

Outlaw taps into that vein, one that runs deep and is the source of life. The production by Kelly Winrich is full, rounded and warm. The supporting players doa  great job overall and Jeremy Long on pedal steel, Brian Whelan on piano and Brad Lindsay on Telecaster all take lead lines that do much to make these songs sound as good as they do. Mention should also be made of Molly Jenson (a singer-songwriter in her own right) and Kelly Winrich's harmony vocals on various tracks. They add an extra dimension to Outlaw's own vocal ability. Keep it Interesting  is  one song to mention where Outlaw and Jenson's voices work particularly well together.

This is an album that plays well as an entity and while everyone will have favourite songs, this set of songs fits together well and sound good in context. So kudos to all involved as I'm sure it was done on a limited budget yet it shows that with  care what can be achieved with ambition.

Nobody Loves may, however, not be to everyone's taste, especially those attuned to the current chart contenders or those who hearts are on Texas dance floors, but to suggest nobody loves Sam Outlaw would be very wrong as here is man who controls his own destiny and whose heart is in his music and his wish to better his craft and to expound his take on the country music he loves. It shows.

Amos Lee 'Mountains of Sorrow, Rivers of Song' - Blue Note

Continuing to use the storytelling precepts and musical platform of country music, Amos Lee impresses on this new album. He develops his writing to encompass themes of isolation on Stranger, of separation with Chill in the Air and in the closing acoustic Burden, wherein he offers the statement that he never wanted to be a burden to those who cared for him. It is a poignant piece of understated humility that has an appeal to anyone who has ever felt that feeling.

Elsewhere the production by Jay Joyce explores where the music can be taken. There are a number of guests here, who, strangely, aren't credited on the sleeve. For instance the Dobro playing featured on several tracks comes from Jerry Douglas. Another notable guest adding his swampy, bluesy guitar is Tony Joe White.  Lee's band also appears and they play as often only a seasoned road band can do. They are Jason Olevsky on keyboards, bass player Zach Djanikian, drummer Freddy Berman and guitarist, steel and banjo player Andy Keenan.

But it is the songs that make or break an album like this and there are many here that have a strong resonance. Dresser Dreamer is a subtle song of past memories with just acoustic guitar, percussion and bass which gives a sense of the song’s inner regret. By way of contrast Indonesia has a more contemporary singer-songwriter feel, but both are served by Lee's soulful and at times pained delivery, that show him to be a striking vocalist as well as writer. As often with a Jay Joyce production there are experiments and High Water with his harsh rhythm, harmonica and distorted vocal seems at odds with some of the other material but is nevertheless an interesting statement that some will love while others will move quickly on.

The Man Who Wants You has a soulful funky roots sound, while Loretta fits nicely alongside the direction of the album's different aspects. Plain View opens with a banjo and is a tale of living in glass boxes and the angry trolls who look in. The title track has Patty Griffin adding harmonies to one of the album’s best songs, one that builds a quiet intensity on a tale of integrity and contemplation.

Griffin is not the only renowned vocalist on the album as Alison Krauss is featured on Chill In the Air, a tale of the complete breakdown of a relationship that finds the man not wanting to see his partner again and telling her if she feels a chill in the air that it is his spirit; a kiss-off song with a haunting quality that makes it a stand-out on what is arguably the best album of Lee's career to date. It will be worth watching to see where Amos takes his music next, as he could continue with this mix of sounds or, equally, explore any of the tributaries that form his river of song.

Steve Scott Country 'Those Tears I've Cried' - Bona Vista

Described in the press release as Detroit's premiere Americana artist,  Steve Scott delivers an album that blends country with rock and blues overtones. "Blue-Rock-Country" is how they describe it themselves. The cover features Scott in a Dwight Yoakam-esque pose with his cowboy hat obscuring his features and wearing leather trousers. However,  Scott’s  sound  is broader as befits the description above, a sound which is bolstered by keyboards, pedal steel and fiddle as well as Scott’s own guitar work. It is a solid and enjoyable album that highlights Scott's songwriting, solid singing, production and guitar talents.

There are some songs here that include the title track's steel guitar- enhanced sound and Scott's soulful vocal. The anthemic She's Made in The USA recalls John Mellencamp in sound, while Hide and Seek employs banjo and mandolin over a robust rhythm section and has a strong chorus, something Scott uses throughout to good effect which makes the songs stick in the memory. Halo is a more down-home tale of a man who lives a true blue collar life and the song is a celebration of that life. The border feel of Tequilarama is underscored by accordion and trumpet  for an atmospheric sunset-filled sound of Tequila and señoritas; the relaxed feel and ambience makes it an album stand out. Geronimo has a gritty guitar over B3 organ and an insistent rhythm. The album closes with Have You Ever Know a Soldier?, a song that considers that serving your country can leave lasting scars which may be unrecognized even by those who have shared a similar traumatic experience. It seeks to welcome home those who have served.

The assembled musicians include backing vocalist Gia Warner, steel player John Lang, fiddle and banjo player David Mosher with Steven Mullan on keyboards and Paul Finkbeiner on trumpet. They contribute to the song’s strengths,  but the undoubted star of the show is Steve Scott. Though as Steve Scott Country is the album artist title Scott recognises the support he receives from the musicians who play with him both here and onstage. They are drawn from Detroit's finest and some of them have played with such names as Bob Seger and Kid Rock.

Scott has aimed to blend a set of roots music sources together into a cohesive whole and he has largely succeeded in doing that. The overall feel veers towards country-rock and as such should have some wide ranging appeal to an audience tuned into any of the album's component parts. While Those Tears I've Cried is doing nothing particularly new it does what it does with a degree of style and substance that will make it an attractive listen for many. 

Sugar Brown’s 'Sad Day'

This debut release from Ken Kawashima, stage name Sugar Brown, was independently recorded and released in 2011. Clocking in at just over one hour, the fifteen tunes included here are representative of the old Chess sound of the 50’s.

Recorded live and onto a full track mono tape recorder, the tunes sound aged with the authentic feel of the old Blues masters and one could almost imagine the archivist Alan Lomax present with his tape machine to record the sessions for posterity.

There are eight tracks written by Kawashima and the remaining songs are arranged from old Elmore James, Jimmy Rogers, Floyd Jones and Muddy Waters originals. There is even a tasty cover of the Velvet Underground song Run, Run, Run which redefines the meaning of blues interpretation.

Guitar, Harmonica and upright bass form a potent mix across these tracks, complimented by occasional drums on a few songs. The sound is sparse and elemental with a vocal delivery that hints at the pain and frustration of the singular traveller in search of respite.

Based in Toronto, this excellent musician, singer/songwriter has produced a ground-breaking take on the blues medium that is at once ancient as the hills and refreshingly modern in its’ stripped bare honesty

Shinyribs 'Gulf Coast Museum'

Kevin Russell, ex Gourds member, is the creative source behind Shinyribs. A tight four piece band that cover country-soul and swamp-funk if you are to believe the promotional notes. Defining such a roots based sound into new categories, does not escape the fact that the nine tunes here are rooted very deeply in traditional country influences.

The vocal delivery of Kevin Russell reminds the listener of John Hiatt and the players accompany Shinyribs with subtle and restrained playing. Drummer Keith Langford, ex Gourds also, lays out a consistently sensitive tempo in the songs and allows the other players to filter guitar and keyboards into the arrangements.

Texas Talking is a fine song that runs along with an upbeat tempo while the cover of the old Harold Melvin classic If You Don’t Know Me By Now, on ukulele no less, is something of a departure. We also are treated to Sweet Potato, a Song of Lime Juice & Despair, Bolshevik Sugarcane and the Limpia Hotel. An interesting production laced with catchy arrangements and all played in a style that hints at greater things to come.

Pi Jacobs 'Urbanicana'

Six songs on this rock oriented release from San Franciscan native Pi Jacobs. Sounding like a young Cheryl Crow, this artist seems comfortable in the slow groove of Anything and the fast pace of Mrs O’Neil. Both tracks boast solid arrangements, if never really engaging beyond a pleasant listen. Pi Jacobs will have her following and I am sure that she more than holds her own in a live setting. However, this mini release could have been withheld until a more cohesive set of songs was available for airing

Kandia Crazy Horse 'Stampede'

This lady used to make her living as a music critic in a previous life and this debut release certainly makes it apparent that she should have traded the pen for the microphone long ago. Not that I can comment on her skills as a journalist, but Kandia Crazy Horse can certainly sing.

Her soulful voice lays down a real message of intent with the opening song, California, a single release last year. Gunfight at the Golden Corral introduces us to a country swing sound that references relationship strife with the imagery of a good old gunfight. Any comparisons with the throaty delivery of a Janis Joplin are gradually dispelled as the ten tracks unfold and we witness the soft inspiration of Americana and the lines ‘changing partners at the honky tonk, sure makes me blue’.

There is the excellent Neal Casal cover of ‘So Many Enemies’ and a not so successful attempt to breathe new life into the Eagles ‘New Kid in Town’. However, the remaining eight tracks are all self -penned and display sufficient quality to avoid the need for cover versions in the first place.  Lap Steel complements fiddle on the sweet groove of ‘Cabin in the Pines’ and the mix of country and soul is never more in harmony than on the confident and earthy ‘Quartz Hill’ that ends the recording in style.    

NUA 'Bold'

This three piece from Canada play a mix of Bodhran, Fiddle & Guitar across 14 instrumental tunes that are mostly self-written. They combine an easy playing style that is both carefree and celebratory. The issue I have with music of this genre is not the technical prowess of the players but the relative similarity that creeps into the succeeding arrangements over the playing time.

The playing is gentle and in the best tradition of Irish music with a modern twist. Fiddle dominates mostly with Bodhran and Guitar providing the rhythmic backing. Without vocal to colour the overall impact and to add some different dynamics, we are left with a series of well-played tunes that tend to leave no real standout impression. A pleasing listen, all the same. 

Dan Seals 'The Definitive Collection '- Humphead

One of the most underrated singer songwriters of the country music past, Dan Seals left this mortal coil back in 2009. This fine collection of 40 songs across 2 discs pays a fitting tribute to his talents and the variety in his writing. In his purple patch during the 1980’s he stacked up an impressive number of top hits in country charts.

You Bring Out the Wild Side Of Me/God Must Be a Cowboy/ Old Yellow Car/ Meet me in Montana were just a selection of these fine songs that elevated Dan Seals to great heights. With a prior background as one half of England Dan and John Ford Coley, his music was easy on the ear and not dissimilar to a James Taylor experience with the literate and mature playing and dynamic of the song arrangements.

Addicted/You Still Move Me/One Friend and many more selections point to the clear delivery of Dan Seals as a vocalist of great talent and the songs are not overly sentimental, rather poignant and mellow, mixed with the freewheeling sound that defines any country collection of note. This collection is superb value for money and the quality of the content makes for a compelling listen.

Bille Joe & Norah 'Foreverly' - Reprise

This, and the original album from the Everly Brothers (Songs Our Daddy taught Us), could be said to be labours of love. Released on Cadence Records in 1958,  the original Everly’s album was exactly what the title said;  a selection of stripped-down songs that Don and Phil’s father Ike loved. The songs included many which had roots in a much earlier time like Roving Gambler which dates back to the time of Henry VIII. Silver Haired Daddy Of Mine is a Gene Autry co-write that dates back to the 1930s and while Who's Gonna Shoe Your Pretty Little Feet was a traditional song adapted  by Don and Phil it sits easily alongside the other songs.

Regardless of the source, the album was one of the most overlooked in the Everly’s catalogue. This song for song tribute will, one hopes, cause some to seek out the original, but, if not, this still is a fine, relaxed album that is more than just a fitting tribute. It will also help fans of both artists to see that they are well capable of performing outside of their normal settings. Norah Jones is known as a jazz artist in the main, though she has played roots material in her off shoot Little Willies project and occasionally on her own albums. The involvement of Green Day's Billie Joe Armstrong may surprise some but he is perfectly at home in this largely acoustic setting. Funnily enough when speaking to a punk  a while back, he said that backstage he and his contemporaries more often that not played Hank Williams' songs or material such as this; songs they all knew from growing up.

The outstanding thing is way the two voices blend together to make a perfect job of the sibling-style harmonies. Some duets combine the rough with the smooth but here it all takes the smooth path. They have added some subtle but highly effective instrumental additions such as pump organ, electric guitar, piano, pedal steel, mandolin, drums and banjo into the mix, compared to the original's sparse acoustic guitar and upright bass instrumentation. This is done  with a subtlety and sensibility that never distracts from the songs. There is no production credit listed but you can take it the duo themselves steered the project.

Whether this is a one off project, or if they will make further explorations remains to be seen, but Foreverly is a complete success and a very enjoyable listen With Phil Everly’s recent death the world could do with a little more of this kind of  music. It sits alongside Paul Burch's Buddy Holly Words of Love album as a reminder of acts who made lasting music but who may not get the attention they deserve in this day and age. It often takes a project like this to bring attention to those artists while being a valid statement in its own right. I would also venture to suggest that this may well cause more fans of both artists to look more into the music's past than at any of the current crop of "country" artists.

Lydia Loveless 'Somewhere Else' - Bloodshot

Lydia Loveless has been hailed as 'cowpunk' by some, while others have made reference to Stevie Nicks and still others to Loretta Lynn and Exene Cervenka of X but I wouldn't discount a little Chrissie Hynde. What is apparent is that Lydia Loveless fits alongside Nikki Lane and Lindi Ortega as contemporary artists who fuse country with some of the spikier elements of rock. There may be reminders of others in her voice and approach, but Loveless is her own woman and well capable of leading her band to her own victory.

This time Loveless’s sound moves more towards layered guitars and features less banjo and fiddle that did the last album Indestructible Machine, though the steel guitar gives the album a direct link to the country elements of her music. Although the sound is harder there is a suggestion that she may not feel as indestructible in songs like the Pretenders-sounding Hurts So Bad. Another song, Head, is about what you might think given the title. Oral sex may not be a regular topic in these’ beer and tailgate’ days, though it might be the result of such activities. Two intriguing titles are Chris Isaac and Verlaine Shot Rimbaud and you will need to listen carefully to follow the story lines. Much clearer is the theme of Everything's Gone, an album standout due toLoveless’s earthy vocal and the more stripped down backing of guitar and steel. It conveys the desperation that the title suggests. Her version of Kirsty MacColl's They Don't Know suggests another influence both in terms of the artist and a time frame of post-punk music before it compromised its spirit.

Loveless co-produced the album with Joe Viers using her road band of Ben Lamb on bass, new drummer Nick German, Jay Gasper on steel guitar and Nate Holman's keyboards. Todd May shares the guitar and vocal duties. This album is a culmination of many nights playing on the road and honing a collective vision of the music and its development with each release. Loveless has a longing and a passion in her voice that can be heartbreaking or angry in equal measure and it indicates that she is singing of real emotions and motivations in a way that is often raw and real. That's something to commend and enjoy and will make you want to be there wherever somewhere is.

Scott H Biram 'Nothin' But Blood' - Bloodshot

The latest album (his ninth) from one man band Scott Biram, continues his personal exploration of the blues, boot-stomping beats, baptizing blandishments, blood on the floor songs and spiritual ballads. Good and evil battle it out in this powerful pieces of life lived, love lost and heaven sought. Throughout the album Biram mixes his own songs with traditional songs and those by Willie Dixon, Mance Lipscomb and Doc Watson. Though joined briefly by Jesse Vain on vocals, the bulk of the album has been played and produced by Biram who at this point knows exactly how his music should sound. That sound ranges from the guitar/vocal of Never Comin' Home and I'm Troubled to the full on punky blues of Only Whiskey taken at a breakneck speed to simulate the rush of the alcohol. This, and several other songs, are taken a train-wreck speed and intensity. Around the Bend could almost be a lost early Hawkwind song from the days when they started as blues buskers, that crossed with some death metal.

Alcohol is not the only intoxicant on offer as Nam Weed tells the tale of a stoned vet. These are tales from the dark side delivered like a kicked-in door. Biram's voice is sometimes treated (Jack Of Diamonds) in a way that fits the ragged-redemption seeking and forlorn forgiveness of the songs. Willie Dixon's Backdoor Man broods with lust and is a long way from Jim Morrison's poetic platitude; this is something altogether more primal and chilling. Church Point Girls is another full on, boot-stomping, hard guitar tale of sin and lost souls. It is a sound that is a no holds barred audio headwreck that leaves you in no doubt that Scott H Biram knows the world of which he sings. He has the advantage of exorcising these demons through song. When I Die faces mortality with hope and a hosanna and is one of the less frantic deliveries here.

Biram's music is not for everyone but the little girls and big boys may well understand the power in the blood that is inherent in his music. Nuthin' But Blood has a couple of bonus songs in Amazing Grace and John the Revelator. The former has a spirituality in its voice and harmonica delivery that rings true to the song’s sense of grace. The latter features Jesse Vain and again underlines the links to the traveling troubadour blues players of the past. These are crossroads and lost highways that Biram has traveled and you can do a lot worse than spend some time in his company.

Tracy Beck 'Over the Horizon'

This is the fourth album release for singer/ songwriter Tracy Beck. Currently based in Wisconsin, her musical style rests between folk and country and her gentle guitar playing style invites the listener into the twelve songs on display here.

The arrangements are kept simple with a light touch from George Reiner on mixing and mastering duties. The songs speak of nature, the beauty of the world and looking for connection. The largely acoustic feel across the songs leads to a pleasant, melodic interplay among the musicians. No drums to fight with this talented ensemble; no clutter in the mix of guitar, mandolin, piano, strings, upright Bass and percussion.

Sunsets and Remember When deliver pleasant little vignettes of life, while Winter Moon reflects on the power of evening experiences around the campfire. Rain celebrates the joy of a brand new day and washing our troubles away. Now we could all use a little of that.

Daddy Long Legs 'Devil in the Details'

Daddy Long Legs are a four piece band which features Mike Elliott (Guitar/Vocals), Chris “Junior” Malleck (Harmonica/Backing Vocals), Steve Toms (Bass/Tambourine/Kick Drum/Backing Vocals), and Jeff Wagner (Drums). Formed in 2001 and presently based in Waterloo, Ontario, Daddy Long Legs play what they like to call Canadian garage blues; "ragged and greasy in all the right places ".

This is out and out, downright dirty blues, large and loud. The production is in your face and very vibrant with the opening tracks The Devil’s in the Details and Your Love is Killing Me coming at you like a train.

I am reminded of that fine blues band from England, Paul Lamb & the King Snakes, as I listen to the eleven tracks here. The guitar work of Mike Elliott when mixed with the fine harmonica playing of Chris Malleck, makes a compelling argument for the attraction inherent in the best Blues workouts.

Some will argue that this genre has already thrown up all that can be expected from what is a limited palette of possibilities but, then again, bands like Daddy Long Legs are trying to place their own particular stamp in the history books.

Borrowed Time and 40 Hour Week are vibrant examples of a new twist on the old standard approach to swinging with the beat. The final track Dug my own Grave brings proceedings to a fine conclusion with the band holding back in classic style to deliver an atmospheric piece of swampy blues playing.    

Midnight Union Band 'Behind the Truth'

A new Irish band, based in the heart of Kilkenny City, brings this 5-song release to public attention. Four of the songs are written and sung by Shane Joyce, who also plays acoustic guitar and harmonica. The other song is penned by Peter Flynn, a multi-instrumentalist, with piano, organ, guitar, lap slide and Wurlitzer in his armoury.  The sound is standard country rock with songs that reference Galveston, missing the girl, moving along and looking for love. The final track is the strongest here with Behind the Truth displaying a fine arrangement and the five musicians playing in understated harmony.

No faulting the playing overall and this five piece ensemble appear to be heading in the right direction. Promoting themselves as an Americana band does not really give them an identity however and I would like to see a greater effort to write authentic Irish experiences into their songs.

Elephant Revival 'These Changing Skies'

Elephant Revival is a folk music group from Colorado who formed in 2006. The band consists of Bonnie Paine (vocals, washboard, djembe, musical saw), Sage Cook (electric banjo/guitar, acoustic guitar, mandolin, viola, vocals), Dingo Rose (double-bass, mandolin, banjo, vocals), Daniel Rodriguez (acoustic guitar, electric banjo/guitar, vocals) and Bridget Law (fiddle and vocals). All members of the band are multi-instrumentalists and contribute to the song-writing process.

Their style of music is referred to as "transcendental folk," in the promotional material and the acoustic arrangements are certainly inspired by a whole host of influences and styles. Across these 12 tracks the individual musicians display a real mastery of their craft and the mix of instruments lends to some heady moments.

With two previous full releases to their name, plus an EP, Elephant Revival promotes the unseen connections that flow through the spirit of all things. The song arrangements and melodies are airy and light with the fiddle playing of Bridget Law strongly to the fore. One of the primary vocalists sounds very like Ani Di Franco which is no bad thing and the interplay between banjo, guitar and mandolin is a joy on some of the tracks, while the fiddle takes flight.

There are hidden gems like Down to the Sea and Remembering a Beginning while Grace of a Woman is particularly appealing in the delivery.

Aidan Curran 'Slide'

This 6-track release from Galway based musician Aidan Curran is an exercise in standard Blues music.

I don’t know about promoting the dubious benefits of alcohol but to urge us to ‘go get a round’ and ‘cure all your ills’ is perhaps not the wisest advice I have ever heard for an opening track, Drink Up.. So, we are told to ‘drink up, when you’re down’ and hope that we live to drink another day.

The second song , Here I Go Again, speaks of getting old on the road and boasts some nice playing and a steady beat.  Autumn Gold is a nice slow burner and the melody is underpinned by some tasty Bass playing from Flossie Ferguson. National Debt is an instrumental piece played on a borrowed National guitar and it is the brightest track on display here, with nice interplay between  the musicians