Laurie Lewis and Kathy Kallick 'Sing The Songs Of Vern And Ray' - Self Release

I’m a long time fan of both of these bluegrass super-heroines and I’d been waiting for this album since I first heard it was in the melting pot. California based, both Laurie and Kathy have been friends, collaborators and band members for more than a few years. Originally members of the iconic Californian band The Good Old Persons, they both went on tohave separate and hugely respected solo careers. But they never forgot the main influence of their early years was the bluegrass and old timey sound of Vern Williams and Ray Park. This amazing collection is their way of somehow paying back and recognising the kick-start Vern and Ray’s music gave them.

Vern and Ray, although only together through the sixties and early seventies, were an everlasting influence on the west coast bluegrass scene and it’s early musicians, including Tony Rice, Chris Hillman and Herb Pedersen (who played banjo with them before taking Doug Dillard’s vacant slot in my all time favourite band). Like a few others, their effect on the growing bluegrass scene was way in excess of their short time together.

Laurie Lewis and Kathy Kallick and their Bluegrass Pals take us through an 18 song primer of Californian-associated bluegrass standards that is a joy to listen to and a full on foot tapper to boot. I won’t single out any particular track, as that would be sure to lessen the importance of all the others. This is a complete pack of some of our all time favourite bluegrass tunes that owe their popularity to the short careers of Vern and Ray and are lovingly reprised here by two of bluegrass’s most respected daughters.

The only problem with this little collection is that you’ll have to hit the record store again for more of Kathy and Laurie’s essential bluegrass listening. Laurie Lewis singing Who Will Watch the Home Place? is still my favourite and most played radio tune. ‘Nuff said.

One of the best tribute albums I have heard in many a day.

The Red Pine Timber 'Company Different Lonesome' - Self Release

In my line of listening, I’m used to being gently lulled into a relationship with my review albums, but the opening Lonely Days Are Gone from the Red Pine Timber Company just blew me back into my seat with its full on Beach Boys/Searchers feel. I couldn’t begin to try to pigeonhole this band; let’s just say that after the initial shock I started to look for influences and found all my musical favourites contributing in this pretty impressive project.

With eight members they have enough talent to form several smaller bands, but they manage to combine their skills to give a West Coast Americana sound the freedom to breathe without any obvious interference from the laid back horn section. Gavin Munro and Katie Burgoyne swap and combine vocals on this collection of Gavin’s own tunes, the shortest of which is 3 minutes long. Big guitar sounds and shrill harmonica harken back to an era when rootsy Americana was in its infancy and borrowing from the prevailing LA and Mersey sounds. 

This Scottish-based band have been on the road for about four years and look destined to be around a while yet. They are certainly not an intimate club listen, but as each track is like a mini movie soundtrack, they would need the right hall to give full room to take in the lush combination of all the various instruments. This was a refreshing diversion from my usual acoustic diet and I thoroughly enjoyed it.

The final track Oh Sinner Man,  the only cover version on the album, flipped me back to my folk club roots and eased me back to my more familiar surroundings. There is plenty of info on their website at www.redtpinetimberco.com if, like me, they snuck up unannounced.

Billy Strings and Don Julin 'Fiddle Tune X' - Self Release

I hadn’t heard of this guitar and mandolin duo, but this is 17 virtuoso tracks jammed into an above average and well designed album. The title track is their own, but they tip the hat to the Carters and Stanleys with Tillis, Travis, Monroe and Rogers  added to a list of traditional favourites.

Billy Strings plays guitar, banjo and sings, with Don Julin on mandolin, banjo and vocals. They put this little beauty together in 2013 and 2014 in pubs, clubs, churches and farmhouses. It was all recorded on one mic, straight to tape, in front of live audiences, which gives it that vibe that, should you feel it’s too cold to go to the local gig, then slip this in the player, sit back and enjoy the real deal.

The young shaver Strings on guitar and older statesman Julin on mandolin are a strange visual combination, but do they ever know how to push a tune to the edges. Michigan based, but sounding as though they grew up dangling their toes in an Appalachian mountain stream, this duo play with a verve and passion that has their audiences hooting with pleasure throughout the recording.

There are way too many tracks to start appraising them all,  but suffice to say the first few bars of the opener Beaumont Rag left me in no doubt that they will feature regularly on my Lonesome Highway radio shows. I’ll be looking forward to more from these boys.

Kathy Barwick 'Braeburn' - FGM Records

This is12 tracks of pure guitar magic. Kathy Barwick is one of the flatpicking world’s best kept secrets, but her regular visits to this side of the pond are sorting that one out. I first met her at a guitar masterclass in Perfect Pitch in Dublin when she did the impossible and taught my addled brain the secrets of cross-picking. Equally at home on guitar, dobro or banjo, Barwick gives all of them fair exposure on this must-listen-to album.

Each track features at least one of her multi-talented friends, so they are all little stand alone classics in their own right. Two of her own compositions The Cantara Loop and the title track Braeburn sit very comfortably with traditional, folk and bluegrass favourites. There is plenty here to suit pickers and non-pickers alike, with a couple of fine vocal tracks thrown in for good measure.

Kathy is a fine guitar player and the first few notes of the opening track Caribou leave you in no doubt that this album is a keeper, understated and easy on the ear andoozing with sweet melody. The waltzes and the twin Sally Gardens / Willow Gardens are two wonderful resonator tracks while the Sweet Sunny South, The Cantara Loop (with excellent mandolin assistance from John Reischman) and Braeburn showcase Kathy’s versatile banjo styles.

Fans of Kathy’s band Nine 8ths Irish won’t be disappointed either, with plenty of Celtic covers here to delight. Finally Angelina Baker adds yet another version of this Bluegrass classic. I’ll add this album to my Kathy Barwick archive, knowing that it will enhance my appreciation of her first solo CD, the Nine 8ths Irish CDs and my particular treasure, the long out of print All Girl Boys bluegrass album.

I highly recommend this album and also suggest you see her live in concert as she is an ever so humble, yet ever so talented musician’s musician.

JP Harris and the Tough Choices 'Home Is Where the Hurt Is' - Cow Island

The bearded Mr Harris stares out from the cover illustration like some doomed 19th century outlaw. Indeed his country music - and this is country music straight up - may well fall into that category too, if for no other reason than he plays it as it should be played; with no concession to current demands and fads. The feisty label Cow Island is known for sticking to its guns and delivering the hard stuff. Together they have delivered one of the year’s best albums.

Harris is a native of Montgomery, Alabama who has travelled around a lot before playing country music with his band the Tough Choices. They released their debut, I’ll Keep Calling, through Cow Island in 2012 and it won the Independent Music Awards best country album of the year. This album should equal that at very least. Its 10 tracks are all written by Harris and you can hear his influences blend into something fresh and vibrant. The music is part of a living tradition that, while the lifestyle and locations of its audience may have changed, the sentiments and motivation have changed little.

The album is written, produced, arranged and sung by Harris who has employed his band, including co-producer Adam Meisterhans - a man who understand the dynamic of country guitar - with the latest incarnation of the Tough Choices which includes steel player Brett Resnoick, bass and drummer Timmy Findlen and Jerry Pentacost, with Mark Sloane on keyboards with Chance McCoy (from Old Crow Medicine Show). Steve Berlin (Los Lobos) joins then on sax for the final track Young Women and Old Guitars. Other guests include backing singers Nikki Lane, Shelly Colvin and Ashley Wilcoxson. The whole kit and caboodle were recorded by co-producer Justin Francis in Nashville.

The themes are heartbreak, longing and hankering for love. The album opens at a dance floor pace with Give  a Little Lovin’ and is followed in similar style by A Breaking Heart, The next song up is one about open roads and romances and sounds just like an old friend giving advice. The title track is full of sadness and sorrow perfectly delivered by Harris’ finely wrought singing, full of emotion and pain, and the music matches every beat of the broken heart. Maria tells of the woman of that name and how if she were still close, she would be his woman of choice.

The road warrior’s life is the theme of the self explanatory Truckstop Amphetamines and it again reeks of a ‘been there, done that’ attitude and is more effective in its slower pace and thoughtfulness . The final track is short but effective and closes the album with the aforementioned Young Woman and Old Guitars, a kind of a ‘these are my favourite things’ song. This is a balanced and enjoyable album that easily defines county with a hardcore honky tonk attitude as opposed to what currently passes for ‘country’ in the charts, although one can take heart that Metamodern Sounds in Country Music by Sturgill Simpson made it into the top twenty of the Billboard Country album chart. Home is where the Hurt Is should definitely be there too.

Daniel Meade 'Keep Right Away' - From the Top

The latest album from the Glasgow country singer finds him stepping things up a notch, recording this new album in Nashville with Old Crow Medicine Show’s Morgan Jahnig in the producer’s/engineer’s chair. Jahnig had been impressed with the singer’s debut, As Good as Bad Can Be, and invited him to record in Music City. 

That decision has allowed them to call on the talents of players like Chris Scruggs, Joshua Hedley, Aaron Oliva and OCMS’ Cory Younts, Critter Fuqua, Chance McCoy and Jahnig himself. Guest vocalists included Diana Jones and Shelly Colvin. Meade’s longtime guitarist Lloyd Reid also joined the trip and anyone who has seen Reid play live will know why. That the album sounds not unlike some of OCMS’ more recent outings is not surprising, though Meade has his own path to tread and incorporates some old school country and blues into the sound too. In fact he takes his cue from the era when  blues and country were just two sides of the same coin.

The first song and current single is Long Gone Wrong which sets the tone for what follows. It is a fairly uptempo and uplifting set of songs that draw on the perennial heartbreaks and edge-of-disaster relationships that were once the staple of both country and blues. The titles, all written by Meade bar two that were co-writes, tell the story as much as anything. With songs like Sometimes a Fool’s the Last to Know, Always Close to Tears, Not My Heart Again and the title songs, things are not coming from a happy camper. However the spirit of the music belies that as there is an energy and engagement that means the music is never maudlin, rather it’s positive.

Daniel Meade is front and centre as a singer and no slouch in the writing stakes. He has enough vocal depth that he can adapt his voice to suit the songs’ different needs and does so with a sense of real life and truth. True, nothing steps outside a specific framework, but within its chosen parameters it gives as good as it gets and is yet another example of originality shining through from home-grown acts willing to explore their own muse rather than simply playing an audience a pleasing set of covers. In the end this is a far more satisfactory outlook that doubtless makes it a harder task for the artist, but it is a far more creatively rewarding, if not always financial rewarding, one.

So go against his advice and rather than keeping right away, my advice is to get closely acquainted with Daniel Meade.

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.