Wylie and the Wild West 'Song of the Horse' - Hi-Line

I immediately took to Wylie when he appeared on CMT (when it was available), as he was the only country singer I knew who wore glasses. He also made great traditionally inspired country music, from his first release back in 1992 to Song of the Horse which is his 21st. Wylie is a prolific writer and his songs have graced his albums since day one. He is also a distinctive and recognisable singer whose voice has matured and grown through the years and is an immediately comfortable presence.

Wylie’s band, the Wild West, have changed personnel through the years, but have always provided an appropriate backing for him. Wylie Gustafson balances his music with his ranch work and horses and it gives his songs an authenticity that few others can offer. He brings a genuine western feel to his music that manages to avoid the corniness that is sometimes inherent with some cowboy music. This album is a heartfelt tribute to the horse and its place in the life of the working cowboy and ranch hand. The 21 songs on the album all feature that noble animal as a central part of the songs. Yet that specific subject matter in no way distracts from the enjoyment of the album, the songs could easily have been love songs (they are in themselves - but you know what I mean), or any of the other staples of good country music.

Gustafson has had a hand in writing all but one of the songs on the album (though I thought that Goodbye Old Paint was an older song) and manages to make each sound unique by ringing the changes in the way they are played and the moods they evoke. Some have a south of the border feel, others are more acoustic in tone, while some are more fiddle and lap steel orientated. Other songs rock and what appears to be a jaws harp and an electric sitar even make an appearance. All highlight the skill and understanding of the current Wild West band’s playing ability. All in all the album passes its hour plus running time without ever feeling that it is over-extending its welcome.

There are some real stand out songs like the two Paul Zarzyski co-writes; A Pony Called Love and Saddle Broncs and Sagebrush, but there is much to admire here and different songs will grow in favour depending on repeated listening and your mood. Although this is an album rooted in traditional country, Wylie never makes the music seem stuck in the past; rather, like its subject matter, Song of the Horse is a living, breathing and enduring entity. Song of the Horse is among the best of the albums that Wylie and his Wild West have produced and it is a testament to music that is made for all the right reasons.

The Kennedys 'West' - Self-Release

The husband and wife duo of Pete and Maura Kennedy have been plying their trade for some time now and this, their latest album, finds them making music in peak form. An essentially self contained unit of multi-instrumentalist Pete and guitarist/vocalist Maura,  although they do feature some guests on two tracks,  but otherwise it’s all them. The sound here is classic folk rock with hints of 60’s west coast of USA and of UK bands of that era such as Trees. The main difference is that they don’t delve into the vast catalogue of traditional folk songs, rather they write the songs themselves. They do go to outside sources for John Stewart’s The Queen Of Hollywood High and Records member John Wicks’ Perfect Love.

Maura Kennedy’s Signs, replete with electric sitar, highlights her crystal-clear voice and the duo’s sense of melody and mastery of a quintessential essence of their own direction. The bulk of the lead vocals are handled by Maura but Pete takes the occasional lead on songs such as his Jubilee Time. His voice may not have the resonance of Maura’s, but does the job well. Sisters of the Road celebrates the female voice, while the title track is a paean to musical influences that sent them on a journey heading west. Southern Jumbo has a strong country twang that is a delight and recalls the time in the 80s when mainstream country wasn’t all pop and hair rock influenced. It recalls childhood, big guitars and Johnny Cash. 

A short story by B.D. Love inspired Black Snake, White Snake to the extent that Love is given  a writing credit. It has the duality of good and evil represented by two snakes as its subject. The electric sitar is central to its supernatural dreamscape. Bodhisattva Blues imagines Doc Watson and American mythologist Joseph Campbell exchanging ideas and ideals for a songwriting session. The penultimate songs are the two covers. The Queen of Hollywood High features the late Stewart’s band and is a solid groove in Southern California mode. Perfect Love is a Byrdsish  flight of harmony vocals and 12 string guitars. The closing track could well sum up the album overall. Good, Better, Best might suggest their musical development and this album could easily be argued to fit that latter word.

The Stone Hill All-Stars 'Away' - Self-Release

The Stone Hill All-Stars are seasoned crew of players who play a tasty mix of roots fusion music that displays their collective skills from Paul Margolis’ songwriting and vocal prowess to the tight playing of the band and their guests. This is emphasised by the fact that the entire album was recorded live in the studio. It was committed to tape in a single afternoon session which requires a deep understanding of each other’s abilities and a solid knowledge of the songs themselves.

Margolis is joined by guitarist Tim Pruitt, bassist and saxophonist Dan Nainman with Hoppy Hopkins on drums and John Shock on keyboards and accordion as well as vocals. Collectively they make a sound that is immediately full of juke-joint jubilance, loose limbed jazz, border reggae and old world rhythmic rock ’n’ roll. This is a sound that gets feet tapping and suggests that they are the perfect band to cut a rug or two to. These are players who each bring a wealth of experience to bear on the songs and a host of different influences that has them described as ‘the Pogues but with polka’. Not strictly accurate but I see the comparison, especially on the accordion led songs. Another cross reference has been to Ry Cooder which, in truth, might give a clearer picture of the eclectic nature of the overall sound.

This is the band’s third album and one that shows them to be musicians playing music for the joy it brings them rather than as any career move. Several members of the band were previously in The Polkats, a similarly minded collective, and they are in it for the long haul. Songs such as Out Across the Frozen Lake, Jones et al v Petrie and Away all evoke images based on the lyrics that are well enhanced by the music. The All-Stars take them beyond just being words over the music, rather they are something more precise and perceptive. They are many reasons that suggest that The Stone Hill All-Stars will have a wider appeal than just a self-released album; this Baltimore band have made an album well worth checking out. 

The Mulligan Brothers 'Via Portland' - Self-Release

Brothers in arms rather than siblings, this Mobile, Alabama quartet have Los Lobos’ Steve Berlin producing this, their second album. A bass, drums, guitar and violin/mandolin is the lineup that is bolstered by some strong vocals. The lead vocal is from Ross Newell while the other members Ben Meininger, Gram Rea and Greg Deluca all add their vocals to create a solid, warm sound. Newell is also the main songwriter. 

Their sound has been honed by numerous live shows and was polished by Berlin in the studio, who took that role having heard and admired the band’s debut release. Berlin brings experience and understanding to these Americana-styled songs, giving them additional range and nuance. Rather than home-record they used as professional studio, which accounts for the overall depth found in the album’s songs and sound.

Many of these tracks have a strong storyline that fits with the mood of melancholy on songs like Calamine, the tale of a gun of that name that seems to have a will of its own; one that ultimately leads to death. Louise is tale of love sought but not found with a girl of that name. Between those points of love and death the other songs tell their own short stories in a way that is often more uplifting than the subject matter might suggest.

This quartet is honing their sound and aiming to bring their music to a wider audience via touring and through their albums. They are not unique in terms of an overall roots sound and are equally not about breaking new barriers. What they do, they do well and with this album that have found a sound that they can develop and build upon. It is one forged in honest expression, something that is often lost in the search for wider commercial success. But for the Mulligan Brothers, they can go via Portland to wherever their music takes them and they will make many friends along the way.

Jack Kerowax 'Self Title' - St Cait

Kerowax is a debut album from this Dallas based band and the original brainchild of singer-songwriter, Johnny Beauford. The ten tracks are a mix of guitar based rock workouts and country tinged story songs and there are hints of Wilco or perhaps the Black Crowes in the loose feel of the music. 

The four musicians are from different Dallas/Fort Worth bands and play with a comfort that comes from gigging regularly together in a live setting. Recorded, mixed and mastered on analog equipment, the overall feel of the recording is one of diversity with tracks like Fever, Empire State, Fancy Cigarette and Huck Finn’s Hideout delivering a mix of warm arrangements and melodic tones.

Kelley Hunt 'The Beautiful Bones' - 88 Records

Roots /Americana is a label that many artists are squeezed into, but we should of course listen to every artist on their own terms. Kelley Hunt has an identity that is found in blues/roots/gospel traditions and this is the sixth release from an artist that deserves special attention. 

Blessed with a voice full of real depth, rich expression and power, her songs are steeped with a soulful emotion and her skill at the piano is the perfect accompaniment for her special talent. However, she crosses boundaries, and has a refreshing approach to song writing. 

Simplify is a fine song that counsels us to strip back our lives and get back to the basics. The title track is full of insight and thoughtful reflection on the things that are important in the world and in our relationships. Miracle is a song of hope and having the faith to carry on and Let It Rain is a real standout, with a message to embrace the individual gifts that we all receive.

 I Want You There is a sweet soulful love song that could have come straight off a Bonnie Raitt record, as could the two opening tracks, This Time and Golden Hour, that rock out of the gates with real swagger. This is a fine collection of songs and comes highly recommended. 

ShAnnie 'Blame it on the Moon' - Self Release

Shan Kowert & Annie Acton came together in 2005 and have released two previous CDs, Water Over Stones and The Station. They have been described as "eclectic Americana pop folk with celtic and Spanish undertones"...  a description that accurately describes the eclectic sound they produce. This third album shows off the beautiful harmony vocals between Shan and Annie as they soar and weave across the thirteen songs on offer here. 

The production by Walt Wilkins is excellent and there is a real sense of space in the song arrangements. The various musicians that contribute to the project bring a restrained sense of playing to the feel of the music and a ‘less is more’ approach that is a perfect foil for the soulful and lyrical vocals. Delicate accompaniment on a range of instruments, including violin, accordion, mandolin, dobro and lap steel, give a sense of laid back and reflective times. 

There are relationship songs, Carry On and Words That Fly; there are songs of guidance and hope, Pray Like a Butterfly and If You Dare. A fine cover of Life in a Northern Town is suitably different to the original and Love Just Fits is a song that sums up the overall feel of the recording – “fits like a scarf, wrapped all around me”. A recommended release for lovers of life and sweet romance.

Justin Townes Earle ‘Absent Fathers’ - Loose

A companion piece to Single Mothers, Absent Fathers continues in the same vein with a tight trio of musicians notably Paul Niehaus on guitar and pedal steel and the rhythm section of Matt Pence and Mark Hedman. Both albums are being made as a double vinyl album release that will officially tie them together. This second album continues the introspective nature of the songwriting and reflections on the effects of family on a overall outlook to life that the previous album started. While there is the contest between the full band sound on songs like Round The Bend or Farther From Me which themselves offer a tight, concise sound with that of the stripped down voice and pedal steel mediation of Day And Night or Least I Got The Blues the overall approach has been to make the delivery of the songs as simple and direct as possible. The titles of both CDs may give a clue to the origin of the songs inspiration though they are opaque enough to allow for interpretation and individual themes.

It continues Earle’s development as a writer and singer and shows that on each outing he has considered the music that sits behind his words and there has been a different approach to each album to date up to the sessions for these two albums. Earle has co-produced the album with engineer Adam Badnarik and they have allowed the songs a space that is free of gloss and the sanitized sound that is sometimes the hallmark many a more mainstream recording. Real has also created his voice that is an integral and recognisable part of his sound. A slight slurred and entirely captivating instrument that, in itself, is at the core of his music.

The ten tracks clock in at just over a half hour and that makes for a concise mix of folk, blues and country that are appropriate for the sense of the journey from feeling abandoned to a growing resilience and slow recovery from whatever demons were inherent in that upbringing to one where a new sense of purpose and one’s own future is more apparent and approachable. These are not however the type of songs that can be assimilated in an instant but rather need to be assessed over time. Doing that reveals their true value, though those who have appreciated Justin Townes Earle previous work will find that the two albums may well constitute his best work to date.

Matt Townsend and The Wonder Of The World - Eternal Mind

Fitting neatly into that rootsy electric folk/rock mix of Dylan/Band/Neil Young influences Matt Townsend and his band have produced an album that has harmonica, acoustic, electric and pedal steel guitars with a solid rhythm section and the embellishments of keyboards and, on occasion, musical saw to give body to Townsend’s songs. Produced by Jamie Bright, who is himself a multi-instrumentalist and integral part of the band here, it has a warm and relaxed overall feel. Townsend’s voice has solid timbre and it suits his songs to a tee without every being overly showy or, in truth, as unigue as some of his influences. But overall the sound is eminently listenable.

The cover artwork has vaguely eastern element that might suggest something more psychedelic in nature though there is a hint of William Blake in the lyrical direction which makes the words worth analysing. They take on a more mystical tone with tltles like Seventh Story, Hollow City (Free Me to My Soul), The Garden Where The Grass Forever Grows and Gratitude In Being. These are not the usual tales of dark streets and alcohol fuelled nights but have a deeper spiritual message with lines like “ thank you for this air, this earth, this life” or “like a man of constant trial, been searching’ for the answer to repression and denial”. There is a booklet featuring the lyrics which makes a useful companion when listening to the album and helps avoid any ambiguity.

These nine songs are certainly ones that would find favour with those people who like their music with a solid foundation that can be built upon and will warm to the overall familiarity of the musical path it treads. Matt Townsend has an obvious talent but he might find it a bit of a struggle to gain recognition outside of those who encounter this album or a live performance and who take the time to warm to it’s strengths. However there is music here that deserves consideration.

Annie Lou ‘Tried And True’ - Self-Release

The album opens with the sound of a plucked banjo and sets you up for another folky/bluegrass album. It is such but there’s more to it than that. By the third track Roses Blooming the fiddle becomes more country something underscored by the inclusion of pedal steel and the tone of the vocal. This mode is repeated on the more honky tonk orientated It’s Hard To Tell The Singer From The Song. Canadian Annie Lou Genest shows how she can ring the changes with her mix of roots music sources. She is blessed with a clear and captivating voice that shows her well capable of delivering in any of the forms that these songs bring her to. 

Elsewhere she touches on old-school folk harmony, folk gospel and Appalachian ballads (My Good Captain, Weary Prodigal, Tried and True). Aside from Annie Lou’s central contribution there is able support from fellow Canadian players such as Chris Coole on fiddle, Chris Quinn on banjo, fiddler Trent Freeman, Burke Carroll on pedal steel as well as producer Andrew Collins on mandolin and guitar. She is also ably supported throughout on vocal harmony front from these top notch players.

The songs show a writer who understands the nuances of traditional folk and country genres. Annie Lou is the main writer here with two non-originals including a cover of Hazel Dickens’ aforementioned It’s Hard To Tell The Singer From The Song and the traditional Weary Prodigal added to her own eleven songs. All of which could easily become covers in their own right by astute song seekers.

Annie Lou has brought a freshness to the album by not sticking with a particular direction, something that sometimes brings criticism on an album for not sticking to one particular style throughout but here proves to be one of the albums strengths and shows she could easily record an album in any of the musical tributaries here and a straight country album would doubtless be a delight. This is an album that is well summed up by it’s title.

Charlie and The Regrets ‘New Night’ - Self-Release

A four track release from the Houston, Texas four piece who play some rough edged roots rock. The EP opens with Baytown an uptempo tale about a part town where one goes to let off steam and then, hopefully, live to regret it. That is followed by the slow regret of New Night that sees the singer channeling his regret through playing some love songs to the object of his unrequited desire which features some distorted lap steel to heighten the bluesy feeling on his mind. Start A Company kicks up the tempo and again features the edgy lap steel to the fore front giving the songs some fire over the tight rhythm sections that is pushing the beat. The closing song again take it at an slower pace and has a solid rhythm under the acoustic and lap steel guitars.

New Night serves as an introduction to this solid four piece who are sure to kick up a storm live and suggest they have the makings of a fine full length in them. While there may be nothing new in terms of an overall sound they show their commitment to themselves and to their music. These four self-written songs have enough going on for them to make them a welcome return to the CD player and over a full album they will have the opportunity to explore further options that shoild give them no regrets with what they might deliver.

Blind Willies 'Every Day is Judgement Day' - Self-Release

Blind Willies is a San Francisco band led by singer/songwriter Alexei Wajchman. They have released three previous records, The Unkindness of Ravens (2007) and Everybody's Looking for a Meal (2008) and Needle, Feather and a Rope (2011). These albums defined their growing sound and the current band of five musicians, accompanied here by various guests, span diverse genres with alternative country, mixed with some restrained rock and light classical in their use of instruments such as cello, trumpet, flute, accordion, banjo, harmonica and the standard guitars, and drums.

All the songs on this release concern freedom and the means by which we define it. Whether using the word as a tool or a badge, we can end up in a place where freedom is just another word for nothing left to lose  with a Kris Kristofferson credit in the liner notes.  Cremo Tango kicks off with a tribute to those who inhabited Auschwitz-Birkenau and is inspired by a story collection written by Tadeusz Borowski. It is a tango and played against the dark message contained in the lyric "Ladies & gentlemen, this way for the gas". 

The view of the politics and atrocities of war continue with songs like 42 Jews and when we switch to personal relationships there is the freedom message of Break Fee and I Need a Woman. Singing with an earnest delivery, Alexi Wajchman certainly displays plenty of passion and the 15 songs come and go with pleasant playing from the band. However, the length of the release is probably working against it and a ‘less is more’ approach would have been of  benefit overall.

Terry Davidson & the Gears 'Sonic Soul Sessions' - Bangshift Music

Terry Davidson plays the blues and has been a veteran of the music scene around the United States for over fifty years. His band, The Gears, deliver a solid support to the guitar dexterity of Davidson and the harmonica playing of Mike Gilliland is quite prominent across the thirteen tracks. The horn section adds colour to the song arrangements and the keyboards swell with the backing vocals, adding to the dynamic of songs like Chicagoland and So Hot.

Styles and influences range from Texas blues, with the Too Late to Change track channelling Stevie Ray Vaughan, to traditional Chicago blues (Stomping Ground) and some traditional blues rock (Tapped Out).

The playing is dynamic and full of energy with the production, by Terry Davidson and Joe Viers, both crisp and clean. Anyone who enjoys the sweet sound of blues guitar workouts, backed by restrained and sensuous ensemble playing will have plenty of happy hours with this release.

King of the Tramps 'Joyful Noise' - Old School Records

King of the Tramps is an original roots-rock group from Auburn, Iowa, whose sound calls upon influences from rhythm n’ blues and country rock. The group cites The Band, Little Feat and the Allman Brothers among their primary influences. There are nine tracks here and the overall vibe is one of flowing, loose workouts with plenty of gritty character in the vocal delivery of Todd Partridge, the guitar playing of Justin Snyder and the keyboards of Adam Audleheim.

This is the third release from the band and the impressive War has a fine duelling guitar work out. Wandering Kind shows the band playing an acoustic, reflective song that builds-up to an ode to the road. The slow strum of Deadman continues the change of pace and Cowboy Boots follows in a similar vein with some expressive guitar work. Joyful Noise brings the recording to a swinging conclusion with advice to celebrate life as ‘one of these days you’re gonna wake up dead’.  

Laura Rain & the Caesars 'Closer' - Self-Release

What do you get if the sound of Detroit is taken and mixed with some old fashioned blues and driven along by a funky backbeat?  Answer? Laura Rain and her impressive band.

This lady sings like a powerhouse and attacks the eleven songs here with attitude and sassy confidence. With a backing band this good and a brass section that wrap the tunes in a tight grip, the rhythm is infectious. Think Etta James and Aretha Franklin, mixed with Anastasia and you are getting near the groove here.

George Friend on guitar is particularly influential and his playing is really impressive, from the slow feel of Your Love is Not Broken to the strut of Squawkin’. Keyboard player Phil Hale and guest Duncan McMillan on organ also add to the warm sound and deliver some fine ensemble playing. All the tracks are strong but the tight beat of Super Duper Love and the slow burn of He Is take some beating.

Their debut CD Electrified appeared in 2013 and is followed by this impressive collection to add further claims to a career that can only get bigger. This is Memphis soul, Chicago blues and Motown funk, all in a Detroit, Motor City vehicle that is flying up the highway. Grab a seat while you can.

Awna Teixeira 'Wild One' - Self-Release

This second album from former Po’ Girl member is every bit as good, if not better than, its predecessor Where the Darkness Goes. It again highlights her distinctive vocal style, her writing and song arrangements. A multi-instrumentalist, Teixeira recorded this album in Toronto with co-producer Dave MacKinnon. The end result is a striking combination of words and music. The music is subtle, but highly effective, with bass and drums laying down a solid foundation for the electric guitar and piano as well as the numerous other textures from the instruments played by Teixeira throughout. It is the layered vocals however which give the focus to the whole project. In this she is joined for harmonies, at times, by fellow singer Oh Susanna.

Without a lyric sheet it is not always easy to follow the lyrical content, but you are soon absorbed into the heart of these rewarding songs, while additional plays give you more lines and you gain a greater understanding of their meaning. One is drawn to the emotion of a person who has an obvious affinity for her fellow humans and the way that life has a way of getting in the way. These are personal songs and Teixeira has been touched by the destructiveness of metal illness in her family and use her music as a means to raise awareness of that. That is done with a lightness of touch and a gentle approach that will make Wild One something of a healing song for many.

Many of these songs were written by Teixeira while in Salt Lake City and the landscape and people of Utah provided her with inspiration. The cover artwork comes from another Salt Lake City affiliate, Claire Taylor. It’s a depiction of the wild animal as a metaphor for a free spirit. This is what Teixeira is and this album is a reflection of that and a thoroughly rewarding experience on every level. One listen to the closing song here, Away We G,o will confirm the special talent that is Awna Teixeira.