Phil Lee 'Some Gotta Lose…' - Palookaville

This is the latest from the mighty king of love as Lee likes to be known and it is a winner. He recorded this album in New York with Willy Mason in the production chair. They used a select set of players to deliver a relaxed set that is at times soulful and jazzy, but soulful and jazzy in a very Phil Lee style. Lee posses an expressive and distinctive voice, that in a sea of soundalikes is something to savour.

The songs are full of his usual observations of ageing, wondering, loving and listening. They are all written by Lee, except his arrangement of the traditional Lil’ Liza Jane and Kiss of Fire, I Pray it Never Comes and What Can I Do For You?  (the latter a short unaccompanied song sung by Jan King that closes the album). There is one co-write with the late Duane Jarvis in Ain’t no Love. 

The band settles into a groove that sits under Lee’s lead vocals with some effective vocal choruses. Listen to Don’t Tell Me Now which has a live-in-the-studio feel as he leads them to the song’s end. Perhaps the strangest title here is If Frogs had Wings; a song that makes perfect sense in the nature of ‘if I had you I could change’, something in the nature of “if pigs could fly”. All well except for the line “they’re hanging me a dawn” which introduces an unheard backstory. Overall this is an album where Lee takes some time to look back, to revisit old haunts and homes. In doing so he felt a good deal of sadness and the realisation that what is gone is never going to return.

As with all his music there is a sense of self-deprecation. This is often expressed with humour but not without the sense of love that remains for the people and places that one has known. This is an album that deals with growing up and with acceptance. This also relates to the performances which are full of a human spirit that embraces the mistakes as a part of the whole. The music is warm and affirming and full of little touches in the playing that capture the moment and the sense of players who are skilled and all in tune with achieving an overall vibe that is effusive.

Phil Lee is a troubadour who has weathered his woes and loves and woven them into songs and performances that are best summed up as mighty songs of love and loss. Lee will always fly below the radar and that is something he is well used to. But he can console himself with the fact that his music is as vital to those who appreciate it as it was on first encounter. This could be the best one yet and again is another contender for album of the year. Some gotta lose, but this is a knockout.

Stephanie Urbina Jones 'The Texicana Sessions' - Casa Del Rio

This CD just came in for review though it was recorded back in 2010. Jones’ energetic and spirited take on Tex-Mex music is an invigorating mix of mariachi horns, uptempo upfront beats, rockin’ roots guitars, swinging keyboards with some occasional fiddle and steel additions to drive it all along. The songs are sung in Spanish and English and highlight Jones’ power as a vocalist.  Her songwriting skills shine in all twelve tracks here. However there are no credits for production or players on the sleeve (or on the net for that matter). Como Se Llama, Mama features a male voice whom she addresses as ‘Augie’, so we assume that that is the voice of her friend Augie Meyers, Texas Tornado.

Jones mixes the tempos and moods throughout, from the raucous opener Revolucion en mi Carazon to the understated ballads Canta Me and The Midnight Side Of Me. Some of the songs are sung in both languages, but whichever one Jones sings in, it is her delivery that makes them work so well. The closing song Gracias is a vibrant country song with twangy guitar, an instant beat and a fiddle that again highlight Jones’ versatility as a singer and writer.

For those who like Patricia Vonne or The Mavericks - Jones has just played a festival with the latter in Switzerland - or music with a pronounced Mexican/ border feel here is someone you will likely to enjoy as I did.

Chris Cuddy 'Dear Elvis' - Self Release

The title and cover image should give you a clue of where the inspiration for this album comes from. If not then the song Rock ’n’ Roll History will. Cuddy’s mission is rooted in the spirit of the music that emerged in the 50s and continues to this day. It would appear to have been recorded, from the production notes, over a number of years as, in the case of Rock ’n’ Roll History the accompanying band listed is the Tom Russell Band who, in this particular line-up, have not been together in many years. The track also has pianist Gene Taylor and guitarist Albert Lee as guests on the recording. There are eight different recording studio and sets of players listed and a number of different producers, with Cuddy serving as executive producer. However, the album hangs together with a common aim and theme. 

All 15 songs are credited to Cuddy, who takes lead vocals throughout and his voice is well suited to the songs. This is a rockin’ affair, with all the musicians getting into the groove of classic rock ’n’ roll, rockabilly, pop and touches of blues. The backing vocals are also used to bolster that feeling, though the album doesn’t actually sound like it was recorded back then as the production process is more contemporary in attitude. It is the arrangements that give Dear Elvis the flavour of earlier times.

Gene Taylor also adds his piano skills to Tom Cat, a soulful late night song about a night time tomcatting man. Just Say No has Cuddy on harmonica on a driving song with a solid guitar riff from George Bradfute. I’m A Cadillac has a nice slow build with bass and slide guitar providing most of the backing. The pure 50’s pop of Starlene with it’s twangy guitar take you right back to another era soundwise, while the closing title track is a voice and acoustic guitar slow ballad that pleads to Elvis for sympathy, trusting that the King’s understanding of all matters of the heart and that his music made him someone who understood such dilemmas.

There is no doubt Cuddy loves the music from that era and his songs evoke it well without being simple recreations; rather they are inspired by the foundations of a genre that has moved on but here he wants to remind us the power and innocence of those times. If you accept that premise, this music will please - or if nothing else send you back to those early sounds. Cuddy has done his job well here,  reminding us of the foundations of rock with a set of songs that are evocative and entertaining in there own right. 

Lee Palmer 'Like Elway' - On the Fly

The blues get a fine workout on this nine track release from Toronto based musician Lee Palmer. His previous releases were One Take (2013) and 60 Clicks (2014), but with this effort he has moved into a different gear and really raised his performance.

Like Elway is co-produced with fellow band member Elmer Ferrer and the production is really bright and clean with the ensemble of musicians given plenty of freedom to express themselves. Fine guitar work from Ferrer throughout is complemented by the piano, organ and accordion of Lance Anderson, while Lee delivers some fine vocal performances to keep everything bubbling.

The title track features the fine vocals of Mary McKay to great effect, while the rhythm section of Al Cross on drums and David Woodhead (bass) lay down a compelling groove for the other players. Lonely at the Top features harmonica from Roly Platt and the slow tempo of Maybe that’s Why and Life’s a Mess contrast perfectly with the excellent up-tempo Rockin’ This Chair and Axe to Grind. This is an impressive release.

Peter Blachley 'Nevada Sky' - Self Release

This is a debut release from a New York based singer/songwriter who proves that age is no barrier to following your dreams. Peter Blachley is in his 50s and has led a colourful and varied life before entering the studio to record these ten songs. They are reflections of a life well lived and the lessons learned along the way, and they visit the enduring power of love, past relationships, old friends, mortality and redemption.

Produced by Felix McTeigue and featuring a group of experienced musicians, the overall feel is of gentle arrangements and understated playing. Salvation Songs remembers Blachley’s Vietnam experiences, but is equally relevant to any war. Love Is Eternal deals with bereavement and the way each of us processes the passing of a loved one. The title track closes proceedings in fine style with a big sky production in praise of the Great Plains and a vocal that brings the late John Stewart to mind. This is a fine effort overall.    

Mad Dog McCrea 'Almost Home' - God Dam

This is the third release from the Plymouth-based UK Folk outfit. Firmly rooted in the old traditions of high energy, dexterous playing and recounting stories of brigands, pirates and thieves, Mad Dog McCrea boasts six musicians that would give any band in this genre a run for its’ money. Mad Dog McCrea stokes up a terrific sound that is perfectly suited to live performance.

The production by Sean Lakeman is vibrant and immediate, blending bouzouki, banjo, fiddle, flute and whistles into a crescendo of celebratory sounds. The eleven tracks here run along at quite a pace, and it is impossible to sit still when Almost Home, You Can’t Find Me, Heart of Stone, Mad Dog Coll and Talking through the Walls are thumping out of the speakers.

They can also do reflective and sensitive as with The Sound and Whiskey Man, two tracks that show a gentler side of this ensemble, but are no less impressive.

Tod Hughes Project 'Changing Gears' - Self Release

Hughes is a singer/songwriter from Calgary, Alberta and this EP of six songs is a debut release. Clocking in at just shy of 22 minutes it is pleasant listen with production from fellow musicians Spencer Cheyne & Craig Newnes. It comprises commercial radio tunes that are melodic and unobtrusive. The soul-based groove of The Quiet is driven by the Hammond B3 of Mike Little. The Only Person Who Won’t drink With Me is You has a nice county honky tonk swing, with Mitch Fay adding some nice guitar lines over tinkling piano. Changing Gears will serve as a taste of things to come.  

Jerry Lawson ‘Just A Mortal Man’ - Red Beet

This is the first solo album from the lead singer of acappella soul group The Persuasions. A band he fronted and arranged their material for some forty years. The album came about following a meeting between producer Eric Brace and Lawson - who also co-produced the album with Brace - when the latter had joined Brace’s band Last Train Home at a gig they were playing in his home town of Phoenix. Lawson was there because he’d read a piece written by Brace in the Washington Post that declared Lawson the best soul singer since Sam Cooke.

That may go some way to show the genesis of this thoughtful marriage of soul and Americana. Not something that hasn’t been done before but when done well is always a welcome addition to this particular sub-genre. The two, as producers, have chosen a selection of songs that work so well in this context. I’m Just A Mortal Man the title song that reveals human aspirations and failings. The opening song is Paul Simon’s Peace Like A River. - a flowing river of soul. Another interesting choice is Phil Lee and John Sieger’s I Hope That Love Always Knows Your Name. Brace contributes In The Dark and three other songs, while his Red Beet cohort Peter Cooper wrote the song Wine. The songs here largely look for the positive in the human condition and its need and search for salvation in its many forms.

In the studio in Nashville the gathered together a crew that could do these songs justice and being recorded in music city the emphasis falls more on the Americana side but never looses it sight of the soul roots its singer springs from. With a sublime voice like Lawson’s it couldn’t. The main players who include Brace, Joe Pisapia, Jen Gunerman and Duane Blevins all serve the songs well. There are a whole additional set of guest players who add brass and strings to the songs as required. Some additional vocal accompaniment comes from the McCrary Sisters and for two tracks by everyone’s favourite harmony singer Jim Lauderdale. 

Of special mention is the heartfelt pleading for love and not to leave in Down On My Knees. Its subtle vocal harmonies, brass and guitar lines adding much atmosphere of a song that could be a plea to a partner or to a higher power. It is an outstanding combination of music and voice. As indeed is the album overall. The feeling of grace and inspired interaction makes this a special album that should deservedly appeal across the board. But as with the last live track I’ll Come Running Back To You which is just vocals and acoustic guitar the power and soulfullness is equally evident in a more simple setting as befits the renowned acappella singer. 

A word too for Red Beet Records who always give the packaging care and thought and the accompanying press notes and physical CD leave most major labels and some indies to shame. These are people who care about all aspects of what the release.

Anna Laube ‘Self-titled’ - Ahh…Pockets

A much traveled singer/songwriter who has released this, her third album, which was also recorded in different locations around the U.S.A. The central character in this story is Laube herself who has written and produced the album (solely and with some co-producers) and picked up a number of different players on her way to realise these genre encompassing songs. country, jazz, blues, folk and pop are all descriptors mentioned in passing about her music. This mix of influences and inspirations is enlivened by a childlike open mind and a distinctive voice.

Both make this a readily accessible audio experience that warms and engages the listener. The songs are predominantly her own with a couple of exceptions Sugarcane is based on the traditional song Cocaine Blues, making the point that sugar is be umasked as an equally life-harming drug. Satisfied Mind a song written by Red hayes and Jack Rhodes which fits neatly alongside her original songs. It is recorded in a simple arrangement that is big on atmosphere and afterlife allusion.  Aside from those songs there are the bluesy  moods of You Ain’t Worth My Time Anymore to the more abandoned joy of The Bike Song with its rhyming “we’re all riding on our bike bikes” chorus, distorted vocal and New Orleans style brass interludes and harmonica. Just one song that sums up the different elements that are pulled together in a way that makes perfect sense when heard. Chocolate Chip Banana Cupcakes are something that Laube makes when what she really wants to be doing is getting close to a man she would like to get know more.   

The title of the song This One’s For You pretty much sums up Laube’s worldview. There is a an openness to head and heart and a wish to share that is apparent in her music that is immediately engaging. This is music made from a personal perspective, an innocence or wish to find it again. There is no doubting Anna Laube’s talent and technicolour vision. Something that should be viewed with an equal sense of opportunity if you would like a satisfied mind.   

Sergio Webb ‘Domingo’ - Self-Release

The latest release from the guitar grafter and sought after sideman  is a five track mini-album that explores  a somewhat more robust and bluesy side of his oeuvre. Perhaps best know as a member of The Famous Motel Cowboys and for accompanying David Onley  Webb also makes some fine musical endeavours in his own right. He is joined here by Ron Eoff on bass, Fran Breen on drums, Blake Padilla on keyboards and Julie Christensen on vocals he has recorded these co-written songs as well as one, Up In The Canyon, he had no hand in writing.

The set opens with Champagne and Ice Cream an uptempo keyboard filled contemplation on the high life, or a high life. If Only ponders that often thought question. This one is a softer song of lovelorn mediation. Up In The Canyon is a more acoustic take with lovely slide guitar that reflects life in a quitter place and more peaceful setting. Quarter In The Can considers a man down on his luck and sitting there looking for a quarter in his can to buy some Thunderbird wine to help deal with a pretty frugal lifestyle even if the man still does;t want to be like some of those who pass him by. Reflection Of The Blues is pretty much what it suggests - a strong bluesy workout  with guitar and keyboards over a straight up rhythm section with some tasty guitar licks than never overwhelm the songs but add to its feel. 

Sergio Webb it should be noted is coming into his own as a vocalist and his lead vocals here show a man who has developed his singing alongside his playing ability and while in his usual role he delivers some confident back-up vocals shows that with each release his skill in that department is developing nicely too. “All the best” he says on the back of the cover and that about sums it up.

Mark Billingham and My Darling Clementine ‘The Other Half’ - Hachette Audio

More of an audio short story than a musical CD. This is the physical version of what Mark Billingham and My Darling Clementine have been performing and touring in a live setting. It is inspired by Billingham’s (and his fictional detective Tom Thorne’s) love of traditional country songs and themes. A story of love, loss and murder it says on the cover and what could be more of a country song subject than that?

For the recorded version the additional voices of Graham Parker and David Morrissey (who plays Thorne in the T.V. series based on Billingham’s books) add character to the reading. It is the short story of Marcia, a former show girl in Las Vegas, now working in a run down bar. Marcia considers her life, her loves and the choices she has in later life. Add to the spoken voices are the songs and powerful voices of Lou Dalgleish and Michael Weston King. As My Darling Clementine they attracted the attention and friendship of Billingham and began to work together on this successful combination of words and music. 

There is an excerpt from the song By A Thread from My Darling Clementine's album How Do You Plead? Other than that the songs featured are newly recorded versions of perviously released or new songs (Friday Night At The Tulip Hotel, As Precious As The Flame) that fit the overall story arc. These version are essentially as they are done live, stripped back to voice and guitar but with some judicious bass, guitar and piano accompaniment added for the recording. The Brodsky Quartet also add strings to the new version of No Matter What Tammy Said (I Won’t Stand By Him). The tracks are sequenced for those who wish to access the songs on their own for repeated listening; but the recording works best as a piece.

I have listen through and enjoyed The Other Half several times now and one can pick up different nuances of the tale the more you listen. Billingham’s reading and voice has an attraction in itself that makes it very listenable. The songs are equally good and the whole thing comes in a nice package with a booklet that includes the text of the whole story. Any fan of either party will enjoy this innovative storytelling. Others may find one listen enough but either way it should be experienced - either live or in this repeated listening format.

The Payroll Union ‘Paris Of America’ - Backwater Collective

Quite were to place this Sheffield band is a question. The album is more rock than roots but at the same time has hints of the darker side of Americana. The album was made in collaboration with the University of Sheffield. It deals with the riots that took place in Philadelphia between 1830 and 1840. It is a well packaged presentation that comes with a fold out insert that has the cover on one side and the lyrics with historical overviews for each track. There are also a series of footnotes that further illuminate the historical perspective.

The Ballad of George Shiffler which opens the album in fine style is about a battle that took place in 1844 regarding the use of the Protestant Bible and resulted in the death of an eighteen year old George Shiffler. Bull which follows is in full-on rock with a strong persistent drum beat, raging guitars and singer/songwriter Peter David’s striking voice which has something of David Eugene Edwards’ (Wovenhand) intensity in its delivery. The songs are arranged by the band and Tom Baxendale, Ben Fuller and Paul Heath all bring their A game to the songs. They are joined by keyboard player Shane Surgey who adds some additional but very important textures.

The eight tracks (plus one uncredited song) all manage to effectively tell the story of these times. The songs run through sequential events of fierce inter-denominational faith. A subject that has obvious resonance through these isles as it did in the Philadelphia time period of the album. David’s song work as songs and in the hard folk rock context that they are delivered from. That these song have memorable choruses is testament to the strength of David’s writing and to the band’s delivery. Wo Unto Sodom has a funeral pace and an overriding sense of a American gothic sensibility.

Paris Of America is decidedly not an album that country/roots fans may take to with ease but it needs to applauded for the skill and research with which it tells it’s grim tale. The more open minded will enjoy it’s inventiveness and solid, savage vision of how easily that conflict can emerge from what should have been an open spirited debate. The closing listed track Will You Still Remember Me? has all the dilemmas of a person who struggles with the duality of saturday night and sunday morning. Something that even the most traditional Hank Williams fan could appreciate. 

Stuart Mason ‘Tradition’ Native Home

The title gives more than a clue to where Stuart Mason’s heart lies. These songs, on his second solo album, are influenced by the music that would be described as solidly traditional in its performance and delivery. The  result is suitably rustic and raw. The main feature is Mason’s old style vocal and his banjo, mandola and guitar accompaniment. The final number which is Parting Friends is delivered with just voice and banjo and highlights his strengths. However to make things a little sweeter he has added some additional players including his co-producer (along with himself) Ryan Davidson on bass fiddle as well as a brace of additional players who add fiddle, slide guitar to the acoustic instruments that form the bedrock of the music. Amber Cross’ voice is a honed counter to Mason’s rougher edged voice on several tracks.

The songs are a mix of traditional and ol time sources. Mason add a brief explanation in the sleeve notes that explains his source for the songs. There is something earthy and erstwhile about the album yet it manages to sound like the songs could be for these times too. Some of them will be familiar to those who listen to traditional folk, blues and old-time music tunes like Pretty Saro, Gospel Plow and Jesus Met The Woman At The Well. However they don’t often end well, rather these are songs that sit under some dark clouds. Talk About Suffering and All The Good Times Are Past And Gone are titles that are further testament to that notion.

Over all the approach and execution of these careworn but crafted songs is one of understanding and respect that makes them a list experience that is as vital as these songs would have been when the first emerged and were played on back porches and in bars. That they have endured and mutated is proof to their ability to tell a story or have a tune that survives through to this day and have seen the likes of Jerry Garcia, Bill Monroe, Doc Watson as well as Peter, Paul and Mary record them at various times. Stuart Mason and pals are in good company - on more ways than one. 

The Honeycutters ‘Me Oh My’ - Organic

This North Carolina quintet are proving their musical development and skills with this, their third album. The band leader is Amanda Platt who here is not only the lead singer and songwriter but also the album's primary producer. She is an undoubted talent and is ably accompanied by the rest of the band Tal Taylor on mandolin, Rick Cooper on bass, Josh Milligan on drums and Matt Smith on guitar of the electric and pedal steel variety. The fourteen songs are both memorable and melodious. Comparisons have been made to Gillian Welch (though more so in their early incarnation as a duo) and Lucinda Williams. To these ears though a closer comparison would be with Eilen Jewell, Zoe Muth, Yvette Landry or even Molly and the Heymakers from a few years ago. In that it is the combination of strong voice, literate songs and intelligent playing that at all times serves the songs.

The album title track is a melancholy song that talks of infant death, marriage, love. As the saying goes "all human life is there". But these songs honest vignettes of women dealing with the situations that occur in coping with the (not so) simple task of living. However the music, that while the Honeycutters offer is often bitter-sweet in theme, is for the most part pretty uplifting and positive. There are songs that are ideal to dance to like Ain’t That The Truth, others are more reflective affairs like Carolina, Not That Simple or the darker-hued tones of Texas ’81. In truth there are few moments that don’t hit home on several fronts and Me Oh My heralds the coming of age of another band who make their blend of contemporary country something that draws on the patterns laid down in the past but imprint it with their own individual dna.

By taking the lead role on the album Amanda Platt seems to have found her voice as both a singer and writer. Directing the band and guests in the studio has also helped her to realise her vision. However none of that means a great deal if the end result wasn’t so as strong. Sometimes, with some other bands, the elements are there but they don’t quite gel as they should.

They have described their music as Appalachian Honky Tonk and that seems an appropriate blend of their acoustic traits and their electric topology. Even if the words honky tonk usually suggest something with a little more of beer-soaked grit. The Honycutters have an air of refinement that is a little less one dimensional than some exponents of the honky tonk life, though many of the underlying themes are common.

The Honeycutters have collectively produced an album that deserves attention and applause for simply making good music at a time when so much that’s on offer is both superficial and scalar. This is something that Amanda Platt and her fellow players can be justifiably happy with and an album that should be sought out for a listen - at the very least.

Nora Jane Stuthers and The Party Line ‘Wake’ - Blue Pig

This is the second album for Strutters backed by the Party Line. It’s a more robust affair than the largely acoustic tones of her previous outing Carnival. Here she is joined by current members Drew Lawhorn, Brian Duncan Miller, Joe Overton and Joshua Vana. The bass, drums, guitar line-up is flexible enough to cover a number of different bases. The core of acoustic guitar, bass, banjo, fiddle and light percussion is given a jolt of electric bass, electric guitar and a full drums kit; not to mention the pedal steel that serves many of these songs. This takes thing up a notch and shows that Struthers, who is also the producer here, is well capable of taking these songs to another level.

“Strong as the sound of electric guitars, almost as loud as the song In your heart” to quote a couplet from the opening song The Same Road, shows that the songs in Struthers’ heart are pretty darn loud. Something that may annoy those who liked the more folky sound of the last album but will delight those who want a little more twangy guitar and steel action. Along with the additional instrumentation Struthers has also upped her game as a singer. She is still capable of the subtlety of the harmony filled When I Wake or the relatively laid back Lovin’ You or the acoustic, banjo led setting of The Other Side and The South. They all sit comfortably alongside the more bluesy delivery of I Ain’t Holdin’ Back or the full charge of Don’t Care. A song that tell us that her Mama won’t like and her father won’t trust her latest flame … but she don’t care. 

Aside from the Party Line guests include Pedal steel players Mike Johnson and Steve Hinson, Micah Hulscher on keyboards and Mike Bubb on upright bass. These group of musicians give Wake a diverse set of songs a range of moods that show an artist who is developing her music in conjunction with a set of players who share Struthers vision and aims. This is an album that, in common with several others, shows a move from an acoustic base to a broader one. It shows a musical growth that allows the possibility of reach a wider audience while retaining the ability to dial it back as required. Or equally to rock it and give it loads.  

Mary Gauthier ‘Trouble and Love’ - Proper

While some writers can stand outside the fire and observe the writing for this album comes from inside the flames. This is Mary Gauthier writing from the heart. The eight track album, with a running time of nearly 40 minuets, starts with the despair of When A Woman Grows Cold to the final song, a more hopeful and accepting but moving on song Another Train. Between those two songs Gauthier explores the nature of a failing relationship and how one party is often unaware of the reasons why love can turn to hate or indifference. Gauthier has co-written some of these songs with other writers who write from a perspective that fully understands the nature of these themes. Beth Neilson Chapman and Gretchen Peters both are co-writers, as is touring partner Ben Glover and Scott Nolan.

These songs have been given a sympathetic production by Gauthier and Patrick Granado that utilises a flexible unit of upright bass, drums and keyboards with some highly effective counter point electric guitar from Guthrie Trapp and special guest Duane Eddy - both apply some lonesome twang to the songs. Eddy’s guitar is especially powerful on How You Learn To Live Alone. Vocally she is joined by Darrell Scott (Oh Soul) and Ashley Cleveland, the McCrary Sisters as well as Siobhan Kennedy and Beth Nielson Chapman. The combination of these players and singers, with these song, has produced one of the best albums of Gauthier’s career to date. She has always been an astute observer but putting yourself and your confused emotions in the spotlight is not an easy thing to do. She makes those universal emotions of loss and pain into something that many can share. But though this is, in some ways, an experience maybe shared alone or in a roomfull of listeners it is not one that is depressing to listen to. That is largely due to the spirit of all involved and their commitment to something that is still posible to grow from. The aforementioned song How You Learn To Live Alone is one that speaks to the ways we find to survive such loss.

Vocally Gauthier is at her best here, her distinctive vocal delivery has the added depth of meaning that makes all these songs both gritty and true. The sense of the need to emotionally share such an experience and to understand that many others have experienced similar paths is considered in Walking Each Other Home. Through music we can do that; Trouble & Love is a prime example of that.