The Yellow Bellied Sapsuckers 'Ocooch Mountain Home' - Self Release

Nikki Grossman and Joe Hart are the proud owners of the splendid woodpecker-derived moniker. This, their second album of old time country music, was recorded in the acoustic environs of a 100 year old converted church. It was recorded by Tom Herbers direct to one inch analog tape and as such captures an intimate live in-studio performance. Performance is a key word here as both Sapsuckers have immersed themselves in the music of the 20 and 30s and have also adopted a visual sartorial representation of earlier times, if the cover picture is anything to go by that is.

Although their music is inspired by an earlier time, they have written the majority of these songs, either individually or together. They have created both the feel and sound of that earlier time, but without ever feeling stuck in a time warp. That is essentially down to the energy and enthusiasm in the way they approach their music. Their musical style is not unique, but rather attains its individuality in the combination of their voices, their undoubted humour and their obvious musical skills. The duo are joined on some songs by Patrick Harison on lap steel and accordion which adds texture to the sound.

This is particularly telling on the Spanish language Medalla de Dios, where the accordion takes us south of the border in a song that is full of passion and features an outstanding vocal from Grossman. Equally the lap steel on the country song Beneath a Neon Star in a Honky Tonk, flavours the song and underscores the variety of style that the duo can bring. Their prowess on fiddle and guitar, with their strong vocals, is the bedrock of the duo’s success and charm. 

The roots of country, as it once was, are on display here; the string band and Appalachian textures meeting the more urban country contours in a way that makes perfect sense. Given that they are a duo (for the most part live) the interaction between Grossman and Hart makes them a flexible and formidable listening experience that does not need any additional input to deliver the goods. The Wisconsin based duo obviously enjoy what they do as will a lot of others, so check out this rewarding and resolute album, one so perfectly suited to those who might want to remember a time that music was not just about sales figures. 

Pharis and Jason Romero 'A Wanderer I’ll Stay' - Lula

This is the third album from the acclaimed duo who are seasoned and passionate vocalists as well as skilful players. On this album, which they co-produced with David Travers-Smith, the Canadian couple have added an extra element by bringing in bass, fiddle drums and pedal steel to augment their own playing. For those who like to know these things they include in the accompanying booklet the age of the main instruments as well as the banjo tunings. They also designed the good looking package, something that would put many a major label offering to shame.

But it’s the music that will draw many in and that is striking and memorable. It moves from the basic duo on New Lonesome Blues to There’s No Companion where the bass, fiddle and steel add additional flavours that show the breadth of their influences and capabilities - all topped by their sublime vocals. The majority of the songs are self written with a couple of more well known favourites like the western ballad Goodbye Old Paint. Billy Mayhew’s It’s a Sin to Tell a Lie is another that many will recognise. It was first heard by Jason in the film Pennies from Heaven and here is based on a version by Riley Puckett from 1940 that, again, effectively uses the steel guitar to add to the overall feel .

Pharis takes the lead on Poor Boy and shows what a clear and effective instrument her voice is on it’s own. When joined by Jason they emphasise the talent and skill they have invested in their musical journey. Their take on the often recorded Cocaine Blues is true to it’s 20s roots. Jason’s subtle banjo picking on his own Old September shows a delicate touch that suits the title well. The final song is The Dying Soldier, a dark tale of the Civil War whose title pretty much sums up the context, that of a mortally wounded soldier lying on the battlefield and wanting to be remembered to his family. It closes an album that is a testament to the duo’s accomplishments and fresh sounding approach to the music of another era, while adding much that is true to themselves. 

Kevin Breit featuring Rebecca Jenkins 'Ernesto and Delilah' - Poverty Playlist

A double CD that more than just a extended set or music but rather two distinct parts. It comes housed in a large format attractively design package with sleeve notes (remember them) that explain the origins of the project. The first CD titled Ernesto is an instrumental set of songs associated with Brazilian composer Ernesto Ciari (though there is a note in the booklet that says that he and others mentioned are figments of the imagination - so take that how you will) and which featured the mandolin as the lead instrument. Your liking of this set may well largely depend on your appreciation of that instrument in particular and instrumentals in general. But there is much to savour here, in both the performing and writing of these two sets of songs.

The second CD Delilah again is a showcase for Breit’s mandolin playing but it also is a platform for the strong vocals of Rebecca Jenkins. There is a theatrical element to this song cycle and it feels rather like a soundtrack in many ways, with the songs conjuring up sonic stories. Breit also sings effectively alongside Jenkins on songs such as Murderous Dimitri. Other titles attest to storytelling nature of the writing such as From the Flood, Ghost of California, Cut Me Down, Come on Home and Alberta Hunter. Despite the rather specialist nature of this double album the Delilah portion is likely to attract more attention and has much to commend it both in the vocal delivery and Breit’s writing and arrangement skills as well as his dexterous playing. Thomas Dooley 111’s production is also clear and concise. The well designed booklet has the lyrics to the song and does much to tell the story of Delilah.

Breit is also known as the Upper York Mandolin Orchestra and, other than Russell Boswell’s upright bass, he played all the other stringed instruments involved. So if the mandolin is an instrument that you admire and would like to hear it used to its best effect, upfront and centre, then this will be a project that may well  delight and engage. 

Anna & Elizabeth 'Anna & Elizabeth' - Free Dirt

This duo are inspired by old-time, folk, Appalachian and bluegrass music. Elizabeth plays banjo and Anna also plays banjo as well as fiddle and guitar. On two tracks they are joined by guitarist and bass player Joseph DeJarnette. Uillean piper Joey Abata adds a droning atmosphere to the song Orfeo, a Scottish traditional song Anna and Elizabeth pieced together from various versions of this Child ballad that speaks of fairies under the hill.

The majority of the songs are from traditional sources with additional choices including Won’t You Come and Sing with Me? by Hazel Dickens and Voice from on High, co-written by Bill Monroe and Bessie Mauldin. The sound is spare, rustic and revealing. It is ageless music delivered in its most fundamental form; voice and acoustic instrument. It is the voices that are the most immediately striking thing about Elizabeth LaPrelle and Anna Roberts-Gevalt. Don’t Want to Die in the Storm is sung acapella which best displays the closeness of the intertwined and intimate vocals. 

Many of these songs have a darkness that resonates. Greenwood Sidey tells of child murder, also know as The Cruel Mother, is delivered over an effective repeated guitar motif and shows how the duo can vary the tone of their vocal delivery to suit a particular song. They take a very traditional route that could have come from any time in the last hundred years or more, and add nothing to these songs as nothing is needed other than the deep quality of the human voice, something that is celebrated in these songs by this clearly talented duo. Not everyone’s cup of tea by any stretch, but if this kind of music appeals then this album will give you much to savour. Anna and Elizabeth are joined on the album by the renowned Alice Gerrard, who offers words of praise and notes that they do the tradition proud and there is no doubt of that. The album comes with a booklet of illustrations and notes on the songs that makes for a well rounded package.

Dean Owens 'Into the Sea' - Drumfire Records

Dean Owens is one of Scotland’s most acclaimed and established singer-songwriters, with five previous solo releases including a Johnny Cash tribute record. His list of admirers includes Bob Harris, Irvine Welsh and Russell Brand.

Owens sings with a soulful and yearning delivery and his song arrangements are melodic and sophisticated, with a melancholic and wistful lyrical mood across the 12 tracks. There is a backwards nod to the colourful family tree in the opening song Dora, before a gentle love song Closer to Home brings the mood to a more personal place.

The nostalgic tone of Kids, Virginia Street and Up on the Hill hints at personal experiences and a past that holds its’ ghosts in a hard won perspective. Evergreen is a stand-out track, a tribute to a former lover, while Sally’s Song is a personal letter to a friend with the message that it will all work out in the end.

The playing is restrained and uncluttered, with just enough production to colour the songs without putting too much gloss on them. Into The Sea was recorded in Nashville with producer Neilson Hubbard and a stellar cast of musicians including Will Kimbrough, Kim Richey and Suzy Bogguss. The future looks bright for his talented artist and his acoustic based songs should lead to continued success.

David Knowles 'Footsteps' - Self Release

This is a debut release from an artist based in Edinburgh, Scotland. David Knowles sings with a husky delivery that is not too far removed from David Gray and his acoustic based relationship songs have a lingering appeal.

The Air You Breathe and Satisfy My Soul are two numbers that follow this theme before we are given a cover version of the Bill Withers classic, Ain’t No Sunshine. Another cover version is Hey Joe and I do not see the need to have either song on this 9 track release when Knowles is trying to establish his own identity. 

The production is very sparse and in keeping with Knowle’s road weary delivery and the arrangements are in a predominantly bluesy tempo. Interesting debut but could have been more compelling, with the cover versions kept for live performance and the addition of a few more original songs.

Patti Page 'Sings Country Memories' - Hump Head Records

Patti Page was one of America’s true musical icons over the course of a recording career that spanned seven decades and she had record sales in excess of 100 million. She died in 2013 and was the first female artist that blended country music styles into many of her most popular songs. As a result of this crossover appeal, many of Page's singles appeared on the Billboard Country Chart.

This two disc collection is a real treasure chest of old style recordings with more than a sweet voice to carry the songs. The songwriters range from the Wills Brothers, Johnny Cash, Tom T Hall, Ernest Tubb, Kris Kristofferson and Lefty Frizzell to Marty Robbins.

Old standards like I Fall to Pieces, Release Me, I Walk the Line, Walking the Floor over You, Help me Make it Through the Night and You Don’t Know Me and the original hit version of Tennessee Waltz are included in a generous fifty songs. Collectors of traditional songs and recordings that echo post-war country music development will be interested in this slice of real nostalgia.

Brian Ashley Jones 'Out of the City' - Self Release

This album is blues-tinged rock with some tasty guitar licks and warm Hammond organ riffing. This is the third release by an artist who has a sound rooted in country with rock and bluesy influences. Jonell Mosser duets on Fetch a Pail and the backing vocals of Suzi Ragsdale are a strong feature on the 10 songs included here. Out of the City is a country groove while the restrained harmonica on Free to Miss You dovetails perfectly with the sweet guitar breaks of Brian Jones. Meet me in the River is a blues workout with plenty of guitar to the fore and Carolina’s Dream has some fine fiddle playing on the standout track here.

Yvette Landry 'Me & T-Coe’s Country' - Soko

For her latest album Yvette Landry has distilled her music down to the purest elements of traditional country; voice, guitar and pedal steel. Added to that is the fact that the acclaimed songwriter has chosen to mostly cover some of her favourite songs. It is a testament to her seeking for truth of the music that she manages to make these often iconic songs feel very much her own. You can’t dismiss the version that have already become ingrained in your memory banks, rather the simplicity of the setting give them a new perspective.

Landry’s unique voice is full of passion, pain and perception. It soars above the simplicity of the arrangements. Kudos too to Richard Comeaux’s steel playing which is a major part of the musical impact, along with Landry’s voice. Comeaux has been a part of Landry’s musical band for some time and clearly understand her vision. The duo setting allows him full reign to display his many skills over the entire album rather than coming to the fore with a brief solo or atmospheric playing that a full band setting often dictates.

The songs include Tennessee Waltz, I Fall to Pieces, Together Again and Misery Loves Company. The latter a dissertation of the memory of love lost that comes from the pen of Jerry Reed and clocks in at over six minuets. Voice and steel guitar jointly explore the anguish in way that underlines the real nature of raw regret. There are three songs associated with Hank Williams Senior (Cold, Cold Heart, Hey Good Looking and Bucket’s Got A Hole in It), another artist who understood how to turn human nature into a heart-wrenching vocal. There are songs from Foghorn Stringband’s Caleb Klauder (Can I Go Home with you?) as well as two from Landry (Together, Forever and Memories Of Clelia) along with the classic covers. These both sound and feel at home with the other songs.    

The way they perform the songs soon makes you forget that there are only two players featured on the album. On the bonus closing track (I’m leaving it Up to You) Landry is joined by a full band on a more bluesy take and the male vocal is front and centre providing alternate verses with Landry. The nature of the album gets inside these songs and deconstructs them back to the foundations of the emotions that the songs were built upon. No mean feat when you’re up against the originals recording - and countless other versions in some cases. There have been quite a number of albums in recent times where singers have gone back to the songs that first drew them to real country music. The success of these has been varied, but this album deserves to be heard. It is not a stopgap, but rather an affirmation of why this person is as good as she is. And she is. 

Elliott Murphy 'Aquashow Deconstructed'- Last Call

Some forty years after Aquashow’s original release on Polydor, Elliott Murphy has reconsidered the songs he originally wrote in his early twenties. Now in his mid 60s he revisits these song from a different time and emotional viewpoint. The album was produced by his son Gaspard, who is now the same age as Murphy was when the album was released. Elliot’s voice is tinged with the wisdom (or lack of it) that age brings and the music is still compelling. The songs are in the same order and delivered in similar keys and tempos. Anyone acquainted with the album will be more than happy to revisit its charms - like a old friend come to visit. 

Aquashow has long been out of print and my vinyl version has been lost in the mists of time, so this release is welcome. It opens with Last of the Rockstars with that familiar opening line and plaintive harmonica. Though titled as Deconstructed the father and son duo have given each song a new setting. Guitar and piano are central, as is the harmonica with added contributions from long time collaborator Olivier Durand as well as percussion, keyboards and strings and you have a full sounding album. At times there is a surfeit of emotion to be heard as in How’s the Family which considers that uniquely strange unit. 

Then there are songs from which the album drew upon literary sources such as Like a Great Gatsby. Marilyn is a paean to the ill-fated screen goddess Monroe. White Middle Class Blues could be a song that might be the lyrical template for the origins of aspects of late 70s hard rock and punk. The album closes with Don’t Go Away which seems like a renewed plea for love delivered with more hope than realism. These ten songs have stood the test of time and Murphy continues to make albums that matter. He deserves to be more than a footnote in the long forgotten “new Bob Dylan” sweepstakes; rather Murphy was always his own man and one who found, if not fame, then at least an attentive audience in France where henow lives and works. He may not be the last of the rockstars, but he is one who has lasted.

The Foghorn Stringband 'Devil in the Seat' - Self Release

From the get-go this is an album full of both devilment and musical dexterity. The quartet play string band music as distinct from bluegrass and they do so with purpose. They draw from a myriad of sources and come together from different backgrounds to play these largely traditional sourced songs, though they name the version that inspired them in the credits. There are 16 songs featured which have titles that suggest their lyrical inspiration like Stillhouse, Mining Camp Blues, Jailbreak and such standards as Columbus Stockade Blues, Henry Lee, John Hardy and Pretty Polly.

This seasoned quartet (Caleb Klauder, Stephen Lind, Reeb Willms and Nadine Landry) all put their collective hearts into the delivery of these songs. All take their turn at the microphone and blend their voices in something of an uplifting salutation. There is sadness, murder, misery and mayhem at the heart of many of these songs but all are honest, rough and ready and uplifting. They speak of the human spirit and come from the crossroads of American music. These songs came from many countries, many climates and many a campfire. These are songs to be played at the end of a hard day to raise the spirit, to show that there are those who may have had it worse and you can find sympathy with a fellow sufferer, even if that person was born many moons ago.

The Foghorns are acknowledged masters of their instruments, mighty vocalists and true explores of the past, as well as futurists by bringing these songs to a contemporary audience. The devil may be in the seat but that’s because he wants you to get up and dance.

Danny Schmidt 'Owls' - Live Once

Although he has released some seven previous solo albums, this is my first encounter with Danny Schmidt and if Owls is anything to go by that is my loss. It is a song that the writer says explores the myriad of relationships but more in a more non-direct  existential way. His site has commentary for each song for those who wish to explore further. For now let’s consider the music on offer here.  The album was produced by David Goodrich, who, with Schmidt has given these songs both depth and worth. Recorded in Texas, it employs some skillfull players who included Goodrich himself on guitars and piano as well Lloyd Maines on pedal steel and trio of harmony vocalists, among them Carrie Elkin, with whom Schmidt has previously recorded an album. 

As is often the case with an artist with a proven track record, the album was funded via Kickstarter and all can feel that their money was well spent. The immediate standout is Faith Will Always Rise, a song that tries to have an understanding of something powerful but intangible. It is the sort of song that could find a wide audience if it was placed before them. Girl with Lantern Eyes opens the album in a understated way with a beautiful interplay between the male and female vocal on a song that considers the one who opens to reach out but inevitably reaches inwards instead. There is a subtly to the music with it losing any of its inherent grit and gleam. Recorded, for the most part, live in the studio it has the energy that that process allows. That is then tempered with a sensitivity and lightness of touch that highlights the lyrical and studied nature of Schmidt’s writing. These are songs that more between indie folk and a more robust Americana. 

In the end it comes down to the sound that emerges from the speakers and this is one that encompasses the whole room and draws you into its centre. It reveals a more with each play and familiarity makes it an album to which you can return often. Danny Schmidt is a singer/songwriter who should be making inroads into the consciousness that embraced the likes of Josh Ritter. This is music that has been made for the man himself and those who his music has touched, and if it remains well under the radar it is nonetheless a success on its own terms regardless of sales. It is the full package and hopefully the album that could take Schmidt up to another level. There is not a weak track here. Check it out - that would be a wise decision.

Richie Lawrence 'Rue Sanxay' - Big Book

An artist who has been composing and playing music since the 1980s, Richie Lawrence draws on his experiences from playing with bands such as the Loose Acoustic Trio, Horse Sense and the Ray Bonneville Blues Band. As a solo artist he released Melancholy Waltz in 2010 and followed with Water in 2012 with his band, The Yolos.

 Rue Sanxay takes a step into different musical genres with four instrumentals in cajun/zydeco, French waltz, jazz trio, and classic ragtime styles. His wife, Katie Thomas sings beautifully on three tracks; When I Find My Love Someday, Play On and Oxford Town.

Tribute Rag is a solo piano piece and the title track is a fine, restrained waltz though a vineyard at the height of summer. Fellow Yolos, Scott Prawalsky on upright bass and Bart van der Zeeuw on drums add their talents and with fiddle, pedal steel, mandolin and accordion spread across the ten tracks, we are treated to quite an eclectic mix of music. This is a very fine release.

Martin Kaplan 'The Slow Down' - Self Release

Martin Kaplan is an American singer-songwriter based in San Diego, California. The Slow Down is his first solo release and features 12 tracks which channel an alt-country vibe. The opening track; I Wouldn’t Fight It, sets the tone with some excellent guitar playing in the arrangement and a fine melody. The musicians on The Slow Down include veterans of the Los Angeles Americana music scene including Todd Herfindal (The Meadows), Rich McCulley (Bob Woodruff, Will Kimbrough), Carl Byron (Anne McCue, Michelle Shocked), Greg Boaz (Dave Alvin) and Tommy Rickard (Linda Perry, Scott Weiland).

The production by Todd Herfindal is very bright and clean with chiming guitars prominent throughout. I’ll Forget You is a strong track and Other People’s Shoes reflects on the fear of living life and the habit of judging ourselves through the expectations of others. Mom and Dad deals with weight of expectation and mental illness; while the gentle strum of Basement is a gentle love song with a twist.

These are relationship songs of love and loss played with style and substance. The title track reflects on the need to take life at a different pace and the closing song When We’re Gone brings the set to an impressive conclusion with a slow groove and some fine tabla playing.

John McDonough 'Dreams & Imagination' - McDonough Records

John McDonough is a singer/songwriter from Austin, Texas who has spent the last 20 years playing in and around Austin, while co-producing and self-releasing five CDs of original music. He plays acoustic guitar and piano as well as being executive producer on this new release.

His work falls into a modern folk/pop sound and his clear vocal delivery makes these eleven tracks a pleasant listen. Having retired from practicing psychotherapy to focus solely on his music, John has delivered two recent recordings, It’s All Been Said Before in 2012 and this one. Playing the local Austin circuit has honed his skills and the studio band on this release is understated in its playing and interpretation of the songs.

Ginger Leigh on backing vocals adds to the arrangements with her fine voice and the keyboards of Cole Gramung, together with bass and cello from Steve Bernal and drums and guitar from Kevin Butler complete the ensemble. Songs like It’s You and Me, Planes Fly Too Low, Lay Your Burden Down and You Don’t Know This are representative of the tight arrangements and easy melodies on offer here. 

Fuzzbee 'Dreams & Other Living Things' - Self Release

Fuzzbee Morse is a composer for films, as well as a performer, singer/songwriter, multi-instrumentalist and music producer. He is known for his command of a variety of instruments, including guitar, keyboards, bass, flute, soprano saxophone, mandolin, alto flute amongst others.

As a player, primarily on guitar, Fuzzbee also performs with The Flying Fannoli Brothers, a death-defying improvisational comedy band who make up outrageous songs about any subject, in any style, at the audience's request. He is a very accomplished guitarist and is joined on this release by such notable musicians as Jerry Marotta on drums, Tony Levin on bass and David Sancious on keyboards.

The ten tracks are self - produced and jump out of the speakers with lots of quality and rich arrangements. This is one for the real connoisseurs and all songs are written by Fuzzbee with the exception of Voodoo Child (Slight Return) which only Fuzzbee could have the nerve to tackle and turn into his own impressive show stopper. Smooth and full of soul, serious chops and superb musicianship.