Wylie and The Wild West Show 'Relic' - Hi-Line

Back in the day when CMT was on our TVs I was immediately drawn, as a glasses wearer, to the bespectacled Manuel suit wearing Wylie Gustafson. That was back in 1992 around the time of the release of his Wylie and The Wild West Show debut album. Twenty two years and some twenty album further down the line and, in truth, not a lot has changed. Wylie still plays it straight and true - bridging the gap between (Slim) Whitman and (Dale) Watson. He still loves the west, real country music and he still yodels.

Now dividing his time between ranching and recording he has just released an album who's title suggests he is of a relic, hanging on to old times. He is, in spirit. But his music, to his fans, is more timeless. As he says, on the opening track 21st Century Blues, he is just "a yodelling cowboy in the 21st century". Next up is his take on KD Lang's Diet Of Strange Places a tale about restless movement and loneliness. Hey Maria, was originally on his second album Get Wild but here it returns in a slightly more reflective version on a song that he tells the girl he loved that she would have been better off with him.

From then on we encounter heartache, religion and drink with such songs as Hello Heartache (another new version of an older song), The Book and Big Whiskey (an instrumental). All songs full of twanging guitars, rhythmic beats and nuanced singing. It covers shuffles, waltzes and ballads all in honky tonk mode. The album's second cover is the classic Indian Love Call a song well know for it's yodelling. Wylie is a master at the form and one track here Cutter's Waltz is a instrumental in which the yodel taking the lead line. 

Style is something that Gustafson has in spades and his band are right up there with him. He has Dennis Crouch is on upright bass, John McTigue on drums and Jeff Taylor on piano and accordion. Guitars are handled by Wylie, Sam Platts and Jeff Taylor. All sound like they are enjoying themselves on the four day session, which was recorded in Nashville. Larry Marrs who once played with Marty Stuart (among many others) is on hand to add vocal harmonies.

Pushing the boundaries for Wylie Gustafson is more likely to mean extending the area of his ranch than bringing something new to the genre of today's country music. Alt. country did that to the point were some of the music has very little relation to the traditional form. Country music need to progress to survive but it also needs artists who remind and celebrate the original spirit of the music. Wylie and his many Wild West companions have done just that. To the current mainstream he may be viewed as a relic but to many that relic is in fact a treasure

The Highballers 'Self-Titled' - Woodshed

A Telecaster toting neo-country band from Washington fronted by vocalists Kendall Jackson and Victoria Patchen. They formed in 2007 and the current line up has put out this their second album of harmony laden, driven catchy country songs.  The ten songs, all written by Jackson, bar one outside song, have a familiarity that makes them immediately likeable. The lead vocals are shared with Patchen - taking lead mic on songs like Lula's Gone a song that fairly rocks with an nice interplay of twang and jangle under Patchen clear and concise vocal. Jackson also has a strong voice that gives meaning to these songs. Producer Don Zientara builds everything up from a solid rhythm section base and adds Sean Lally's vital guitar to give the songs their much appreciated dose of Tele twang. Guests on one song include Bobby Birdsong's pedal steel and Jackson Edwards harmonica. 

King Of The Plains seems to be about an alien encounter while more down to earth is Can't Stop Drinkin' about a man who can't do anything because of his need for a cold one in his hand. Maybe as a result of that the next song is an uptempo song that hopes that things could be like the used to be in I Want You Back. But when that don't work something this is more of a direct action is espoused on I'll Break Something More Than Just Your Heart. Again Patchen delivers an impassioned vocal. Jackson gives the other side of the story with I Need My Ass Kicked another hi-speed bar-room. The 60s styled One Damn Thing has Farfisa organ and Patchen's era specific backing vocals under pinning it's overall feel of a time when country and garage-pop were logical bedfellows - shades of Southern Culture On The Skids.

This band have a retro heart that has been jump started to have it's place for today's audience. They sound like they're having fun and any audience that encounters them will reciprocate. With classic country as your base you can't move too far from the template before it becomes something else entirely. The Highballers don't do that what they do do is to sing and play with a conviction and heart that makes their music something to enjoy. Can't ask for more than that in a lot of cases. They have, as the opening song says Fire and Smoke, well the fire anyway.

Bat Kinane & The Whole Hog Band 'Ordinary Days' - Voodoo Bones

This Irish band play roots and country songs that have been mainly written by guitarist and vocalist Bat Kinane who also produced the album. Lead vocals are delivered by Kinane and, on the songs he wrote, by bassist John Treacy. Both have an warm, easy vocal style. The trio are completed by Gavin Murray on drums. They are joined by guest players Paul Kelly on fiddle and mandolin, banjo player Martin Cooney, backing vocalist Lorraine Willoughby and Percy Robinson on pedal steel. It was a good move by Kinane to bring in these skilled additional musicians as they add a texture and depth that otherwise would not give the album such a well rounded sound.

The songs are all memorable enough to allow repeated play. Kathmandu is about considering following an errant partner to that fabled location if they felt they could win the person back. Given that the partner took his money to get there in the first place is fairly generous an attitude. Never Trouble Trouble Till Trouble Troubles You takes a logical expression into the centre of the song's chorus. Summer Song has a some nice evocative steel from Robinson. Are You A Beatle Or A Rolling Stone? notes that "sure enough I'm getting old but I'm not to old to rock and roll and I'm not as old as a the Rolling Stones" Well there still rockin' so why not you. An observation that will ring true for many. Let's Go Dancin' written by bassist Treacy is a request for his love interest to get out on the dance floor and cut a rug, as they say.

There are times when you might wish for a little more grit in the delivery but overall this is an easy album to like and show the trio are capable of developing their sound and songs. The album ends however with something of a explanation of the genesis of this music on Honky Tonk Man, not the much covered Johnny Horton classic, but a song that tells how Kinane saw his future on the stage in such a place after stepping into a similar location himself some time back and realising this is where he wanted to be no matter how hard it may be to do so. It might seem somewhat lacking in ambition, but not everyone is going to be Garth Brooks, and what he and his fellow band members have set out to do is what they have achieved here. Kinane formally played and toured with rock band Glyder and had doubtless, in that guise, seen music from another viewpoint. This is a different kettle of fish (or whole hog perhaps) and is deserving of encouragement. Ordinary Days will help you get through them with a smile on your face.

Robby Hecht 'Self-Titled' - Old Men Henry

This self-titled third release from talented singer/songwriter Robby Hecht is an enjoyable listen and a very pleasant discovery. The twelve songs are recorded in a sweet, easy style with gentle playing and arrangements that suit the earnest feel of the vocals.

Rose Cousins sings on Soon I Was Sleeping and the duet is really excellent, with Hecht sounding like a modern day James Taylor or Marc Cohn. Will Kimbrough plays guitar on selected tracks and the production of Lex Price is beautifully balanced, in addition to his varied contributions to the songs on guitars and keyboards – impressive display all around.

The reflective nature of a number of the songs highlight the talent of this artist in fine style. The Light Is Gone portrays a heart-breaking picture of a dead relationship and the regret of mistakes made. The reflective  Hard Times comes over with a melancholy born from life experience. This is restrained and literate song writing, accompanied by a coterie of fine musicians

Robert Sarazin Blake - Self-Release

This fine artist is new to these ears and comes as a very welcome discovery. Robert Sarazin Blake has been releasing music for many years and this represents the 11th recording of his career. The ten songs here are very impressive in their acoustic feel and vocal delivery. Sounding like Jim Croce on a number of the tracks, the storytelling style and reflective mood of the writing is perfectly complimented by the arrangements and production.

There are personal observations on a life lived, the road not taken, family business, bohemian lifestyles and nostalgic regret scattered throughout the tracks. Kicking off with a clever Irish melody woven into the song Dingle to Tralee, Robert Sarazin Blake is joined by Anais Mitchell on vocals for Our Winter in New York and really hits stride on the tracks Joy and New Life, both songs tinged with a mature and sympathetic view of the frailties that make up the people we meet and the relationships that just cannot endure.

However, it is on the closing song, Ghosts of Bedford Avenue that things really climax with a superb performance and delivery across thirteen minutes that reflects on a tired acceptance of change, the trap of memories and the view that you can’t go home again; only keep moving in a forward direction. This artist is highly recommended.

Birds of Chicago 'Live From Space' - Self-Release

Birds of Chicago, is a collective based around JT Nero and Allison Russell. Whether touring as a duo or with a full band, Nero and Russell have emerged as two of the most compelling new voices in North American Roots music. This live recording is a debut offering by Birds of Chicago and has been getting rave reviews on both sides of the Atlantic.

The album is certainly impressive with the playing and singing of the highest quality. I have known of Allison Russell for her excellent track record as a member of Po Girl while the name of JT Nero is new to me. Their voices complement each other beautifully across the seventeen tracks here and it is a brave attempt to release a live recording as a debut. However, the risk is well worth taking and we are served up with a compelling and vibrant recording that leaves you feeling like you missed out on a special night.

There is a celebratory abandon to the performances and I am reminded of Maria McKee and Lone Justice as a reference point. With keyboard swells and piano progressions all wrapped up tight by some literate guitar explorations, the intense and passionate vocal delivery of songs like All the City Girls and I Have Heard Words really take proceedings to a higher level.

The sexy flirtation of the Latin groove, Sans Souci, is instantly appealing while the blues infused Nobody Wants to be Alone, Nobody Wants to Die steals the show here with a compelling performance from the two lead musicians Nero and Russell. Heady stuff and warmly delivered.

JP Ryan 'Take a Walk With Me' - Self-Release

This second release from Irish singer/songwriter JP Ryan was recorded in Nashville with some very experienced and talented session musicians. The quality of the playing is evident and the ten songs here are filled with arresting arrangements, restrained playing and melody to tease the harshest critic.

Witness the interplay of keyboards and guitar on This heart of Mine and the subtle fills of fiddle and piano on The Rivers and the Rain. Singing in a style that brings draws on the best Irish singer/storytellers, JP Ryan shows a literate talent and a creativity that bodes well for the years to come. 

Clela 'More Love and Happiness' - Self-Release

This singer/songwriter draws on folk, jazz and world music influences. Born in Canada she has recorded three independent albums, two roots records and one collection of jazz and blues standards. Blessed with a strong voice and a clear delivery, Clela certainly impresses across the eleven songs here. The recording is uncluttered and features an acoustic leaning towards fiddle, accordion, ukulele, mandolin and harmonica in the arrangements. The trio of songs, Home on High, Open Up My Heart and In the Mercy of Your Love are the highlight here, running together into a seamless whole. Fine playing repeats throughout but it is the vocal delivery and simple acoustic guitar that lingers most with For the Beauty of the Earth and Indigo Blue taking proceedings to an impressive conclusion

Jason Daniels 'Dashboard Visions and Rearview Reflections'

This debut release displays a confidence and swagger that bodes well for the road ahead. Recorded in Nashville with an impressive array of session musicians, the sound is full and rich with plenty of swirling keyboard and inventive piano playing to lift the arrangements, courtesy of Peter Keys (Lynyrd Skynyrd).  We are also treated to a fine horn section and backup singers on a number of tracks and there is some very tasty guitar playing from Daniels himself, together with guest Kenny Olsen (Kid Rock).

Opening with You’re an Angel, a track that channels Van Morrison, the overall groove across ten songs reminds me of the Band. Sounding not unlike a young Levon Helm on a number of the songs is no bad thing and the swell of the arrangements is full of colour and warmth. Plenty to appeal then and the blues shuffle of Riding Back to Memphis sits very nicely alongside of the roots feel of I’ve Seen the World, a JJ Cale shuffle with attitude.  

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