Reverse Cowgirls 'Bucking' - Off

Not to be confused with a California girl duo of the same name, this Dutch trio offers some dirty, swampy, full-force cow punk. The opening track Damn the Damage starts with furious banjo, bumping bass drum and jagged guitar that never lets up from then on. This is akin to what the Legendary Shack Shakers would have delivered in the past - a band who doubtless had an influence on the trio. Elsewhere there are strands of rockabilly, blues and punk woven into the torn fabric of these male cowgirls.

The trio of Harry Kingma, Joost Dijkema and Michiel Hoving are enthusiastic and effective players, with the latter two responsible for all the songs, which are sung in English. Animal husbandry seems to play a part too; as in Chickenstew or even the cover illustration theme.

There is enough variety here to keep it interesting; Down South is built over a insistent guitar riff and some ensemble singing. The riff has a Beatle-esque tone that works to its advantage. Loose has some tasty deep baritone guitar twang and a gravelly vocal delivery over the prominent foot-played percussion. There is a swampy, dirty sucking sound to Homemade Rust that is again built around a bedrock of rhythm guitar and double bass with some turbo guitar picking and a vocal from Dijkema, its writer, who has a different sound to Hoving, the other vocalist. Alligator, which closes the album, has a nice semi-Creedence feel that is again centred around an insistent guitar riff and the functional drum sound on this tale of an unwanted interloper.

This trio make Americana influenced music that is every bit as “authentic” as those who hail from the US and Bucking makes for a pretty good ride for those who like a rough edge to their roots rock rodeo. 

Brad Colerick 'Tucson' - Back 9

This album opens with Colerick’s cover of the title song, written by his friend David Plenn which Colerick first heard at a songwriter session. The track opens with a solo resophonic guitar before the full band joins in on a melodic roots travel song. This is a trailer for the story songs that follow and as on any journey there are different musical stops along the way. The country sounding opener gives way to some more acoustic ballads that feature dobro, mandolin and banjo over electric guitar and rhythm section. That mood continues through some of the following tracks such as Place of You, about the site of happier memories. That is what I Do and Late Winter Snow are songs that seek solace against darker thoughts of separation and dissolution. Brakeman’s Door takes a more bluegrass path and features April Verch on fiddle. Tragedy gets a little heavier as befits the song. While Roll On which closes the album bookends the album with another road song and again features the twanging guitar and pedal steel which give it a more pronounced country feel.

Verch is one of a number of guests which include Herb Pedersen, Dave Roe and Larry Marrs. They join featured players Ken Loggains on drums and producer Charlie White on numerous instruments including acoustic, electric and pedal steel guitars. The majority of the material is written by Colerick, who has a warm smooth voice that is effortlessly able to give the stories various tones. The assembled players do justice to them too, never getting in the way of the song. Recorded in a studio on Arkansas, other than one track done in California, the album has a openness that suggests that there was plenty of space and time to record.

This is solid album that covers different aspects of a general roots mood that shows Brad Colerick is an accomplished writer and singer who has delivered music that has potential to hit the spot for those who like their music free of too much grit and spit. 

Michael Austin 'Neon Halo'- Breakin’ the Law

This is a debut release from Missouri born Michael Austin, who, with his band, play under the name of Austin Law. This fourteen track monster is filled with radio friendly songs and has already produced three top 40 hits in 25 countries. This is country-rock with plenty of attitude and up-tempo sounds.

There are songs in praise of woman-kind and the glory of the chase; songs about driving and being a God fearing country boy; songs about living the good life and long distance love. America gets a reverential nod on In America with a theme of living for the flag and the refrain “her future lies in the hands of you & me”.

Your Love is Gonna Kill Me, You had Me from Hell No, Stomp and Take It Like a Man all come out of the speakers with bursting energy and big production. However the key song for this reviewer is the impressive ballad What If I’m Right?, which may point the way for future artistic direction with a fine vocal performance and sensitive playing from the band.  Another new kid in town and he is well worth a listen.

Thomas Rhett 'It Goes Like This' - Valory Music

Starting out with Whatcha Got in that Cup, this new country artist, the son of 90s country chart-topper Rhett Akins, comes off sounding like a young John Hiatt. Plenty of attitude and swagger follow on tracks Get Me Some of That, Sorry for Partyin’, All-American Middle Class White Boy and In a Minute. The production is bold and bright, with plenty of clean guitar sounds and a real kick from the drum and bass mix. The song-writing mirrors the current trend in new country artists to visit the ‘boy chases girl’ formula (Call Me Up and Make Me Wanna) and detours into a country-rap workout on Front Porch Junkies.

The future direction of country music continues to expand into other music genres and we have a commercial rock element at play (In a Minute and Take You Home). However, we also have the mandatory dip into self -reflection and clean living on the stand-out Beer with Jesus; “have you been there from the start; How’d ya’ change a sinner’s heart..”

The son of Rhett Atkins has hit the fast lane on this debut and it is an enjoyable way to spend 40 minutes of your time.

Gann Brewer 'Peddlers & Ghosts'- Self Release

This Mississippi born singer songwriter released his debut album in 2008 and has played/travelled extensively both in America and abroad for a number of years. This is his second full length release and was recorded in Memphis using a group of local studio musicians.

The fourteen songs clock in at just shy of the hour mark, so concentrated listening is required. His storytelling folk style is the result of many experiences in honing the craft of a true raconteur.

John Prine and Townes are reference points here with songs of reminiscence Dancin’ in Memphis; relationship breakups, Who Told You I Was Down?; corrupt police, Moanin’ Santa Rosa Jail Blues and a wonderfully witty autobiographical novella in Dogrunner (Craigslist Ad). Inspired stuff.

JJ Cale is never far away as a reference point and the easy acoustic playing style runs through this collection like a light summer breeze. An engaging release and one that comes highly recommended.

Katharine Cole 'There Is No God' - Crackerjill Music

As the alter ego of Americana artist Katharine Cole, "Kitty Rose" was a real cowgirl who ran a ranch in the small rural community of Hopland, California. Between riding her horses, herding cattle and other ranch chores, she wrote and sang some great country music over the previous 20 years.

Katharine Cole is an award-winning singer-songwriter with deep roots in country, blues and rock. Raised in Texas and moving to California, she has released nine albums over her career including two country releases Greatest Hits! and Live at The Ryman under the moniker “Kitty Rose.” She has been one of the top-drawing artists in the San Francisco Bay Area and landed in the Traditional Music Hall of Fame.

On this release, her ‘Country Noir’ influences come through with songs such as Hymn in E, where she tackles religious bigotry and Dixie, where she takes a traditional song and rearranges it as a criticism of the slave trade that was supported in the South over many decades.

Recorded at the famous Fantasy Studios and produced by Chris von Sneidern (John Wesley Harding/Chuck Prophet), There is No God features many local musicians, including Pam Delgado, Dawn Richardson, Michael Papenberg and Shana Morrison, as well as Paul Reveli.

Not one to shy away from controversy, Katharine tackles the demise of small town America in Stupid Little Towns and the impact of domestic violence on Old Scars. She sings in a confident voice and has much to recommend her swagger. The eleven songs run at a fine pace and make for a cohesive listen. Ending with a cover of the Joan Armatrading classic The Weakness in Me, she also does a great version of the Phil Lee song Just Some Girl, which tackles the subject of murder most foul. Touchstone is also a fine track that reminds me of Maria McKee in the vocal delivery and the production overall is very impressive.

Joni Harms 'Live - From Oregon to Ireland' - Harms Way

This is a double album recorded in Moate, Co Westmeath by noted singer and songwriter Joni Harms. She is well supported by the Sheerin Family Band who give a solid performance throughout and demonstrate their ability to play country music straight, no chaser. The various members of the family perform in their own right as well as backing other performers. This album came about when Tom Sheerin asked Harms to come to Ireland to sing at his parents 50th wedding anniversary which resulted in this live 22 track album. It comes with the atmosphere of a live show with intros, comments and audience all left in. This shows Harm’s warm outgoing personality and that she is a very good singer and writer of traditional country songs. She had a hand in writing all but one of the songs, The Only Thing Bluer than His Eyes which was a top twenty single from her debut album. As it was her first album she had been given outside songs to record, but that changed with later albums and now she co-writes her own songs.

Harms had been signed to both Capitol and WarnerWestern in her career,  but now releases her albums on her Harms Way label. She now, when she not recording or touring, works her family ranch in Oregon and that allows her to record the material and get the sound she wants without have  label interference. The music on this album comes from various points in her career and culminates in the title song which finds the band in traditional Irish mode which shows the versatility of the musicians. This move into a different style is effective, but might have paled if it had been used on more than the one track. Then again I’m sure there are many listeners who would have liked a whole album in that style. The first encore find Harms back on stage to deliver a solo song I Want to Sing for You, which shows she can hold an audience with just voice and guitar. The final track is titled Let’s Put the Western Back in the Country and it does that just that in a lively uptempo western swing mode. Joni Harms feels as at home on the Moate stage as she would back in Oregon and this album captures the occasion just beautifully. 

The Henry Girls 'Louder Than Words' - Beste

This talented Donegal trio of the McLaughlin sisters fits neatly into a broad Americana/roots Irish musical mix. The girls’ harmony vocals are given a strong musical base that sees them joined by a bunch of respected players including producer Calum Malcolm, Nick Scott on bass, Liam Bradley on drums and Ted Ponsonby on acoustic and resonator guitar, among others.

The  majority of the songs are also written by the sister and these include such strong songs as James Monroe and Here Beside Me. The latter features just the voices and Hammond organ and gives the song a different sound that is nonetheless a very effective and appealing album closing track. One of the two non-originals is Bruce Springsteen’s Reason to Believe. Their version uses, as do many of the songs, the distinctive harp playing of sister Joleen. Sisters Karen and Lorna also play fiddle, ukulele and accordion respectively, but all bring their vocal skills to the fore. The trio alternate lead vocals throughout,  with the other two adding the harmony and chorus singing. So Long but Not Goodbye is the other outside choice. It has a 50s style vocal over fiddle and brushed drums and highlights the different influences brought to bear on the album.

They make the blending of their voices seem effortless, but it is that almost uncanny way that siblings are able to bring their voices together to create something that goes beyond just technique to create something so special. That they also write the bulk of the own material further emphasises their talent and in the end the music will speak for them louder than any words. Having said that, they package the music in a very attractive way, better than many a big label and that speaks volumes about commitment.

Parker Millsap 'Self-Titled' - Okrahoma

The debut album of this Oklahoma born singer shows a singer/songwriter with an outlook far beyond his years. He wasn’t even 21 when he released this album. There are religious and old time overtones in his outlook, even if they are about moving on and finding his own worldview away from his Pentecostal upbringing. The opening songs Old Time Religion and Truck Stop Gospel are the sort of dissertation on faith you might have found in Sixteen Horsepower and their frontman David Eugene Edwards. The songs have a strong, compelling and tightly delivered sound that finds multi-instrumentalist Millsap joined by drums, bass, fiddle and brass on several songs. Producer Wes Sharon has got it pretty much right throughout.

From the ballad The Villain, which is stripped back to bass, acoustic guitar and fiddle the music is countered by the clatter and claustrophobia of the aforementioned Truck Stop Gospel and the song’s God-fearing Christian on fire. Elsewhere there is a bluesy feel to When I Leave, which is underlined by plaintive harmonica. Quite Contrary takes a similar path and builds from the guitar intro to something bolstered by bass and electric guitar under Millsap’s fevered vocal. The rhythm section brings the drive and weight into these songs which are as much contemporary folk and country/blues as much as anything. Suffice to say that although many of the songs are taken at a similar pace, the strength of the lyrics and Millsap’s voice hold your attention and make you realise you are in at the start of what should be, with any justice, a long and fruitful career. 

The ten self-written songs here are testament to that. I find new favourites each time I listen to the album, but I also realise how the whole album works as piece and it should be heard as that. If Millsap further explores the fundamentals of his religious upbringing, or if his experiences give him a different perspective, there is no doubting his perception and expressive way with words. His is a voice that resonates with feeling. 

The Stray Birds 'Best Medicine' - Yep Roc

This folk/bluegrass trio have been refining their music since they first released an EP in 2010. This, their second full length album is their first for the Yep Roc label. Best Medicine features the sensitive playing and tight harmonies that have built their excellent reputation and adds to it with 10 new original songs and two traditional songs. Of there own songs there are immediately some songs that stand out like Feathers & Bone, The Bells, Simple Man and Might Rain. It is a craft that they are continuing to explore and find their place with. Their last EP Echo Sessions had the advantage of featuring a set of cover songs written by the likes of Townes van Zandt, the Louvin Brothers and Jimmie Rodgers, songs that have stood the test of time. These new songs show that they are developing their skills and these song will easily bear repeated listening.

The trio of Maya de Vitry, Oliver Craven and Charles Muench are a self contained unit with strong vocals that see them alternating lead vocals with the others bringing their harmonies to bear on making the song special. The Stray Birds are also multi-instrumentalists, playing fiddle, guitar, piano, banjo, resonator and bass between them. They have co-produced the album with Stuart Martin which has a sound that is born of experience and progression.

Who’s Gonna Shoe shows how they can breathe new life into a traditional song and make it theirs as they have shown they can do with more recently written outside songs. They bring a directness and honesty to the way the deliver a song. Finding the essence of each song is something that they have managed from the start. So what it comes down to in the end is to connect with a larger audience in the long term, something  that working with a label like Yep Roc should prove valuable. Undoubtedly their music is “the best medicine they sell”.

George Strait 'The Cowboy Rides Away' - Humphead

This recording of George Strait’s final record-breaking attendance concert from the AT&T Stadium in Arlington, Texas is already raising some controversy due to the alleged use of Auto-Tune throughout. This is something that is hotly debated online. What you get is a star studded event that finds some of Strait’s best known and loved songs given the live in concert treatment. Over the 20 tracks you have a rake of duets with such guests as Vince Gill, Jason Aldean, Eric Church, Sheryl Crow, Martina McBride, Faith Hill, Kenny Chesney, Martina Lambert, Alan Jackson and Strait’s son Bubba.

Strait’s long time Ace in the Hole Band does a fine job throughout, but the surprising thing is how flat it whole thing sounds overall. Why is difficult to figure out, as, if anything, it should have sounded like a huge celebration with songs like Marina Del Ray, Ocean Front Property, All My Ex’s Live in Texas, The Chair, Here for a Good Time and Murder on Music Row. The guest stars represent a mix of old hands and the new breed and I doubt the seasoned performers like Vince Gill or Alan Jackson would ever need outside assistance to sing in tune. In fact, the duet of Strait and Jackson on the attack on the direction that radio and the labels were heading is a highlight on the album.

When you have released as many albums as Strait has, the choice of final songs is always going to be difficult as fans will feel has missed out one of their own favourites. In the 20 tracks he has chosen he mixes songs from different points in his career so that fans are bound to have firm favourites. All My Ex’s Live in Texas finds all the guests onstage for the choruses. The final song, the title track, finds Strait thanking the audience and guests for their support and he also says that, like Schwarzenegger character quote “I’ll be back”. So while this is his live swan sing (for now) he is likely to deliver further studio albums. It’s just a shame that this album, to some ears, doesn’t sound quite like it should. Others however will enjoy this souvenir of a steadfastly traditionalist entertainer. 

Chris Cuddy 'The Best Kept Secret' - Self Release

Cuddy is an eclectic singer/songwriter who encompasses many different musical directions, although they could all conceivably fit under the broad ‘roots’ banner, over the 13 songs on this, his 10th solo album. Responsible for the writing of all the material featured here, Cuddy has a distinctive enough voice to handle the various ways these songs drift. Players such as Keith Glass, Jim Hurst and Steve Conn join Cuddy and a host of other players who play steel and pedal steel guitar, mandolin, fiddle. harmonica, accordion and keyboards over the bass and drums foundation to give these songs their rootsy flavours. 

Cuddy gives a brief descriptive note under each title that sum up the songs pretty well. For instance Amy is described as “a jazzy tribute to one of the greats who left us too soon”. It is a laid back song with double bass and soft brushed drums and subtle guitar in which Cuddy tells of his feelings of loss for the late singer. By way of contrast IBMA Blues is a bluegrass influenced song that features Jim Hurst and Emory Lester on guitar and mandolin. The title track sounds as if it should be coming out of a ‘50s jukebox where country meets rockabilly. Another song, Whiskey Train, tells of perils of a old soldier who needs alcohol to take many pains away. (Got a) Brand New Heartache sounds like a classic country songs and is finely wrought song with a effective second vocal and prominent fiddle. It is an album highlight.

Drive-Thru Daiquiri Bar is another strong song with accordion that tells of “just another day on the dark side” and Cuddy uses his voice well on the chorus. She Reminded Me of You tells a story with a south of the border feel that is simple in it’s delivery, but memorable in its telling. A slightly heavier tone suits the closing song There Goes My Mind Again, a tale of a slightly unhinged sentiment of a man left alone.

Overall Chris Cuddy is an interesting  writer who can make all of these varied sounds work as an interesting whole and each listener will soon find their own favourites within this collection of songs.

Ben Rogers 'Lost Stories: Volume One' - Self-Release

These are story songs delivered with a lived-in voice by Canadian Ben Rogers. The Dealer tells of the bad breaks and hard life suffered by surviving on the wrong side of the law. The Cheatin’ Kind tells of a crime of passion and a jilted husband who takes his revenge. Cowboys and Indians is a tale of love across the ethnic divide that ends in pregnancy and death. 

There are other songs about jailbirds and bums on easy street, railroad workers and lonesome travellers. The arrangements are simple and dominated by acoustic guitar and harmonica, but Ben Rogers also chips in with mandolin, banjo, piano and organ at different stages across these ten songs. So, a solo effort and a self- realised project that entertains. A pleasant and relaxing listen. 

Kyle Carey 'North Star' - Americelta Records

This second release from Kyle Carey is a mixture of Scottish Gaelic and American folk influences. Carey has lived a colourful life as a citizen of the world and absorbed traditional influences from various sources;  living in an Eskimo village in the Alaskan Bush, studying language and music in Cape Breton Canada, the Isle of Skye and New York City. So we are given a truly transAtlantic artist who includes both American and Celtic styles into her songs. This set of twelve tracks was recorded in various locations; Scotland, Ireland, New England and Louisiana.

Produced by Seamus Egan and including two traditional songs, one in Scottish Gaelic, the self- penned music is rich and played with real heart. The arrangements possess great harmonies and the melodic feel of the many musicians used here translates into a very smooth listen. Kyle sings in a beautifully clear voice and the accompaniment of fiddle, banjo, mandolin, dulcimer, viola, cello and guitars help to lift the songs onto a higher level. Wind through Casper, North Star and Winter Fever are all fine examples of the themes of longing and immigration that run through her songs and the cover of Kate Wolf’s Across the Great Divide is a fitting way to bring matters to a satisfactory conclusion. 

Wurster 'Raw' - Self release

This is the 13th release from Florida based singer-songwriter Jim Wurster. It contains 5 original compositions and 5 cover songs; all recorded in a live setting. The acoustic feel is very important to the artist as a true representation of the live shows performed. The playing is understated with various guitars and vintage pedals augmented by stand- up bass and drums.

The roots feel of the music is true to traditions of the American heartland with stories of love affairs and rough justice, city living and hard lessons learned.  Covers of Neil Young (Southern Pacific), Sonny Bono (Bang Bang), the Doors (Riders on the Storm) and Fred Neil (Dade County Jail) join forces with the original songs of Jim Wurster. Big Surprise and Ojus both work well in this context and the final track, a cover of Sunshine Melody by Jimmie Davis and Bill Withers, closes the recording with a Johnny Cash style delivery that is both unsettling and mellow at the same time.

Blind Lemon Pledge 'Evangeline' - Ofeh Records

This singer-songwriter, based in San Francisco, has released three previous records and this collection of ten songs clocks in at just over 40 minutes with a variety of musical styles. We visit the blues, prison chants, salsa beats and ballads from the heartland. The playing is sparse and rootsy with an authentic feel and the ensemble of 8 musicians blend well together, as they deliver a mix of all that is strong in folk, roots and blues based music.

From the southern swing and jive of Brimstone Joe we visit the prison farm Jubilee singers and we can detour into a light jazz workout with Go Jump the Willie before parking into the salsa beat of The Language of Love.  The easy shuffle of Ham and Eggs is an early morning blues, while the closing title track is a deeper version of the slow blues with some fine playing.