Reviews by Declan Culliton

Kelsey Waldon I’ve Got A Way Monkey’s Eyebrows

"Well I was never trying to be a Queen, sings Kelsey Waldon, I just take a lot of pride in who I am, the way I sing."

The title of Kelsey Waldon’s sophomore album I’ve Got A Way (her debut The Goldmine was released in 2014) is a statement by an artist determined and unafraid to succeed on her own terms in the cut throat country music scene in Nashville. Following in the footsteps of fellow small town America female breakthrough artists Kacey Musgraves and Margo Price, I’ve Got A Way details the journey from a rural environment and the trials and tribulations of dodgy industry characters, unfulfilled promises and stereotyping. It has a defiant stamp of 'This is who I am, like it or not’ throughout and a determination of not being shaped into something that she doesn’t want. It’s also delivered with Waldon’s adorable vocal, pure unapologetic Kentucky drawl, thankfully not polluted by any technical devices to change to what comes naturally to her. Having Nashville whizz kids Brett Resnick on pedal steel, Jeremy Fetzer on guitar and Michael Rinne on bass (and production duties) round the circle and breathe life into a collection of well-constructed, honest and personal songs. 

Dirty Old Town, which opens the album, is more than a distant relation of Margo Price’s This Town with Waldon in no mood to be compromised or standardised when she asserts "Well there’s voices over here, voices over there, saying come along, come with me. Don't want a bridge to burn but I'm taking my turn, ain't gonna let 'em ever take me." It’s a fitting opener strengthened by some searing pedal steel solos from Resnick. All By Myself, which follows, could have been be nicked from Lee Ann Womack’s The Way I’m Living both in delivery and lyrics. Live Moves Slow lives up to its title, revisiting and escaping back to small town America and it’s simple way of live "So when I drive down the highway past that county line, I take a deep breath, I know I’ll be doing fine, Gonna save me some money, Gonna buy me a place you can’t find." Don’t Hurt The Ones You Love The Most visits similar territory, a reminder of the value of home, roots and family. 

Two covers are included on the album, both fitting in seamlessly. There Must Be Someone, previously recorded by The Gosdin Brothers and The Byrds and the Bill Munroe classic Travelin’ Down This Lonesome Road.

 The greatest compliment I can pay I’ve Got A Way is that the self-penned  songs all sound like covers of classic country tunes that the listener has previously heard and is being reintroduced to. 

With country radio at present awash with music often masquerading as country, it’s a refreshing that a close knit bunch of artists in East Nashville such as Waldon, Margo Price, JP. Harris are maintaining without compromise what many of us consider to be true country music. In recent years Sturgill Simpson and Margo Price have both proved, despite the obstacles and lack of industry support, that a breakthrough is possible. Hopefully Kelsey Waldon will follow suit, on the strength of I’ve Got A Way she certainly deserves to. 

The Black Lillies Hard To Please Black Lilly/Attack Monkey 

Anyone reading this review and sensing that they encountered this album in a previous life most likely came across it in 2015 when it was released in the States. The UK release of the album is a precursor to the bands UK/Europe tour planned for February 2017.

The history of the recording of the album in 2015 could take up column space in its own right with two members of the then five piece announcing their intention to depart the band just as they were about to enter the studio to record the album. Frontman Cruz Contreras also faced the challenge, for various reasons, of essentially writing the album in two weeks prior to entering the studio to record it. Contreras had written the bands previous three albums, Whiskey Angel (2009), 100 Miles of Wreckage (2011) and Runaway Freeway Blues(2013), in a more conventional  manner and timescale  and  gained considerable commercial success and exposure with them. Appearances at The Grand Ole Opry (more appearances than any other independent band in history), Stagecoach and Bonnaroo followed leaving the band on the verge of a major industry breakthrough.

The album was recorded at the House of Blues Studio D which was relocated to Nashville from Memphis in 2010, a studio where The Eales and Stevie Ray Vaughan among others had recorded in previously. The production duties were overseen by Ryan Hewitt (Johnny Cash, Red Hot Chilli Peppers, The Avett Brothers), unlike their previous albums which were produced by Contreras.

Contreras was joined in the studio by the bands two remaining members Bowman Townsend (drums) and Trisha Gene Brady (vocals) together with Bill Reynolds (bass), Matt Smyth (pedal steel), and Daniel Donato (guitar).

The net result of the hurried writing and recording of the album is an inconsistent yet wonderful collection of songs that switch from country to blues and straightforward rock with even a bit of bluegrass included for good measure. Contrast the rocking opening title track with the rockabilly 40 Days and the dreamy ballad Desire (harmony vocals by Jill Andrews). 

What is not in doubt is Contreras ability to pen a collection of great songs whatever classification which is more than borne out here.

Bob Bradshaw Whatever You Wanted Fluke

Working as a journalist and short story writer in Ireland, Bob Bradshaw, like many other young men in the mid 80’s, decided to seek employment and fulfilment away from Ireland. In 1985 he got a job as resident singer in a bar in Lagos, Portugal. Rather than return to Ireland Bradshaw then headed for Germany, living in Hamburg and Munich, sometimes sleeping in hostels though more often in a sleeping bag at a train station. His migratory lifestyle continued with spells in Spain and Sweden before acquiring a green card in 1989 and moving to the South Bronx where he worked at various jobs including doorman, roofer, landscaper and furniture mover. A further relocation to San Francisco followed where he formed the band Resident Aliens with fellow singer songwriter Scoop Mc Guire. They recorded two albums before Bradshaw, by now married, moved to Boston where he played bars solo again for a living. While in Boston he applied, as a mature student, for entry to the Berklee College of Music, surprising himself when he was accepted into the college. He applied himself judiciously at Berklee , studying song structure, timing and harmony together with courses in song writing and graduating in 2009.

Following his graduation three albums have been released including the very impressive Whatever You Want, a collection of twelve well-crafted songs that not only appear to benefit in structure from his formal training but from his life’s experiences over the past three decades in general.

The first three tracks alone revisit Bradshaw’s life travels, the brutal break up title track Whatever You Wanted has a fluent Celtic feel, Crazy Heart has a woozy shimmering Latin sound and the first track The Start Of Nothin’ starts with the lyrics "I was a young boy runnin’, My shoes a blur, I had something to tell you, Didn’t know where you were" a possible reference to the young man leaving Ireland unsure of what road he should follow.

Go Get Along is melodic country ragtime, sang as a duet with Annalise Emerick and the album closes in style with the Randy Newman sounding The Long Ride Home with Bradshaw’s vocal up front alongside some beautiful piano playing and lap steel in the background. 

Co-produced with the aid of his long-time friend and former band member Scoop Mc Guire, who also plays bass, the album was recorded at Dimension Sound Studios, Jamaica Plain, MA. It may have taken over thirty years for Bradshaw to release a body of work as impressive as this but it’s an album that he can justifiably feel proud of.

Bill Johnson Cold Outside Oxborough

Bill Johnson has been a stalwart of the Canadian blues music scene for many years as a guitarist with numerous blues bands, fronting his own band and playing solo. He has opened for household names such as Otis Rush, Dr.John and James Cotton. Cold Outside, his forth release, follows his 2010 recording Still Blue, which received a Juno nomination together with three nominations by the Toronto Blues Society. It’s likely that this offering will receive equally positive plaudits. It consists of eleven tracks all written by Johnson, all blues based but coming from different directions. The splendid title track, with a semi spoken lyric, is a harrowing tale of death and destitution, enriched by some wonderfully atmospheric guitar playing by Johnson. My Natural Ability is BB King sounding blues heaven with bubbling guitar touches and wicked piano playing by Darcy Phillips. Makes A Fella Nervous, similar to quite a lot of the recordings has a ‘live’ sound to it, the listener could be sitting on a high stool in a barroom listening to a top notch blues band. 

Johnson together with drummer Joby Baker produced the album at Baker’s own studio in Victoria BC. Rick Erickson plays bass, Darcy Phillips adds piano and organ and both Ross Hall and David Best play drums and piano respectively on three tracks.

Dan Stevens Angels In The Sand Gatorbone

Gulfport, Florida resident Dan Stevens spent over thirty years playing in various rock bands such as Apathy, Cottonmouth & Groove Moon to name a few, before concentrating more on his singer songwriter skills.

Angels In The Sand is his forth solo album release and the thirteen tracks contain a variety of styles ranging from the Warren Zevon sounding title track, the UK folky vibe of both Deep Blue Mystery and Just A Carpenter and the more rocky and electronic The Ghosts of Time and I’m Already There.

Produced by Stevens and Gatorbone records and engineered by Lon Williamson and Jason Thomas, the album features a collection of musicians including Elisabeth Williamson (guitar), Lon Williamson (bass), Gabe Valla (guitar), Jason Thomas (fiddle) and Tai Welch (percussion).

Darin and Brooke Aldridge Faster and Farther Mountain Home 

Twenty-four months after the release of the critically acclaimed Snapshots, husband and wife Bluegrass duo Darin and Brooke Aldridge appear to have set the bar even higher with Faster and Farther, the sixth album release on the Mountain Home Music Label. An indication of their current standing in modern Bluegrass circles are the inclusion of iconic artists such as Vince Gill and Pat Flynn in the recordings. Gill contributes vocals to Highway of Heartache and Mountains in Mississippi, while three songs written by Flynn (Lila, Cumberland Plateau and Kingdom Come) appear on the album with Flynn also playing guitar on two of the tracks. 

An act that regularly feature at the business end of the Gospel, Bluegrass and Americana/Roots charts, the duo journey comfortably between traditional bluegrass, roots and gospel on Faster and Farther.

Their formula is quite simple, well-chosen and arranged songs and technically outstanding playing. However, the ingredient that makes the whole package gel is the vocal capability of Brooke Aldridge, whose exquisite voice would effortlessly grace any musical genre.

The album is certainly evidence of this with tracks such as Mountains in Mississippi, Lila and This River, with Darin taking lead vocal, of a standard that would not be out of place on any Alison Krauss and Union Station album.

Kingdom Come, the opening track, takes less than twenty seconds to put the listener on notice of whats to follow with a belting mandolin, guitar and fiddle intro before Brooke’s powerful vocal kicks in. 

Fit For A King is country gospel at its finest with Brooke’s vocal aided in no small measure by gorgeous harmony vocals courtesy of Charli Robertson of Flatt Lonesome. Heaven Just Got Sweeter For You closes the album in style with the focus on the duo’s harmonies with mandolin, guitar and acoustic bass adding the perfect background. 

Altogether a hugely impressive effort sitting comfortably at the crossroads between bluegrass, country and folk.  Beautifully punctuated by powerhouse vocals of Darin and Brooke and in no small measure by their band Tyler Collins (banjo, dobro, guitar), Tim Surrett (acoustic bass), Shay Cobb (fiddle) and their guests Vince Gill, Pat Flynn, John Cowan, Charli Robertson, Barry Bales ( in the band?) and Carley Arrowood. The album was produced by the duo and recorded at Crossroads Studios, Arden, North Carolina with recording engineers Van Atkins and Scott Barnett

The album cover depicts the couple on an airport runway alongside a jet possibly suggesting from the album title that this talented couple are on a forward journey to spread and share their wonderful talents and intend doing so at speed. Safe travels indeed!

Review of the Year

FOR THE LONESOME HIGHWAY REVIEW OF THE YEAR GO TO NEWS SECTION

Reviews By Paul McGee

Kelley McRae The Wayside Self Release

This is folk/roots music of the highest order. The eleven tracks included on this release are superbly crafted and played by an ensemble of musicians who gel perfectly together in delivering a work of some sophistication and strength.

McRae directs the gentle grooves on display with her guitar and a wistful longing in her vocal delivery. Her partner in all things creative, Matt Castelein, plays beautiful lead guitar and also sings sweet harmony vocals. Backed by Brent Clifford on guitar & vocals; Roy Salmond on piano, keys, bass & percussion, with Kenton Weins on drums & percussion; we are given song arrangements that serve the project beautifully as the song, If You Need Me, states “Anything worth holding onto is worth letting go”.

Reach You is a soft regret on scoring relationship points against a futile future “there was a time when joy came easy…”.

Land of the Noonday Sun sums it all up with the line;” time goes by like a dream, no matter how hard you run”. The dreamlike quality of her music just pulls you along on a breeze of calm and reflection.

Having travelled extensively across America and performed hundreds of shows, this duo has gone on to tour in eleven countries and performed at festivals. Theirs is a celebratory sound which reminds me of the Indigo Girls when they first appeared on the scene & both Hard Night and Red Dirt Road are perfect examples with their swagger and tempo. I also hear Patty Griffin and Emmylou in these songs but in mentioning these greats, I only hope to elevate the creative talent on display here.

A Long Time and All the Days That Have Come Before, are real nuggets that unveil themselves on repeated listen, while Rare Bird is a moment of reflection with a rueful look back at old friends, gone along another path. Tell It Again contains the most sublime guitar break and Rose is a tribute to a child (daughter?), that is beautifully gentle and heart felt.

The press release for The Wayside speaks of the ‘hope that comes with stepping onto unknown soil’. Perhaps a “place along the side of the road where things get left behind, or where you go to rest awhile, or where you go find something you lost along the way.” Well, that just about hits the nail on the head.

With four previous releases to her name, Kelley McRae has arrived at a perfect place where creative essence meets with mature and poignant reflection. Everything you would look for in a release of quality song craft and understated performance. A must buy.

C. Daniel Boling These Houses Berkalin

This represents the seventh release in a career that has seen this American Folk artist receive widespread acclaim for his singer-songwriter talents and compared to the artists like Steve Goodman, John Prine and Tom Paxton.

Of the 13 tracks here, 3 are co-writes with Tim Henderson (Buffalo Nickels/Miss Amelia Harris/Spinster) and Andrea Renfree (Growing Old in New Mexico), and there are also 2 songs inspired by the war veterans of a New Mexico organisation who helps with Post Traumatic Stress Disorder (I Brought the War With Me/Crumble).

These are well-crafted story songs and influenced by his upbringing in a traveling Air Force family, along with some years spent as a National Park Ranger, a Criminal Investigator for the US Bureau of Land Management.

The assembled musicians serve the songs with quiet restraint and colour the words with sensitive playing around the arrangements.

The title track is right out of the great American folk tradition and it is no surprise that such a varied band of musicians assemble to pay tribute to the past as well as honouring the present. Songs such as I Will Not Go Gently and Leadbelly, Woody & Pete close the project with a nod to the struggle that continues… ‘We are here to make each other strong and whole…’ A fine performer and song-writing talent.

Anna Elizabeth Laube Tree  Ahh…Pockets!

Anna Elizabeth Laube is an award-winning multi-instrumentalist, songwriter, producer and this is her fourth release. The nine tracks selected include a cover of Bob Dylan’s Wallflower, together with a version of XO, originally written by Beyoncé. In a way, these two extreme opposites sit as a perfect summary of this excellent artist who is prepared to take chances in her writing and song arrangements.

The title song is a sweet reflective piece that reflects on growing up and childhood memories. The innocence of youth is captured in lines like "You’re the hideout in my backyard”. The light touch and jazz swing of Sunny Days is just so sweetly subtle and sung in a lazy care-free style that frames a number of the songs here. The musicians are all very impressive in their varied cameo roles but it is the skills of Ms Laube that knits it all together, whether playing guitar, bass, harmonica, piano or just using her disarming voice.

The country-style violin that frames the Dylan cover brings the song to a new place and the Beyoncé track (XO) is given a stripped back acoustic guitar treatment with some very fine muted trumpet from Charley Wagner.  

With previous releases, Laube has been honing her song-writing skills and this fells very much like a complete and mature realisation of the days spent learning her craft.

Please Let It Rain in California Tonight is a beautiful prayer for healing in the World that has reflective compassion with lines such as “ Please let love rule our bodies, hearts, and minds, and melt away every single chain that binds”.

The narrative in “Lose, Lose, Lose” is of an ex-addict falling off the wagon on Christmas Eve and is such a poignant song both in delivery and mood. The final song “All My Runnin” is a knowing nod to love and the pedal steel of Dan Tyack frames the sentiment as Laube sings “Darlin’ all my runnin’, led me to your face”. A terrific release and one that delights as much as it surprises.

Magic Car Meteorites Tiny Dog

Twelve songs that fall into the broad space of folk/Americana from this 5-piece who are based in Nottingham, UK. All songs are written by Phil Smeeton (guitar) and feature the clear vocals of Hazel Atkinson.

Formed in 1994, the band has released three previous records and Yellow Main Sequence, Family Matters, European Punks has now been joined by Meteorites. There are songs about novelist Mario Puzo (Only in America), Summer ending (Summer Storm), Local down 'n’ outs (King of Pool), Ladies of the Night (Manwhippa!), nature escapes (Fritz’s Beach) and fractious love (Meteorites). The sound is easy on the ear and the playing is accomplished without taking any unnecessary risks.

You could sink into the easy jazz groove of Working Woman or the acoustic shuffle of The Bends and the time will pass by quite pleasantly. A varied and interesting collection of songs.

Errol Walsh & Ted Ponsonby Just Sayin' Self Release

I remember Errol Walsh with some nostalgia. I was a young man growing my musical tree in Dublin city when I was first introduced to the great sound of Stagalee, fronted by Errol, all authentic swagger and country blues/ roots rock attitude. It was a terrific live band and boasted many members that came and went through changing line ups that never seemed to diminish the quality of the music.

Years later I came across a solo release, Waltzin’ in the Water, which gave me great comfort to know he was still ‘out there’ and doing his independent thing…

So, when this new release came in my review batch I was understandably enthusiastic to catch up with his recent past. I am glad to report that this talented song-writer is not only alive and well but is making excellent music, as evidenced on the 13 tracks included here. With 6 co-writes and 7 self-penned songs, Errol spans quite a few styles with country waltzes, light jazzy numbers, folk and rhythm & blues, complete with some Irish trad touches and some slow soul grooves.

Something to suit everyone then but not a hint of the overall sense of direction being overtaken by the variety on display.

Produced by Errol, Ted Ponsonby and Joe Murray in Ireland and something of an organic creation, the entire project is fully deserving of great credit to all concerned.

Errol is joined by Ted Ponsonby (Dobro, Acoustic/Elec guitars, Hammond Organ),​ Sarah Ponsonby (Fiddle), Gary Porter( Drums), Denise Boyle(Fiddle), Dave McCracken (Bass), Donna Murray(Harmonies), Rory Clements(Piano), Gordon Murray(Acoustic guitar), Sean McCarron (Saxes),Martin Hughes(Drum programming), Cloudy Henry(Piano & accordion), Stephen Quinn(Percussion), Seonaid Aitken( Fiddles) and Joe Murray on Bass, Drum programming, guitar, Harmonies & vocal arrangements – quite an ensemble to control in a studio environment and it is to their great credit that the songs just fit perfectly together as they move across the various genres.

Long Way Down has a jazz feel with horns and piano to the fore, Seventeen is steeped in Van the Man influence with the lovely piano, warm keys and gentle guitar strum all reminiscent of the great man. Matchbox Billy is a first for the best of Country traditions; a tribute to the life of a Pyro-maniac. Queen of the Glens is a beautifully realised song with a great lead vocal from Donna Murray.

Somewhere in the Middle has a Folky groove while Looney Tune finishes everything off with some style and a tip of the hat to the old acoustic blues players of the past. Terrific stuff and this is a release that I can recommend to one and all.

3Hat Trio Solitare Okehdokee

3hattrio play what they call 'American Desert Music'. The three musicians, Greg Istock, (acoustic bass, percussion, vocals, production, arrangements), Hal Cannon, (banjo, guitar, vocals) and Eli Wrankle, (violin, vocals) make a music that is both timeless and essentially familiar. It is comprised of varying influences, yet has a strong sense of the cultural traditions of the deserts of the American southwest.

Living in the region of Zion National Park in Utah brings the three musicians into daily contact with their roots and the indigenous influences of the region and all who have passed before is interwoven into the haunting, ghost-like violin playing of Eli Wrankle, the banjo melodies of Hal Cannon and the free-form jazz like runs of Greg Istock on stand-up bass.

There is a quality of isolation and other-worldliness in the playing and the spaces created by the arrangements. The singing of Greg Istock is particularly engaging, adding fresh layers to the overall atmospherics, especially when he sings in scat style improvisations to add colour to these songs.

Solitare is the third release from this trio and in our review of the previous release, Dark Desert Night, we stated that their music was simple and sublime. I see no reason to depart from this description of what is offered up on this new recording; ten songs that create a sense of returning home yet retaining the spirit of the nomadic traveller.

Texas Time Traveller is an atmospheric opener and features the free form vocals of Istock while the more reflective Rose speaks of moving down the road with the sense of nature all around. Mojave displays the finesse of the musicians to play off each other and interpret the flow of ideas contained in the elemental arrangement. The abiding message is one of the surrounding land and the place we take in the unfolding journey through time. Both Range and Blood River point to forces that are greater than us mere mortals and the drive of this music is something that powerfully captures nature in a way that is both fresh and understated. A recommended purchase.

Michael Tomlinson House of Sky Self Release

This Seattle-based singer/songwriter has 11 previous releases to his name and the 16 tracks included on this new release take over an hour of listening time. Quite a commitment is therefore required but the effort is rewarded in the positive, life enhancing lyrics and sweet vocal delivery of this accomplished singer song writer. The production is very clean and delivered by Tomlinson himself, together with the essential input of Jay Kenney, co-producer, engineer and multi-instrumentalist.

It is hard not to repeat yourself across so many tracks and his optimistic messages remind me of the music of UK’s Charlie Landsborough. The writing is strong enough to hold the interest, from the light jazz groove on tracks like Boulevard Rain to the acoustic swing of Daddy O’; the catchy Wyoming Wind and reflective Thanks For the Wind. This is folk/rock played with accomplished ease and delivering a very genuine message of thanks, hope and peace, as Michael Tomlinson sings from the heart with a genuine passion and belief in his spiritually uplifting songs. 

Season's Greetings To All

The team here at Lonesome Highway would like to thank all the artists, management, record labels, PR agencies, venues and readers who helped contribute to the site over the last year. Long may the good music continue.

Here's to the next year.

Reviews by Stephen Rapid

Tom Mason and the Blue Buccaneers Pirate Party Self Release

Over the last few years Tom Mason has firmly nailed his colours to the mast with his Blue Buccaneers releases. The band name and title should give you a pretty good idea of where Tom Mason is coming from. It’s a pirate thing scallywags. In recent times Mason has released a pirate themed Christmas album Yo Ho Ho as well as The World Is Ablaze all of which, if you get in the mood, are entertaining, energetic and ebullient outings that will get anyone who is open to it in the party mood. 

Like the last album this set was produced by Thomm Jutz and the Buccaneers are a talented crew. Mason is the undisputed captain and handles the vocals, guitars, dobro, trombone, bouzouki and mandolin. Add to that violin, drums, bass, banjo and a whole lot of vocals and you have a fully realisied sound.

It’s interesting that after 4 such albums there are still songs that have you going with their infectious choruses. It must be all those pirate songs heard down through the years on film and TV. Bully In The Alley, Blow The Man Down, All For Me Grog, Haul Away Joe will be familiar to many. Mason and crew give them a good run for their money and display some fine playing and innovative arrangements (by Mason).Their take on Drunken Sailor for instance is given a twist by setting it to a Bo Diddley beat!

There are a number of original songs too that are written or co-written by Mason including the title song, Talk Like A Pirate (plenty of that here to give you a refresher course), Pirate Polka, In The Drink and Pirate Song (We’ll All Go Down With The Ship). A song that could easily be perceived as a forward thinking comment on the current state of affairs in the (dis)United States.

All in all, an album that while it may not be for everyone is full of life affirming spirit, tight playing and a sense of fun that is often lacking in these over-produced and over polished days. Long may Mason and his Blue Buccaneers rule the waves - as its likely in these programmed to death days that they won’t get to rule the airwaves. Still it’s never too late for a pirate party methinks.

Todd Snider Eastside Bulldog Aimless

Essentially this is a side project from Snider, a set of 10 songs that never outstay their welcome as the album clocks in at less than a half-hour. His Elmo Buzz pseudonym should be on the front cover but that may have confused things what with his other project the Hard Working Americans and all. It is a hard rocking album full of Snider lyrical asides and off beat, sometimes humorous observations. Snider has a distinctive voice that has gained in grain and grit over the years and is perfectly suited to this set of (assumingly) self-written songs. He also produced the album with Eric McConnell. They assembled a bunch of like-minded individuals including Snider on vocals and take-off guitar, McConnell on bass, Denis Taylor on some very upfront sax, Mark Horn on drums and Jen Gunderman on keys and vocals. These players all recorded their parts in the Sound Emporium in Nashville. While another set of players including Aaron Lee Tasjan, Paul Griffith and Keith Christopher (drums and bass respectively) were tracked in the Cash Cabin.

The title track, Hey Pretty Boy, Are You With Me? are all stand-outs but then the whole album rocks along at a pace. Those who enjoy the work of Barrence Whitfield and The Savages would do well to check this dog out. Rooted in rockin’ 60s sounds the album combines Snider voice and lyric with some off the leash riffing and energy. What’s not to like? 

AJ Hobbs Too Much Us Never Enough Booker

Hobbs is a classically trained musician who got hooked on country music (the good stuff) and his first show in the country mould was opening for Shooter Jennings. He met Ted Russell Kamp there playing bass for Jennings and they subsequently worked together with Kamp producing a previous e.p. and now this debut long playing album. The song Waylon & Merle may give you an idea of where Hobb’s heart really lies. He also includes a version of The Bottle Let Me Down that is in the spirit of its author, while also giving it some of the singer’s own style.

Aside from that, the songs are all originals from Hobbs with the exception of a Kamp song and two co-writes. All songs are taken from the storytelling tradition of using your own life as a source for the material. Hobbs admits to having problems in the past with drink and related issues. This is revealed in the opening title track. After that the song titles pretty much reveal their content in instances such as Life Without You, Daddy Loved The Lord, a song that displays a solid country/gospel theme that runs through the album with strong soulful backing vocals and organ playing a major role in many of the songs. That country/soul combination is one that has been currently explored in recent times. However, Hobbs seems to get the balance right so that it is overall a country album with an undercurrent of soul.

The production and playing are right behind Hobbs who has a strong voice much suited to the musical style he has chosen. His songs are about getting to the heart of some real life situations and experiences that are told with clarity and conviction. AJ Hobbs is not taking this music to places it hasn’t been before but, rather, he is adding to a tradition with some humour alongside the more harder hitting truths. Hobbs is a welcome addition to those exponents of California country music we know and love.

Lynne Hanson & The Good Intentions 7 Deadly Spins Self Release

Another engaging work from the Canadian singer/songwriter. Murder Ballads & Reckoning Songs it says on the sleeve and indeed these songs have a darker, edgier, rockier sound. Fellow singer/songwriter Lynn Miles brings out the rust and corrosion inherent in the seven songs here like Gravedigger, Water’s Edge and Black Widow.

Hanson plays acoustic and electric guitars and sings in a deathly clear voice on a set of original songs written solo or with co-writers Al Wood, Fraser Holmes and Miles. The accompanying musicians add tension and texture to the seven songs.  Songs that let you know where they are coming from “No hope for redemption … that’s what my Momma said” (My Mama Said), I’m digging in the dark ... digging to hide what I done” (Water’s Edge) or “Got a bible near my bed … and a shotgun by my head” (Cecil Hotel). These excerpts leave you in no doubt that these songs are a little different than the up-tempo, upbeat songs that are beloved by mainstream radio. This runs much closer to the bone(s).

Lynne Hanson has made strong albums in the past and this may be something of a diversion from the main path in terms of content and sound but this is a set of songs with a purpose and an opinion that makes it a pretty compelling listen. Just make sure to leave the lights on when you listen.

Tom Shed Davey’s Cornet Curly Maple

This songwriter has a number of albums under his belt. They are a mix of folky songs that tell stories of people and places. Shed and Nathan Smith produced the album in Nashville where they utilised the services of players like Steve Hinson (steel and dobro), Dave Pomeroy (bass) along with a selection of brass, keyboard and harmony vocals. The sound is warm and pleasant as is Shed’s voice.

These songs tell stories, for instance Bolita Sam about a murder in 1953, Ole Hickey’s Town about the rebirth of a town after a fire. As well as his own songs Shed includes three from Dave Grooms, one from Will McLean plus Stan Jones’s often recorded Riders In The Sky and the title song about the effects that war often has on a man (or woman) when they return home. The song was co-written by Shed and Janet Goodman. There is a mix of styles here from the more stripped back arrangements to the fuller sound songs, like the aforementioned title track Davey’s Cornet, which naturally features, understandably, that particular instrument. This gives a variety to the listening process. Just A Soft Echo is largely voice and guitar which perfectly suits the mood of the song. Conversely the arrangement of Riders In The Sky has a fuler sound with drums, pedal steel and a lead acoustic guitar break. The final track Groove, an instrumental, by way of complete contrast exemplifies that variety as it’s a brass and keyboard workout that closes the album on quite a different note to all that went before it, like it somehow strayed in from another album.

Shed is the sort of artist who will have fans who love his work and a ready audience that wants to hear them it, but for a number or reasons may find it hard to break outside of that particular audience. Those who are attuned to him will always want to hear more while the larger listening public will, which is true of many such artists, never take the time to find him or come across his music by accident. Those that do will know a good story when they hear it.

The Stray Birds Magic Fire YepRoc

Something of a change for The Stray Birds as they decided to bring in an outside producer. That choice was the notable producer Larry Campbell with whom they recorded the album over a ten-day period. They took the elements that had served them well through their previous albums such as the tight, lush sounding three part harmonies of the trio and their developing song writing skills which they opened to a wider approach to the process and subject matter. 

Maya de Vitry, Oliver Craven, and Charles Muench all brought their A-Game to the sessions where they added to their own multi instrumental skills to those of Campbell, alongside drummer Shane Leonard, Kai Welch and Marco Benevento on keyboards. The end result is another step forward for the band and a step closer to wider public recognition.

For example, the percussion behind Where You Come From has a philosophical viewpoint aligned to a catchy chorus. The final song When I Die has an equally dark thread running through it. While, by way of contrast, Somehow steps back in time to stand close to what the Everly Brothers were doing at a certain period of their career. It’s soft harmonies and fiddle and steel guitar backing has a sweetness and instant likability. It is those harmonies throughout that are integral to what The Stray Birds have done since their inception. This time out they have added a much bigger sound and some fire and magic to the way they have conceived the album. It shows how a band can develop while fundamentally losing what was good about them in the beginning.

Reviews by Paul McGee

Amanda Rheaume Holding Patterns Self Release

This talented singer-songwriter releases her fourth record and shows plenty of growth and maturity since her Keep a Fire release in 2013. Produced by Jim Bryson who does a really excellent job, the twelve songs featured are full of melody and catchy arrangements. The musicians gel together and display great talent in bringing the songs to life. Blair Hogan and Jim Bryson shine at various stages with some tasty guitar moments.

Many of the songs are coming from a personal place and the woes of relationships are covered in Blood From A Stone and Dead Horse. The prospect of turning attraction into something more substantial is covered with Get To The Part, Mind Over Matter and Time to Land. Keeping a positive outlook on life is the subject of Beat the Rain, Wolf Of Time and the outstanding track here, All That You Need, a song that asks for belief in our own strength and talents. Red Dress, finds Rheaume honouring the over 1,180 murdered and missing Indigenous women and girls in Canada. 

The song The Day The Mountain Fell, refers to a 1958 landslide in Prince Rupert, British Columbia that crushed small community of houses and two men who rescued a baby. The baby was a cousin of Rheaume’s and they called her ‘The Miracle Child’ because she was the only survivor.

Rheaume sings in a sweet but strong vocal with a nice tone to her voice, while the folk- tinged feel of the songs lull the listener into a nice cosy place of seemingly familiar territory. Nine of the tracks are co-writes with Amana writing two others and Jim Bryson pitching in with the closing song, On Disappearing, a perspective on passing time and our sensitive natures. A very engaging release and one that asks to be heard.  

Brian Cullman The Opposite of Time Sunnyside

Twelve songs and all written by an artist who has gathered an impressive list of musicians to bring this project to life. Co-produced by Cullman and Jimi Zhivago (great name), who also contributes on multiple instruments, this NYC writer/producer/musician shows enough confidence here to be a real player. This is only his second solo outing but he has Jenni Muldaur on backing vocals joined by Leni Morrison (The Darling Sins), Glenn Patscha (Ollabelle, Sheryl Crow) on piano and organ, Byron Isaacs (Ollabelle, Levon Helm) plays bass, Aaron Johnston & Didi Gutman from the Brazilian Girls are on drums & keyboards respectively, Jimi Zhivago (Glen Hansard, Rufus Wainwright, Kim Taylor) plays guitar, and Hector Castillo (David Bowie, Bjork, Lou Reed) engineered and mixed.  

Wow, this guy has some CV, having shared experiences in London with the likes of John and Beverly Martyn, Nick Drake, Sandy Denny, Richard and Linda Thompson and writing for such publications as Creem, Musician, Rolling Stone and The Paris Review, among others. He also produced sessions for Lucinda Williams & Taj Mahal, Ollabelle, and Persian-Indian group Ghazal; collaborating with Youssou N'dour on a record for Senegalese guitar wizard Jimi Mbaye; producing the soundtrack to the documentary Gypsy Caravan, and scoring Padre Nuestro, winner of the 2008 Sundance Festival.

Eclectic does not really cover it all but the songs here are the culmination of all these influences and really hit home as a work of real accomplishment. The swamp groove of Walk The Dog Before I Sleep is pitched against the slow gentle groove of Time If There Is Time and Hands Of The Rain. Beneath The Coliseum is a folk strum that harks back to an earlier time of innocence and easy days while the sound of Memphis Madeline is Dylanesque in content and delivery. Well worth investigation.

Robin Greenstein Tears & Laughter Windy 

This artist has been playing and recording since the 1980’s and this release is her first in over a decade. Robin plays both guitar and banjo, describing her music as "Acousticness". She mixes many styles with folk, jazz and blues highlighting her acoustic talents. She has also looked at women's lives thru traditional Anglo and Afro-American folk songs, releasing Images of Women Vol 1 & 2. 

There are similarities to both Dar Williams and Mary Chapin Carpenter in the strong vocal delivery and the story-telling narratives. Hole in the Ground speaks of the troubles in the World while the light jazz groove of West Coast Swingin’ sits well against Eric Clapton cover of Tears in Heaven, co-sung with Frank Reno and a new take on a well-known song. A Tale Of Two Cities is about the aftermath of 9/11 and the coming together of communities in N.Y.C. and New Jersey. 

The relationship woes of Where There’s A Will There’s a Way reflects on a love gone cold with the routine of life; finely observed and well perceived with a message of enduring hope. The death of a child is sensitively visited in Happy New Year and the spiritual message of Buddha Watches Silently reflects on the inner journey we all must balance along our weary path through this world. 

John McDonough Surrounding Colors McDonough

Austin, Texas is home to this singer songwriter who releases his second collection of songs in the last 2 years. Dreams & Imagination was reviewed here previously and this time out the same studio band has remained, with the players delivering on all fronts. The 10 songs featured all display a confidence in the delivery and writing as we are given a strong mix of rock ballads and up tempo workouts. He is a fine guitar player and the piano and keyboards of Cole Gramling add real colour to the arrangements. Co-produced by McDonough and Kevin Butler (drums & electric guitar) the drive of the opening songs Tonight’s The Night, Save A Life and Open My Arms And Breathe lead into the more reflective Nowhere Else To Run. The Place Where I Belong is a country influenced groove that sits well alongside the easy tempo of All The Gold. Another solid project brought to fruition by this interesting artist who is quietly involved in a d.i.y. career that has to be applauded. 

Mary Beth Cross Feels Like Home MBC

Six songs on this mini release from a folk/roots artist who hails from Colorado. She has been making music since 2006 and has 4 previous releases to her name. Cross sings with a clear sweet voice and the cover versions of Kathy’s Song (Paul Simon), Long, Long Time (Gary White) and Shady Grove (Doc Watson) are given a bluegrass treatment that sits nicely alongside her original songs, Threshing Time, and Cottonwood Creek. 

However, it is the eight-minute medley of Summertime/Moondance (George Gershwin/ Van Morrison), mixed with her own original Pas De Deux (Francais) that is the highlight here. It is an audacious attempt to link 2 standards with unknown melodies but it does work well. The musicians play superbly together with bass (Adrian Engfer), banjo (Chris Pandolfi) and fiddle/mandolin (Jeremy Garrett), prominent in the mix and doing a fine job in backing up the fluent guitar work of Tyler Grant and vocals of Mary Beth as she follows her muse. Production by Chris Pandolfi is very impressive with a clear and spacious sound highlighting the excellent musicians throughout.

Reviews by Stephen Rapid

Reckless Kelly Sunset Motel No Big Deal

As a band who loosely defined what was eventually to become labelled as Americana, Reckless Kelly rocked, honky-tonked and country rootsified their chosen musical path since moving from Oregon to Austin and releasing their first album Millican back in 1998. The band is fronted by the Braun brothers Willy and Cody. For their ninth studio album, they are joined here by bassist Joe Miller, guitarist David Abeyta, and drummer Jaz Nazz. The latter two have been reckless for some time and indeed Abeyta has been a co-producer on their recordings with the Braun brothers over the last few albums. Guests on the album include Bukka Allen on keyboards, Marty Muse on pedal steel as well as Eleanor and Chris from the Mastersons.

All contribute to a full and eventful sound that while it may not have altered a great deal since they started, shows how that have matured, honed and clarified their sound. It is a pretty engaging one that has found them many friends and fans through the years. The album opens with the very accessible How Can You Love Him (You Don’t Even Like Him)? A fairly self-explanatory song in terms of subject matter. This leads to the hard rockin’ Radio and example of maybe how not to get on radio while considering what would. Willy Braun takes the lead vocals and has a strong, emotive and engaging voice that can handle the rockier songs as well as the moments of regret like the moody title track with ease. Braun is also the writer of all the songs here and as such sings them with the total conviction required.

There are few bands better at what they do. The kind of scrappy, rough-round-the-edges roots music that still has a tightness that comes from playing together for some time. It is shared experience that knows its own place and isn’t trying to be anything it isn’t. There has been no compromise in how Reckless Kelly have approached their music. There have been no flirtations with the big label and that has enabled them to be true to themselves and their fan base which knows what to expect from a Reckless Kelly album. That includes a clever, well thought-out and designed cover (it comes with a key fob that when used as a viewer reveals further hidden images) something that is easily the equal of any major album release these days. 

This is a set of songs replete with choruses and hooks that are trying to be too-clever but equally share experiences that are readily relatable. Volcano, Give It Up, Moment In The Sun are further examples of how this band delivers on its early promise. While Sad Songs About You is just that, a song of pure heartbreak and sadness. The final track Under Lucky Stars is a slow acoustic based ballad that balances well with the more upfront songs that also permeate the album’s thirteen cuts. There are vacancies in the Sunset Motel - check in and check it out at your leisure. You will be back.

Luke Bell Self-Titled Bill Hill

Bell seems to be picking up press for his third album release. Deservedly so as his new album, released through Thirty Tigers, is a good one. After growing up in Wyoming and playing in a variety of rock bands he moved to Austin where he honed his mix of honky-tonk blues and New Orleans r’n’b. Now he lives in Nashville and this album reflects that move. There are a few tracks from his previous album Don’t Mind If I Do including the opening traditional sounding Sometimes, in which he reveals that he feels being in a relationship is like “sometimes I feel well … but other times I feel like hell”. If these songs have been remixed or recorded is not entirely clear but as the credits list only a Nashville studio I’d suggest the latter. 

From then on it’s one strong song after another. Where Ya Been? about looking at the straggled stranger looking back at him from the mirror. The Bullfighter takes the analogy of taking on the titular role in a honky tonk bar. Working Man’s Dream is a fast and furious fiddle-fuelled song with a yodel that recalls the resurgence of hardcore hillbilly down on Lower Broadway and back in the day. The album closes with the New Orleans sound of a big solid ballad, a self-written song, The Great Pretender. It shows that Bell can take on different sounding songs and sound like he is at ease with them all. He is effectively becoming known with this release which has a greater prominence that his previous releases - and deservedly so.

Producer Andrija Tokic has gotten a good take on mixing traditional modes with some contemporary mores. With players like bassist Dave Roe, drummer Jimmy Lister, steel player Brett Resnick, fiddler Casey Driscoll and Caitlin Rose on backing vocals there is an expectation and all play their part in bringing these songs to life. Fiddle, steel, twanging guitars and feisty harmonica all feature prominently giving the whole album its context and clarity. Proof again that even in Nashville music that bears some relation to the reason the city made its name is still being played there, even if it is not getting past the front door of the established labels at this point in time. All you need to do is listen out for the likes of Luke Bell and you will be, if you’re a honky-tonk fan, a happy listener. 

Bap Kennedy Reckless Heart At The Helm

It was great sadness that I learnt of the death of Bap Kennedy and somewhat ironic that his new album arrived through the letterbox on the same morning. Without the added poignancy of his passing this would still be a great album in keeping with the overall body of his work either as part of his punk band, Energy Orchard, or his solo albums. Through his career he has been recognised as a distinctive and emotive singer and songwriter who first came to wider attention with his Steve Earle & Ray Kennedy produced Domestic Blues album and through such releases as The Sailor’s Revenge, Howl On (which also featured the late Henry McCullough on one track), Lonely Street or The Big Picture, an album that featured Shane McGowan and a song co-written by Van Morrison. Kennedy stood toe to toe with these largely better known artists and leaves a fitting body of recorded work behind him.

Reckless Heart was written and produced by Kennedy and was recorded in Northern Ireland with Rod McVey, featuring  wife Brenda on backing vocals and percussion as well as lead guitarist Gordy McAllister, bassist Nicky Scott and Rod McVey on keyboards. All provide a musical bedrock for these songs that is perfect for the rootsy flavour and relaxed feeling that the tracks purvey. There are obvious standouts like the story telling of the wandering Henry Antrim, the wish to revisit a missed opportunity on I Should Have Said It or Honky Tonk Baby a song dedicated to the object of his affections and the music of their choice. The Universe And Me is a sad consideration of his life and times, his music and his love. A song that is all the more affecting because of his demise. As the songs tells us truthfully that for many “there’s no music in money, there’s no money in love”. 

Once again you’re reminded of how much talent exists on these isles that has long been dismissed or ignored for not emanating from the US or being too closely linked with the jukebox/covers syndrome that has been associated with country cover bands and artists for a long time. His much-praised debut was released in 1998 and Kennedy has been at the forefront of original (what has come to be known as) Americana since then. Bap Kennedy will be missed for his on-going musical and writing skills that marked him as one of the originals - and best.

Ben Glover The Emigrant Proper

Working again with producer Neilson Hubbard, Ben Glover has delivered an album that largely reflects the nature and life of the emigrant. To do this Glover has used a set of traditional arranged songs as well as such sterling songs as the fiercely anti-war song of the Australian campaign in Gallipoli in World War 1 and the devastating effects that conflicts brings. The oft recorded And The Band Played Waltzing Matilda never fails to move in its unsentimental impact. Here it is a slow piano-based ballad (played by on this track by Dan Mitchell) that runs over seven and a half minutes and slowly builds up as the story unfolds and the bitterness intensifies. It is largely a singer’s song and Glover gives a heartfelt vocal that underlines his presence in that area. The piano is a central to many of these songs giving them an intimate and understated feel that works well in the context of the album’s timeless themes.

Something that is apparent throughout and where an artist covers non-original and traditional songs is that it is often largely down to their vocal skills to make the song their own. So, while some of these songs have versions that are already ingrained in the memory, Glover adds his own personality to his reading of such songs as The Green Glens Of Antrim, Moonshiner and The Parting Glass. The latter is the opening track and one of the albums standouts. It is given a folky rendering with fiddle and acoustic guitar but has an energy that highlights the essential message of the song.

The new songs are written by Glover solo or with Gretchen Peters (The Emigrant), Mary Gauthier (Heart In My Hand), Tony Kerr Carpe (A Song Of Home). Aside from Eric Bogle’s … Waltzing Matilda, there’s Ralph McTell’s From Clare To Here and Brendan Behan’s The Auld Triangle. All the latter are songs that Glover must feel are special enough to want to risk comparison to previous versions and in doing so he has given them context that are is as relevant to many today, as to the time or time frame that they were written. The appreciation of end result may depend on how open a listener may be to previously recorded songs but should also be considered in the way that fits with the new songs. Ben Glover is to be applauded for taking this risk; one that should establish him as an artist who can bring something of himself to all these songs. They have the capacity to make the listener reflect and think anew and that in itself is a pretty good thing all round.

Kaia Kater Nine Pin Self Release

The cover features Kater with back to the camera and a well-played claw hammer banjo cross her shoulder. Maybe signifying that this is an album, while that instrument is key, where she is considering other options than the usual routes. Kater and co-producer Chris Bartos have assembled a group of players who bring a set of tones that are as effective as they are unusual to accompany the banjo. These include flugelhorn, trumpet, electric guitar and moog alongside upright bass and fiddle. There are also several credits for backing vocals which play a subtle part in the proceedings. It is Kater’s banjo and voice however, that are the centrepiece to the recording.

Recorded in Toronto, the album highlights a combination of traditional arrangements and self-written originals. Kater has sleeve notes on the album that are related to the traditional song’s sources. All the material however fits seamlessly together with an experimental discourse that, while it is rooted in her musical heritage and that of the banjo, offers something a little different. Some of the tracks take a more stripped down approach like the song Little Pink.

Harlem’s Little Blackbird has a sense of acapella with some minimal percussive effects behind the voice. In other cases, though the instrumentation is largely voice and banjo, the arrangements feel more contemporary in outlook. The final track Hangman’s Reel is a fiddle and banjo reading that feels very traditional and shows Kater’s understanding of the instrument’s potential past and present.

The songs are strong and her voice compelling which makes her one to watch in the ever-growing list of those playing their individual take on old-time and bluegrass music. She has also got a strong visual presence that helps her to stand out. Something that always helps in what is a difficult time for any artist to gain attention for their music.

Jesse Dayton The Revealer Hardcharger

I don’t think I’ve heard a bad album from this Texas roots/country/rocker since his debut album back in 1995. Raisin’ Cain introduced a prodigious talent as writer, singer, guitarist and later as a producer. Since then there has been some seven albums under his own name between that album and this new set of songs. All but one of the songs are written (or co-written) by Dayton. The one outside song is from the noted artist Mike Stinson, who also plays drums on some of the tracks here. Brennen Leigh also duets with him on Match Made In Heaven (the duo also have released a full duet album Holdin’ Our Own back in 2007). Dayton plays all guitar as well as bass, percussion and keyboards. On the latter three he is also joined on different tracks by Eric Tucker, John Evans, Riley Osbourne and Erich Hughes. Beth Chrisman adds fiddle on several tracks. Evans also is the main producer here (he himself has made a number albums, one which I managed to track down a while ago was Biggest Fool In Town which I thoroughly enjoyed).

There is something of the outlaw outlook about Dayton and his ‘go-your-own-way’ approach he has taken to his music. He also has played with Waylon Jennings, Willie Nelson and Kris Kristofferson in the past. There’s nobody looking over his shoulder here advising that this or that might be better “received’ if it was polished more. This is rough and ready and infused with the energy of the booze fuelled spirit of the honky-tonk and roadhouse. The opening song also reasons that that such an attitude was an inherited thing when he tells us that his Daddy Was A Badass. The humorous I’m At Home Getting’ Hammered (While She’s Out Gettin’ Nailed) is one of those oh so country songs that will always raise a smile, not unlike the Notorious Cherry Bombs It's Hard to Kiss the Lips at Night That Chew Your Ass Out All Day Long did. Dayton previously released a version of this song on the spoof album Banjo & Sullivan in 2005. This was a fictional band that featured in the Rob Zombie directed The Devil’s Rejects. Dayton has worked as an actor himself in subsequent films directed by Rob Zombie. Holy Ghost Rock ’N’ Roller is as you might expect a full-on piano-thumping stomper which is prefaced by a sampled diatribe about the evils of rock ’n’ roll. The Way We Are is another song that considers the life of a “this or nothing” working small-time musician looking towards “the hour on stage … playing for minimal wage … we do it for nothin’ or drinks from the bar.” Never Started Livin’ is a love song that is followed by the acoustic guitar and vocal finale Big State Motel which again deals with the life of the drifter, those who know no other way of life.

But it is his musical output that concerns us here and Jesse Dayton is the real thing and joins the ranks of those unreservedly in thrall to the throne of high octane country and rock ’n’ roll. The Revealer offers the listener some righteous unrighteous uncluttered music that will shake, rattle and country roll.

Reviews by Stephen Rapid

Caleb Klauder & Reeb Willms Innocent Road West Sound

A musician based in the thriving Portland, Oregon roots music scene Caleb Klauder plays old-time and bluegrass music with Foghorn Stringband. He also has a deep seated love of traditional country music which he plays with a honky-tonk ensemble of like minded musicians. They include vocalist/guitarist Reeb Willms with whom he has released a previous album Oh, Do You Remember a set of close harmony duets written by the couple. Now some four years later they’re back with a new collection of songs that are a mix of original songs written by Klauder with a selection of covers like Buck Owens’ There Goes My Love, a George Jones co-write I’d Jump In The Mississippi as well as some more recent material like Paul Burch’s C’est Le Moment.

Again their two voices intertwine and weave the harmonic threads into something strong and colourful that blends elements of the front porch and the honky-tonk together. The musicians who accompany them are an important part of the overall picture; some have played with Klauder for some time. Ned Folkerth on drums and Jesse Emerson both also appeared on Klauder’s 2009 country album Western Country. Joining them also are Rusty Blake on pedal steel and guitar, Sam Weiss on fiddle and Jason Norris also on fiddle and harmony vocals for three tracks. Klauder is in the production chair and has delivered a bright and warm sound that is immediately captivating. The album was recorded by Mike Coykendall who along with Klauder and Blake mixed the album in Portland. The is a strong sense of music made for its own ends. There is no feeling that it is aimed at anyone in particular rather a group of musicians making music that they (and we) will enjoy for what it is. 

Klauder’s You’re the One is an a standout sounding like a song that should have come from several decades ago it is a plaintive love song. While rooted in past-times there is a hearty relevance to these songs. The themes are those that will always concern songwriters. Songs that chart the up and downs of relationships in a clear and unequivocal manner. Yet they do so in a way that’s uplifting and light on its feet. Montana Cowboy a song of yearning for home written by Jack Sutton that has Willms on lead vocal and she tells us of longing and loving. On songs like There Goes My Love (which shows clearly the blend of stringband and country influences) and Just A Little they sing together in close harmony that emphasises the idea of togetherness.  

Caleb Klauder and Reeb Willms have delivered an album that is top notch in every respect (inclining the eco-friendly cover) and though they may not be a name as familiar as the likes of Wayne Hancock to many they are well deserving of reaching a wider audience with their truthful music. 

Joe Purdy Who Will Be Next? MC 

It’s always slightly alarming when you came across an artist whose music sparks interest and you check their website to find that they previously had 13 other releases without coming onto my radar. Joe Purdy is one such artist. Not being aware of the previous work this album is solidly in the protest song/aware folk singer section of the aisle. And maybe the time is just right for a singer to stand up and make his feelings known in the long tradition of Woody Guthrie and early Bob Dylan up to more recent protagonists like Joe Strummer, Billy Bragg, Dan Bern or Tim Easton. Of course, many bands have released records that include songs that rally against the many ills that prevail today. But equally there are those who don’t want to know, who want the act to “just shut up and play the hits”. Those who may like the act but not the political viewpoints expressed. Witness the CSN & Y, or Bruce Springsteen as just a couple of examples. 

But back to the music and that is pretty damn good. The album opens with New Year’s Eve and some understated organ playing before Purdy expresses his wishes for his own life, his country and then for a world deep in inequality and self-destruction. A hope for something better and free from “all war”. A wish that is likely never going to be fulfilled but one that needs to be expressed. The title song asks that simple question regarding the ever mounting toll of gun deaths. Not a sentiment that will find favour with an ever growing section of the divided, entrenched polar opinions of many Americans. So it goes on to the point where you can’t really separate Purdy’s opinions and worldview from his music. You will either be agreeing with his stance or you will want to listen to someone who has no obvious opinions or who holds the same viewpoint as yourself. There is a subtle accompaniment to the music which features an understated rhythm section, some B3 organ, pedal steel guitar and fiddle (from Scarlet Rivera). The latter in fact reinforces some of the abundant Dylanesque music references throughout.

In the end though it is Purdy’s lyrics, voice and worldview that are central to the album. Purdy with an acoustic guitar is likely to be as compelling live as he is here on record. There’s no doubt that voices are need to counter balance the corporate propaganda and fear that is prevalent today. Purdy is one of those voices and his songs are heartfelt and necessary - as well as working in a purely musical context too.

Sean McConnell Self-Titled Rounder

A Nashville based songwriter with a neat turn in melodic and emotionally sustained songs. This is his debut release for Rounder after a series of self-released recordings. McConnell grew up wanted to be a songwriter and toured around the States performing and honing his craft which has resulted in this album. Recorded in Nashville and produced by Ian Fitchuk and Lason Lehning it has a big, sculpted sound that falls somewhere between the mainstream and something more suitable for the fringes. These are songs that were started in isolation and were developed to where they are now. As their is noe specific title other than the artist’s names these songs take on something of an autobiographical  honesty. Queen Of Saint Mary’s Choir being a case in point.

With a tight studio band behind him that included both Fitchuk and Lehning as well as guitarist and banjo player Danny Radar and bassist Tony Lucido they have together delivered a set of songs that should have a wide appeal. McConnell has previously had success with his songs being recorded by the diverse likes of country singers Tim McGraw, Brad Paisley and Wade Bowen, pop singer Christina Aguilera and rock singer Meat Loaf. All going to show that McConnell’s songs are broad enough in category to fit any genre.

There is a smoothness to the songs and singing that has none of the outlaw grit that some may seek. Rather there is an immediacy and likability that rewards returning to the songs. That is not to say that there aren’t some more complex ideas to hand like the religious current that runs through Running Under Water. In One Acre Of Land he tells of this piece of property as against the travels of a musician. A ballad that has an honesty and sense of hope that is the central tenet of McConnell’s music. McConnell is a songwriter, that is who he is and who he wants to be; whether writing for other or for himself he does the best he can to make what he does have some sense of belief. Others can share that belief too on this fine album.

John Prine For Better, Or Worse Oh Boy

No real surprises here then. As the follow up to the acclaimed 1999 release In Spite Of Ourselves this is another instalment of John Prine singing with a variety of female duet partners in the style of the classic country duets albums of the past (and present). Some wish for an album of new self-penned Prine songs - something that may be in the pipeline (as a teaser the final song Just Waitin’ is sung by Prine solo) is but for now this is a pleasure to hear. John Prine, even in his prime, would never be consider a vocalist’s vocalist. Not that that matters I’d rather hear Prine’s expressive voice really get to the heart of a song over a faultless but emotionless delivery any time. 

Producers Jim Rooney and Prine have given the album an understated setting and a warmth that serves the songs well and players such as Al Perkins, David Jacques, Lloyd Green, Shad Cobb, Ken Blevins and Susan Tedeschi all bring their individual and group skills together to make the backings work in such an unobtrusive but oh-so-right way. It is however the selection of vocalists that Prine duets with that make it an interesting collection. They are, big breath, Iris Dement, Lee Ann Womack, Alison Krauss, Holly Williams, Kathy Mattea, Morgane Stapleton, Amanda Shires, Miranda Lambert, Kacey Musgraves, Susan Tedeschi and Fiona Prine.

Now everyone will pick their own favourite female voice and how well it works with Prine on their chosen song (or songs). Songs that are lessons in classic country storytelling from the pen of such writes as Allen Reynolds, Hank Williams Snr, Buck Owens, Joe and Rose Lee Maphis, Sammy Lerner, George Jones, Vince Gill and The Dixie Chicks. in some cases such as Mental Cruelty the male/female perspective adds a new  dimension to a song normally sung from the male viewpoint. All the component parts of the album come together to make a thoroughly enjoyable collection. Definitely for the better.

Cody Jinks I’m Not The Devil Thirty Tigers

Another contender for outlaw of the year. Cody Jerks is a country artist who arrived there via a time spent playing heavy metal but who grew up listening to the country music his father loved and so he has returned to that. His songs, voice and approach are undoubtedly much closer to Texas than they are to Nashville. These are songs that speak of hard times, hard work and hardened attitudes and hard country. It is an album shot through with conviction and trying to convince that he is neither the devil or a saint. The majority of the songs are self-written odes to a chosen lifestyle, there are three co-writes and two covers. Both Sonny Throckmorton’s The Way I Am, the Billy Don Burns song Church At Gaylor Creek fit the overall patina of the album. 

Recorded at the Sonic Ranch in Texas it was produced by Joshua Thompson with a set of players who understand the songs and how they should sound. However, it is Jinks voice that is the centrepiece of these largely mid-tempo songs. it has the kind of depth that is important to give the album a feel that is right and ragged. The thirteen songs are chosen to give an idea of who and why Cody Jinks is who is at this time. Like artists like JP Harris or Jamey Johnson you don’t feel he will tire of playing country music in the long term even if he chooses to explore the possibilities of his music and where he could take it. So, it’s not without possibility that one of his songs (or albums) could connect in the way that either Sturgill Simpson or Chris Stapelton has you still get the feeling he will be more in the Haggard mode by remaining in the country mode while considers it’s potential.

The fact that so much of the material here is of similar tempo and mood actually gives the overall album a setting that builds on the continuity of its themes. There are many individual songs here that are worthy of special mention from the title track to Grey, Church At Gaylor Creek, The Same or the more up-tempo Chase The Song to the Waylon-ish No Guarantees. On their own any of these songs speak of the concerns that would be real to any hardcore country fan. With enough twang and steel to satisfy I’m Not The Devil is a worthy of passage to a country music heaven’s gate.

The Mavericks All Night Live Mono Mundo

Have departed from the watchful eye of Valory/Big Machine The Mavericks are now in control of their own destiny in terms of the recorded output. The first fruit if that is this 16 track live document that concentrates on their more recent material rather than on the better know “hits” of yore. Though they may surface later as this album is subtitled Volume 1. In the end this is a recording that sounds fully live in the best sense with a band firing on all cylinders. The four main men are all superlative players and it is good to see suited and booted keyboard player Jerry Dale McFadden a fully paid up member of the band. He has had a long involvement with The Mavericks in the past as a sideman and has been a major addition to their sound for some time. There are, of course, as usual a number of other players who join the band onstage: Michael Guerra, Max Abrams are both long serving sidemen while Matt Cappy and Ed Friesland are more recent additions to the brass, accordion and percussion section of the touring band.

However, the focus is on founding member Raul Malo whose vocals are the focal point of the show. But you can’t deny the power and drive of Paul Deakin’s drumming or the sonic thrust of Eddie Perez’s lead guitar playing. But as already stated this is a unit, a band playing as one but also having fun with it. They have been called the best party band around (or in some case wedding band) this is to overlook the skill and ease with which the deliver there sets. There may not be a whole lot, in the live set, that can be said to be pushing musical boundaries. That however is not really the point they are  there to entertain and be enjoyed on their own terms. 

The majority of the songs are written by Malo either solo or with other co-writers and as such are perfectly suited to his overall musical muse. The one exception is his comparatively laid back rendition of Neil Young’s Harvest. But aside from the occasional breather this set is an ‘up and at them’  full energy set that has highlights such as the closing song Waiting For The World To End, the reggae tinged What You Do To Me and Summertime, the piano boogie of As Long As There’s Lovin’ Tonight or the thrust of I Said I Love You with some tight guitar from Perez. The Mavericks mix and blend a variety of musical influences that include latin, country and pop. They do it well as this recording is a testament to. They emerged as country act but have now moved beyond any simple genre classification to become band equally at home in the studio as on the stage. Doing it their way they live up to their name. 

The Handsome Family Unseen Loose

The spotlight was briefly turned on The Handsome Family when their song Far From Any Road was used in True Detective. How that has effected the band in the long term may be something that is open to debate. For now they are now back with their latest collection which continues to explore their unique sound. It shows the duo’s contained development as recording artists and the creative input of the husband and wife duo. From the always interesting lyrics of Rennie Sparks to Brett’s more distinctive vocal presence along with his expanding skills as a producer/engineer recording largely in his home studio.

There is a subtlety now with the arrangements that along with Brett’s multi-instrumental skills sees the inclusion of a range of guest players on mandolin, dobro, drums, guitar and pedal steel. Other than that Brett played or simulated all the other instruments. Rennie adds banjo and autoharp as well as supporting vocals. It is this division of labours that gives their recording work its distinctive and memorable sound. One that is often quite different in a live setting which has gone from the duo plus backing tape to a sometimes-full band. 

But it is the music that we are looking at here and that, for long-time fans, continues to reward. They have rarely deviated from a core sound since their inception rather they have honed and crafted it to give the listener a more textured and layers sound that comes from experience and a continuing wish to make music on their own terms. On this set of songs the immediate songs that infiltrate my consciousness are Gentlemen, Back In The Day, Underneath The Falls, The Sea Rose with it’s dueted female vocals. A song that seems charming but has a siren call to death as it’s theme. This again underlines the important input Rennie’s words are in making these songs so ‘handsome’.  

Whether this album will find itself in a wider public consciousness or not is somewhat beside the point (expect in terms of sales or audience attendance). What matters is what’s in the grooves and Unseen is a complete an album as The Handsome Family have recorded so far. It is music that loosely falls under the Americana banner but in truth is influenced and inspired by all the music Brett has heard and all the imagination for storytelling that Rennie conceives. They may remain unseen in a larger context but they should not be unheard. 

Keegan McInroe Uncouth Pilgrims Self Release

This album does not sound the way I expected from it’s cover. It is an album that from the first song seems rooted in country music’s storied past. The opening song Country Music Outlaws talks of those very fellows, whilst declaring that he is not one of those but their influence is none-the-less strong throughout. Roger Ray plays pedal steel (a role he he’d down with Jason Boland for a good few years). This instrument has a lot to do with the traditional leanings of the sound. McInroe is also joined by Ginny Mac on accordion, Derrin Kobetich on mandolin, Austin Smith on fiddle and harmonicaist Gary Grammar among a number of other guests. The latter features prominently on many of the songs. The album was produced by McInroe and engineer and mixer Ben Napier in a studio in Fort Worth. The people and place are the reason it sounds the way it does.  

Uncouth Pilgrim is McInroe’s fourth under his own name. It combines his own song with a couple of outside songs and it further lays out his blend of country, folk, rock and blues in various mixes using his full band to tell his stories. The singer has a gritty and heartfelt voice that is completely suited to the song’s delivery. Begona and Verona are both solid standout tracks of love under difficult circumstances. Again, the supporting players add just the right sense of atmosphere to the songs. Woody & Ruth is folkish tale of traveling down life’s uncharted highways and how the titular persons met. I Got Trouble has some dirty guitar riffing that emphasises the fact that the singer has indeed got that very thing with a capital T. It features effective female backing vocals and soulful organ interludes. Sonically it is more left field but it works a treat. Also, adding variety to the mix is Nikolina with a deeper more gravely vocal that is piano based and from the Wait’s school of rendering. With a distorted jazz brass arrangement that shows that McInroe can turn his hand to a number of different musical modes to best suit a song.

The album clocks in at over an hour but such is the diverse nature of the production and of the writing that there is enough variety throughout to sustain interest. On second thought given all that has gone into the album maybe the cover is exactly right. It would be uncouth to admit otherwise.

Reviews By Declan Culliton

Sarah Morris Ordinary Things Self Release

First listen to Ordinary Things brought to mind the Ohio singer Rachel Sweet, who’s blend of country infused pop was to the fore in the late 70’s and early 80’s. Not sure why she was released from my memory bank having not listened to her music for over thirty years but I did detect quite a number of similarities between her and Sarah Morris. Crystal clear voices, snappy country pop and simple but cleverly crafted songs mostly involving relationships, being the common tread between the two artists.

Following her previous two albums Grateful Moon (2011) and Lonely or Free (2012) Sarah Morris took time out from recording after the birth of her second child before returning to the studio earlier in spring 2015 to record the eleven tracks that feature on Ordinary Things. Recorded at River Rock Studios Minnesota with her band which includes Thomas Nordlund, a technically superb guitar player (whose solo album is coincidentally reviewed in this section), Andrew Foreman on bass and Zachary Schmidt on drums, percussion and keyboards, Morris also contributes acoustic guitar. Production duties were carried out by Eric Blomquist. 

The real winner on the album however is the heavenly quality of Morris’ soaring vocals that dip and soar throughout and leave a lasting impression with the listener.

No Memory is instantly catchy and hum a long, both Sway Me and Lie Here Tonight follow a similar path, delightfully mainstream and certainly radio friendly. Hope Sweet Hope fittingly closes Ordinary Things on a high note completing what is an upbeat and solid collection of songs delivered in some style.

Rachel Laven Love & Luccheses Self Release

I have Rebecca Roselly, who together with her husband Simon form the UK Roots band The Rosellys, to thank for the introduction to Rachel Laven, a 24 year old Texan singer-songwriter. Rachel guested at a show in Nashville that featured The Rosellys and certainly made a marked impression with her brief appearance.

A winner of the Texas Music Coalitions Artist of the Year while performing with her family band The Lavens she was also recently voted San Antonio’s Best Female Vocalist.

What places her ahead of many of her contemporaries, with ambitions of an industry breakthrough, is the possession of a quite luscious voice that recalls a young Carlene Carter and places Laven approaching the territory of the new breed of young gifted female songsters Kacey Musgraves, Brandy Clark and Ashley Munroe.

 Love & Luccheses features eleven songs, eight of which are written by Laven, three co-writes and one cover Something Like Heaven written by Walt Wilkins. It’s altogether a solid collection of songs ranging from ballads Each Other’s Shoes and Something Like Heaven with echoes of Patty Griffin and the beautiful title track to the ripping Do You Dare which is straight in your face 80’s Carlene Carter fun country at its finest. 

In summary the song writing and delivery on the album suggests a maturity way beyond Laven’s years and the potential for much bigger things going forward.

John Blek Cut The Light  Self Release

‘I would bleed myself dry, I would take the blows for you, I regret the day you went away, And the things I put you through’

The opening lyrics to the debut solo album from John Blek sets the scene for a collection of well-constructed songs often depicting tales of lost love, heartbreak, despair and sorrow.

The frontman of Cork roots outfit John Blek and The Rats abandons the more swashbuckling and high gloss style of his writing for the band and explores territories more familiar with recent outputs from artists such as Richard Thompson and Ryley Walker. The album as a whole leans towards a British / Irish folk sound with also a healthy nod towards more traditional Irish music in parts particularly on both Where Are You Tonight and Lightness vs Weight.

Often stripped to the bone the emphasis is always on the lyrics and the stories they reveal.  Rich in emotion and melody Ruby Blood, one of the albums strongest tracks, is achingly mournful and melancholy (Did you hear my heart, break in two, Ruby blood, Ruby blood that bled for you).

Little Sparrow certainly calls to mind Richard Thompson both in melody and style, The Northline speaks of unrequited love. The Night and the Liquor tells a tale of unrepentant, reckless over indulgence, weightless in its delivery and featuring only vocal and acoustic guitar. Recorded at Wakefield Recordings in West Cork the album was produced by John Blek and Brian Casey (who also contributes piano, Hammond organ and guitar).

Unlike Blek’s work with The Rats Cut The Light is not the album you’d choose to select to liven up the party instead it’s a consistent collection of ballads by one of the most impressive Irish songwriters to emerge in recent years.

Amanda Shires My Piece of Land BMG

Musically Amanda Shires and Jason Isbell are a marriage made in heaven and this latest offering from Shires speaks volumes of their compatibility also as partners and parents. 

Isbell has been since his early days a song writer of absolute talent whether it be his classic Drive By Truckers songs Decoration Day and Outfit or his work with his band The 100 Outfit which resulted in some equally impressive offerings such as Sunstroke and Streetlights. However memorable his early work was it has been surpassed by his output since his relationship with Shires began, her steadying influence and support instrumental in Isbell reaching a stage where he must be considered the leading singer songwriter of recent times.

In a similar vein based on My Piece of Land, the sixth album released by Shires, domestic bliss, motherhood and contentment seems to have had a positive creative influence resulting in the strongest album of her career to date.

Lubbock, Texas born Shires professional career started as a teenager as the violin player and member of Bob Wills backing band The Texas Playboys. Releasing her first album Being Brave in 2005 her fragile and sweet vocals, flawless violin skills and an ability to write heartfelt songs in the folk/country genre suggested a young lady with immense potential.

The quality of her debut album was equalled by her 2009 recording Sew Your Heart With Wires and possibly surpassed with the Carry Lighting (2011) and its successor Down Fell The Doves (2013). My Piece of Land, however, is a further step up from her previous work containing some beautiful songs both revealing, honest and personal.

Written while Shires was pregnant When You’re Gone reveals the loneliness of the house bound Shires while her husband is on tour ("I’ve learned exactly which of the floorboards groan and how the ac exhales when it kicks on"). My Love (The Storm), is one of two co-writes on the record with Isbell, the other being Pale Fire. Nursery Rhyme anticipates the birth of her first child ("My breath a prayer I’m holding in, I know you’re coming soon").

However it is the closing track You Are My Home that is the stand out song on the album. A seductive love ballad which features some glorious violin playing by Shires  and an equally impressive guitar break by Isbell, it’s a piece of music that having listened to a number of times will take some time to leave the listeners memory bank.  ("Your six one frame, my address is your name, high ceilings and walls, walls are just walls, and you are my home"). Production duties were undertaken by Dave Cobb with Isbell adding guitar and piano. Nashville session players Paul Griffith on drums and Paul Slivka on guitar also feature.

In an industry where heartbreak, failure and defeat more than often act as inspiration to song writers it’s a breath of fresh air to have a wonderful set of songs created by love, honesty and contentment. Highly recommended indeed.

Vicky Emerson Wake Me When the Wind Dies Down Self Release

Third outing from the Minneapolis resident Vicky Emerson and it’s an album that is immediately listenable from the word go. The opening track Under My Skin kicks the album off in fine style and what follows is a collection of quality songs that really work.

The sound throughout is a blend of folk, country with a splash of blues here and there. The song writing is strong, intimate, contemplative and matched by elegant playing throughout, mostly undertaken by Matt Patrick. 

The previously mentioned Under My Skin rocks along to a chunky guitar driven rhythm. Dance Me Into The Night, enhanced by some delightful fiddle playing, simply drifts along and tips its hat in the direction of Leonard Cohen. Silhouette tells a tale of lost love and opportunity, delivered with a disciplined and soaring vocal. Runaway Train does its title justice, rolling along at speed and Save All My Cryin’ (For Sunday Afternoon) is as country as it comes, with shades of Emmylou Harris and including some smart guitar and pedal steel licks. September Midnight is a beautifully paced and immaculately sounding love song, possibly the albums strongest track. 

As was the case with her previous albums Long Ride (2009) and Dust & Echoes (2012), production duties were undertaken by the aforementioned singer – songwriter and multi-instrumentalist Matt Patrick who also co-wrote two tracks on the album.

Thomas Nordlund Divide Avenue Codesong

Stunningly atmospheric and technically superb Divide Avenue is an eight track instrumental album by Minneapolis based guitarist and composer Thomas Nordlund.

The album pays homage to the expansive landscapes of Baja, Mexico and was recorded live at The Hideaway in Minneapolis. The lead instrument is Nordlund’s electric baritone guitar and includes the input of six other musicians who contributed 6 string guitar, trumpet, flugelhorn, wurlitzer, Rhodes, piano, bass and drums.

The result is quite stunning with the open desert and burning sun imagery being evoked not by a mariachi musical expression, as might be expected,  but by an intoxicating jazzy sound which often revisits some of the  jazz rock guitarists so popular of the 70’s such as Al Di Meola and Larry Coryell.

Instrumental albums can often be difficult listens and Nordlund’s debut album is no exception. They generally suit a certain mood and require more than couple of listens to digest. Divide Avenue is no exception but on repeated listens reveals itself as a wonderful body of work which would certainly work well as a film soundtrack. 

The Sawtooth Brothers One More Flight Self Release

Eight album in from the Minnesota band consisting of two sets of brothers, Ethan & Jesse Moravec and Clint & Luke Birtzer. It’s also their first album featuring all original material and was supported, as so many albums are these days, by a successful Kickstarter campaign.

Named The Sawtooth Bluegrass Band in a former life, the band dropped the Bluegrass from their title and widened their musical horizons dipping into folk, country and a bit of pop together with their core old timey sound. The change in direction will no doubt appeal to a wider audience and avoid the band being pigeon holed into one particular genre, even if it may upset some of the purists. The end result is One More Flight which offers a rich mix of all these genres and creates a sound quite similar in style to their counterparts Old Crow Medicine Show and Chatham County Line. 

Lead vocals are shared on the eleven tracks between Jesse Moravec and Clint Birtzer, the other two members adding harmony vocals. The instrumentation, flawless throughout, consists of violin, mandolin, acoustic and electric bass, acoustic and resonator guitar.

The album kicks off in fine style with the catchy and audacious Another Cliché giving a taste for what will follow. Next up is County Road X which features some heavenly violin breaks by Luke Birtzer. Summer All The Time is delightful, a combination of vocal harmony, bubbling violin and mandolin breaks that combine perfectly. The title track, possibly the albums standout, is the perfect mix of old and modern and sums up what the brothers do best. Take Me Away is an intoxicating and fitting closing track to a very impressive and cohesive collection of songs by a band certainly worth checking out.

Adam Levy Naubinway Self Release

Before listening to this album I was somewhat intrigued by the stark and rather disturbing imagery on the cover and inner sleeve and was interested as to how the artwork related to the album. I was aware of Adam Levy as band leader and singer-songwriter with Minnesota band The Honeydogs, but was completely unaware of the motivation and the event that lead to the recording of this solo effort.

Written in the memory of his son Daniel, who having battled with mental illness for a number of years, tragically took his own life in 2012, Naubinway is understandably anything but an easy listen. The lead up, event, aftermath and topic of suicide and mental illness are dealt with openly, honestly and was no doubt part of a grieving process surrounding such a painful ordeal. Understandably Levy found it impossible to write creatively for a couple of years after the loss of his son but was eventually inspired by Daniel’s artwork, having poured through the many sketchbooks he left behind. The album’s title Naubinway is the name of a small beach at Lake Michigan and is the last place that Daniel’s mother saw her son smile.

The lyrics are often pain staking to read and one can only imagine how difficult they must have been to compose and record. Tracks such as How I Let You Down ("Daniel, all your sketchbooks are a journey, the pain revealed…..We’re still learning how to be without you. Daniel, you ventured on to the thin ice. We threw you so many lifelines. You burned them to the quick") and Pitch Black Path ("It’s long and its dark. It’s a pitch black path lit by nothing but a spark and it won’t get any better till you move on") leave nothing to the imagination. 

The title and closing track, detailing the trip to dispose of Daniel’s ashes in Lake Michigan, would challenge any listener as would the accompanying photograph of the young man beside some of his striking artwork. ("A backwards baptism in Lake Michigan. I cradled my baby on his deathbed. Sleep my beautiful son in the shallows of Naubinway"). As with the opening track Take it as it Comes it features only vocal and acoustic guitar by Levy suggesting that the message was too personal to have an input by others.

However, beyond the despair and darkness the album reveals itself as a beautifully constructed, intelligently written set of songs, quite a few which recall a mid 60’s Beatles sound, How Your Well Runs Dry, This Friend and Atoms Never Die in particular. Marigold is a lovely honeyed ballad, I Wish You Well an equally upbeat love song both of which feature some dreamy steel guitar courtesy of Joe Savage.

Levy is on the record saying that the album was not about immortalising his son, which he would not have wished for anyway. It was primarily written by way of personally dealing with the loss. 

Produced by Adam Levy and Scott Miller and recorded at both their houses and at Essential Session Studios Naubinway is a striking body of work that deals honestly and compassionately with a particularly difficult subject matter. Well worth investigating. 

Reviews by Paul McGee

Eve Williams Peregreni Self Release

Living in the town of Bangor, County Down in Northern Ireland has informed and influenced the creative output of this very talented singer-songwriter. Having battled the early-life afflictions of both Rheumatoid Arthritis and Type 1 Diabetes, the desire to endure and succeed has been a driving force against the challenges placed before Eve Williams.

Recognised by the Nashville Songwriters Association International as a talent to watch and a member of the prestigious Irish Songwriters Guild, she has not let her difficulties stand in the way of achieving a Master of Music in Songwriting from Bath Spa University. Her first recording, What, Now? was released in 2008 and was followed by Twenty Miles From Home in 2012.  Now we are presented with Peregreni (a Latin word for ‘wanderers’). The nine songs included here are all beautifully performed and laced with melody and gentle mood.

Steven McKnight, one of Northern Ireland's best known guitarists, is joined by James Scott on guitar, bass; Darren Matthews on keys with Eve singing and playing keys also. Her voice is warm and strong and these songs are informed by optimistic messages of rising above the daily life constraints that we all face – titles such as Don’t Anchor Me and Eagle’s Wings suggest as much and the message of Who Needs a Knight goes straight to the belief in oneself and the ability to live independently. The past is visited in songs like Vale of Angels and Illumination speaks of the inspiration of seeing a brighter tomorrow. This is an excellent folk music and comes highly recommended.

Jeff Scroggins & Colorado Ramblin’ Feels Good Self Release

This bluegrass band from Colorado has two previous releases and feature superb playing from Jeff Scroggins on banjo with Tristan Scroggins on mandolin. This father/son combination is backed by the energetic rhythm playing of Mark Schatz on bass, Greg Blake on guitar and vocals with some fine fiddle contributions from Andy Leftwich. 

Additional vocals are provided by Don Rigsby and David Peterson to compliment the positive feeling created by the twelve tracks included here. Dismal Nitch, and Lemonade in the Shade are two self -compositions from Jeff and Tristan that sit comfortably alongside the other songs selected from a variety of musical sources, players and writers.

Carefree Highway (Gordon Lightfoot), Galveston (Jimmy Webb) and I’m A Memory (Willie Nelson) all get the bluegrass treatment to great effect and the superb picking on tracks She’s Got A Single Thing In Mind and Ramblin’ Feels Good sum up the feel-good factor and foot tapping pleasures that await the myriad listeners and adherents of this vibrant music all over the world.

Roger Roger Fairweather MFM

Lucas and Madeleine Roger are twins who grew up with a rich musical influence as the children of producer/engineer/musician Lloyd Peterson. These sibling singer/songwriters have now joined forces with their Dad on this debut release which highlights their diverse song-writing skills, their excellent guitar playing and some superb vocal harmonizing. Their songs channel a folk/roots influence and are superbly crafted with strong melodic arrangements and interesting lyrical musings on relationships (Scott Free, Think Of Me, Another Girl’s Shoes, Fairweather, You Came Around), life and being part of this cosmic whole (Mad Trapper, Dead Horse Creek, 13 Crows, O Rainy Day).

Recorded at Paintbox Recording in Winnipeg with Lloyd Peterson (The Wailin' Jennys, The Weakerthans) and mixed by John Whynot (Kathleen Edwards, Blue Rodeo, Bruce Cockburn), these nine songs are beautifully complimented by Julian Bradford on bass and cello, Damon Mitchell on drums, Scott Senior on percussion, Alex Campbell on organ and Lloyd Peterson on organ and percussion.

Madeleine also drew and designed the album artwork while Lucas built some of the guitars that were played in studio. A family affair that strikes a fine balance between the talents on display with echoes of early Joni Mitchell, the Indigo Girls and CSN, all mixed into a beautifully produced album that makes quite a statement as a debut recording. Certainly worth tracking down. 

The O’s Honeycomb Punch Five

This duo, John Pedigo and Taylor Young, started out in 2008 with the release of their first album We Are The O’s. In 2011, they recorded a second album Between The Two and an additional release, Thunderdog, arrived in 2013. This fourth offering boasts twelve tracks, produced by Chris “Frenchie” Smith and recorded at two cabins behind the River Road Ice House in New Braunfels, Texas. 

Justin Currie of Del Amitri adds his vocal talents to Woken Up and with a banjo, guitar and harmonica full frontal assault, the celebratory nature of these songs really comes alive and engages the listener. Halfway Sideways and Brand New Start channel a Mumford & Sons vibe while the more considered Reaper and Wanted both have a slower tempo that attract equally well. A solid folk /rock record that builds on a reputation that continues to grow.  

Ross Neilsen Elemental Self Release

Blues artist Ross Neilsen has lived a life of recording and touring since he first embarked on his personal quest back in 2007. With six releases to his name this passionate blues guitar player has delivered eleven tracks that are dripping in atmosphere and attitude. From the slow groove and tom tom beat of the title track to the big guitar sound of Woman’s Name, Neilsen is on a mission to win over as many new converts as possible. The atmosphere continues on tracks like The Race and Black Coffee. The Arrow is an excellent jazzy workout with some outstanding guitar work.

Produced by Steve Marriner who also plays a variety of guitars plus keys, drums and vibraphone on selected tracks and augmented by Jim Bowskill, guitars, mandolin, violin and pedal steel, Darcy Yeats on bass, Matt Sobb on drums, Ed Lister on trumpet, Brian Asselin on sax and other guests.

Ash Fault is a fine track steeped in acoustic blues with some atmospheric and dynamic violin playing. Nobody Gets Lonely is a folk based song that skips along while Ballad in Low E is a country-tinged, warm blues workout. The final track, Step Into The Light, has a Band feel to it and brings matters to a very satisfactory conclusion. Recommended. 

Jesse Aycock Flowers & Wounds Horton Records

Jesse Aycock is a singer-songwriter from Tulsa, Oklahoma that has two previous recordings, Life’s Ladder in 2006 and Inside Out of Blue in 2010. He sings with a high pitch which takes a little getting used to but when you have enlisted the calibre of highly respected Neal Casal, (guitarist for Chris Robinson Brotherhood and Ryan Adams & The Cardinals), David Hidalgo (Los Lobos) on guitar, Tulsa legend Jimmy Karstein on percussion, and Al Gamble on B3, then you know that this man has talent. 

Add in George Sluppick (Chris Robinson Brotherhood, JJ Grey & Mofro) on drums, as well as Eric Arndt on bass and the sweet song arrangements win you over with a warmth in the melodies and easy rhythm. These songs are rooted in a country rock sound and cover a range of topics such as lack of self-belief, (Where’s The Light), standing still in a small town (Out To Space), taking opportunity (Heavy Day), self-preservation (When The Day Crawls Out of the Night), broken ties and moving on (Leave Again) and the title track which deals with relationship changes. 

Recorded at the legendary Church Studio in Tulsa and produced by Jason Weinheimer and Neal Casal. This is a very pleasant listen.  

Victoria Klewin & the True Tones Dance Me To Heaven Self Release

Victoria Klewin is a professional vocalist and songwriter based in Bristol, UK. She has been involved in a number of different projects and session work over the years and her present focus is the release of this debut recording with the True Tones.

Her song-writing and vocal skills are very impressive and the eleven tracks featured are all written by Victoria and arranged by her and the band. Featuring Sophie Stockham on sax, Paul Field on harmonica, trumpet and flugelhorn, Sam Mills on keyboards, Paul Crawford on guitar, Mark James on bass and Tom Bradley on drums. This 7-piece band really make the songs come to life with plenty of superb playing that spans smoky jazz, big band groove, laid-back blues and some funky soul sounds. The interplay between the musicians is very enjoyable as the song arrangements leave room for some sweet spontaneity in the solo parts and band runs.

The songs cover the usual heart-torn topics of bad lovers (Can’t Help Myself), return of an ex-lover (Got A Question), playing the field (Why Should I) and the possibility of sweet seduction (Taking Me Down, Dance Me To Heaven, Roving Eye). The vocals are confident and colourful while the production by Klewin, Ben Capp & Sam Mills is both bright and compelling. Recommended.

Libby Koch Just Move On Berkalin 

Eleven songs that deal with relationships in all their ragged glory from Houston born Libby Koch. She qualified as a lawyer before turning to music as her preferred career choice, so she is well armed to swim in the shark-infested waters of the Nashville music industry. 

Her debut EP appeared in 2008 and two full albums, Redemption and The Shadow of This Town followed in 2009 and 2010 respectively. Tennessee Colony followed in 2014 and this marks her latest collection.Which is traditional country and Koch sings with a voice that will bring to mind Loretta Lynn or Reba McEntire. Not that she is trying to be anything but herself, as she sings from the heart about break-ups in a trio of songs that open up the record; Just Move On, You Don’t Live Here Anymore and Out Of My Misery.

Produced and engineered by Nashville legend Bil VornDick and featuring a 7-piece studio band who play with great understated rhythm, there are also 4 harmony vocalists who assist in filling out the sweet melodies, as Libby sings and plays a variety of guitars.

Don’t Know How deals with the life of a lonely soul while Chance On Me is the same person looking for a new relationship. Tell Me No Lies and I’ve Been Blind speak of the search for honesty and in recognising what was there all along. Back to Houston is a leaving song that says goodbye to an old life while the closing track Wish You Were Here is a drunken lament for an old lover. A very fine country artist who deserves your attention.

Erin Rae & the Meanwhiles Soon Enough Clubhouse

What an impressive full-length debut. This gifted musician hails from Tennessee and announces herself with a sweetly seductive voice and a song-writing ability that is a joy to experience. Erin co-produced the 13 songs here with Michael Rinne, Rodney Crowell's touring bassist, and the studio band sound just perfectly in tune with the gentle arrangements and melody of each track.

She had her first release in 2010 with a 5-track EP titled Crazy Talk and on this superb follow-up, Erin Rae sings of regret (Mistakes Made), advice for the impatience of youth (Soon Enough), appreciation of life’s perspective (Minolta), longing and memory (Monticello), a plea for meaningful communication (Panic), memories of family/mother (Pretty Thing) and real understanding (Light parts 1 & 2).

Rose Colour speaks of a debt owed to an old friend/lover while Owe You One deals with an argument and a need to find closure. Futile Attempts is a song about mental illness and a wish for a positive mental attitude. Sleep Away is a touching song for a sick Father and a quiet prayer for release.

On her website, she offers private singing lessons and speaks of becoming comfortable with your own natural voice. I can only imagine that any class with Erin Rae would lead to an improvement in the technique and way to approach mindful singing. Erin Rae sounds wise beyond her years and stands front and centre on this beautifully realised project. One of the highlights of the year and a must buy. 

Sue Sergel Beneath the Willow Tree Self Release

Born in Liverpool, this lady grew up in Spain before going to live in Sweden and achieving some fame on the Swedish blues scene. She had taken a break from the music industry to study and become a teacher but never really turned her back on music. Her last release was "Move Into The Light" in 2008 and this return to the studio is welcome news and proves that Sue Sergel was meant to sing the Blues.

Her voice is confident and has a quality and tone that suits the 12 songs that are included here. Sue is joined by Jimmy Olsson on upright bass and Erik Ivarsson on guitar and each plays with dexterity, subtlety and feeling. Sue plays acoustic guitar as a strong rhythm accompaniment to the songs and this allows Erik Ivarsson to stretch out with some impressive licks and solo runs across the recording.

The production duties were handled by Sue, in tandem with Stefan Svensson, and there is an open sound quality which gives the musicians plenty of space within the tunes. The tracks are all acoustic based, with no drums to ramp up the beat, but the dynamic playing of the musicians more than carry the project forward with real swagger.

Move Into the Light is one of the strongest songs with Ivarsson sounding like an early Mark Knopfler with his sweet guitar tone. Making Out and After the Apocalypse are very atmospheric and The Man, Breaking Even, Diamonds in the Rain and A Man Like That all really show off the great riffing of Ivarsson who swoops in and around the melody with great fret work. Well worth investigation.

Red Tail Ring Fall Away Blues Self Release

 Michael Beauchamp and Laurel Premo are the creative power that is Red Tail Ring and their gentle acoustic sound brings the listener into the world of old time roots music with guitar, fiddle, and open-back/gourd banjos releasing their timeless sound into the ether.

The record includes original songs, traditional interpretations and some fine sampling of old tunes with new lyrical additions. The harmony singing is really excellent and the production is as clear as if the musicians were seated in your living room. 

There is a Bible belt feel and the hushed, reflective and unhurried playing spins an atmosphere that just invites further investigation. With a number of prior releases, including some collaborations, Red Tail Ring bring a self-assured honesty to reviving tunes such as Come All Ye Fair and Tender Ladies; I’d Rather Be the Devil (Skip James); Yarrow and Gibson Town (Muddy Waters). 

Camp Meeting on the 4th July/May Day is a traditional tune that is given a very modern spin by Premo who also includes a song called Shale Town, written in protest of hydraulic fracturing practices. This duo is certainly rooted to the land in their sensitivities and the sweet singing on A Ghost Whispers is in direct contrast with the song sentiment. The title track speaks of defeating the blues while The New Homeplace tells of hard times and the hope of better days ahead. Please do yourself a favour and check this out. My favourite folk/roots release this year.

Session Americana with Jefferson Hamer Great Shakes Self-Release

Session Americana is a collective of musicians that reside in the Boston area and have been playing together in various combinations since 2003. This release is their seventh since their debut in 2005 and comprises Billy Beard (drums), Ry Cavanaugh (guitar), Kimon Kirk (bass), Jim Fitting (harmonica), Dinty Child (multi-instrumentalist) and Jefferson Hamer (guitar). 

Jefferson Harmer has worked with Anais Mitchell and is a gifted guitarist who co-produced the ten songs included here with the band. The feel is very much in the Folk tradition with excellent playing throughout. There is a quirky quality to some of the writing which adds an understated charm, particularly Big Mill in Bogalusa and What Are Those Things (With Big Black Wings).

This feels like timeless music with every player adding to the colour of the song arrangements and assisting with the co-writes. Tired Blue Shirt has a sense of Leonard Cohen running through the melody while Great Western Rail conjures up images of days past and the development of the rail system throughout the States.

The harmonica playing of Jim Fitting is very atmospheric and evocative while the simple rhythm and acoustic strum of One Skinner, One Good Rain and Barefoot Sailors are very fine examples of what is best in the American music tradition. A nice balance to the production and the playing and a collection of songs that impress.  

Reviews by Stephen Rapid

 

Elouise Deep Water Self Release

Although this is under singer Elouise Walker’s name, it is a group effort with the other four featured on the album cover who play a major part in making the music. Deep Water was produced by Walker and John Chamberlin and the production technique was to keep it as raw and field recording-like as possible. Most of the songs are original, but fit neatly with those from other sources such as the opening I’ll Fly Away (written by Albert E. Brumley) and a sombre version of Amazing Grace which has new music by band member Richard Dembowski. Takes on Silent Night and Link Wray’s Fire and Brimstone follow a similar route, a path that can be imagined as wandering through creaking twisted trees, abandoned graveyards, dark moonlight shadows and perhaps even a crossroads at midnight.

Walker and Dembowski, along with John Chamberlin, Michelle Beauchense and Willam Bongiovanni share the majority of the composing credits in different combinations. All, however, understand this pre-electric vision and no matter which is the composer, they have a similar feeling for the patina of times gone by. Walker’s vocals are delivered as if through a cracked radio speaker or carnival style megaphone. This is not music designed to cheer the soul or get you in the party mood. Once in the musical deep water it is easy to surrender to the atmosphere and sink down into a world of death, murder and decay which is actually grist to the mill for a music rooted in bygone times where morbidity and murder ballads were common. Both Walker and the band are gifted exponents of this musical eeriness and use all the instruments at their disposal to bring these songs and recitations to life. Trombone, cello, tuba, banjo, harmonium, lap steel, double bass and percussion all feature, giving a distinctive texture to the music, as do the occasional lead vocals from Dubowski.

It is music that might scare some away, but will equally attract those drawn to its rich, heart of darkness. There are, naturally, 13 tracks which may appeal to those who enjoyed the song and ballads recorded at the dawn of technology as well as those who have been drawn to the music of the likes of 16 Horsepower and Th’ Legendary ShackShakers in their non-electric moments. Although the album is credited to Elouise in fairness it would seem to be more of an Alice Cooper set-up with all participants contributing to a fairly unique take on a potent musical soundscape, one self-described as “blackgrass”.

Adam Lee Sincerely, Me Self Release

Sincerely is the first solo album from Adam Lee, whose previous album with his band The Dead Horse Sound Company, When the Spirits Move Me, was a more honky-tonk affair. This time Lee has broadened his outlook and tonal palate and has devoted this album in to a side one and side two. However, there is nothing immediately obvious that divides the two sides in terms of content. The last album dealt with themes of country music, while this album, while still touching on those themes, takes a broader viewpoint and looks deeper inside with songs like the title track and Good Days - wherein the man in question faces his drinking demons and hopes to look towards a better future.  

Lee has taken a long hard look at life and delivered some honest song-writing that recognises the less savoury and affirming sides of life, but also sees that things could always get better which gives the album a positive outlook. When She Danced views the submerged spirit of a dancer working in a dive bar who transcends the negativity and necessity that are fundamental to that situation. He does this with just a bruised voice and solo piano backing. Misery has a muted guitar-twanged tone that is perfectly in tune with a man facing his inner torments.

Elsewhere Lee blends rock, blues and blue collar sentiments with a little country to create a set of self-written songs that are a précis of where life is for him right now. He has done this with a set of players that he and co-poducer Johnny Kenepaske have assembled for the album. They include Dane Talley on electric guitar, Hanna Rae Mathey on violin, Tim Rose on bass and Paul Andrews on drums. Lee’s contributes various instruments with additional vocal input from Keepsake among others. One track, Hold On adds trombone and trumpet with some hard-nosed guitar. There is a swing to What I Need and again Lee shows versatility in his vocal delivery that pegs him as an assured singer throughout. Patrick is a song with a strong Irish-American theme, both in lyrical content and musical setting. It is about the loss of a brother and the reaction to that by a mother who then calls the surviving brother by the name of the lost sibling.

Lee resides in Chicago. He was a cast member of the stage production Million Dollar Quartet and will tour in support of Sincerely, Me. He shows here that he can produce songs in a range of styles that make this an interesting and entertaining collection highlighting a writer, singer and musician who is developing his muse in a number of different ways. This is a promising and revealing album.

Jack Ingram Midnight Motel Rounder 

Looking at my music collection recently an acquaintance asked “Why would you need more than one album from any particular artist in your collection?”.The answer would depend if you’re a fan of Revolver or Sgt. Peppers Lonely Hearts Club Band. Music evolves and even if an artist stays largely within specific parameters there are nuances and new found strengths to be discovered in their music. Not necessarily true of all artists - some simply get less interesting with each release - but in the main there is good reason to continue listening. Jack Ingram is one case in point; after 12 albums (the first released in 1995 and the most recent in 2009) I looked forward to listening to his new album. It encompasses all the aspects of his music from the storyteller, the humourist, the roots rocker to more seriously-minded artist.

It also takes a certain self-assurance to make your title song and album opener a song written by another songwriter, Blu Sanders who wrote Midnight Motel , which  also closes the album in an acoustic version. Between those bookends are eleven other songs. Nine are either Ingram co-writes or solo written songs, one is by Will Kimbrough (Champion Of The World) while the remainder The Story Of Blaine is an amusing anecdote prefacing the song Blaine’s Ferris Wheel. It is a taste of how an Ingram live show might go. There are also some snatches of ambient dialogue included at the start of a couple of the tracks.

The album sounds right and part of that is down to producer Jon Randall and a team of top notch players like Charlie Sexton on guitar, keyboard player Bukka Allen, drummer Chad Cromwell and contributions from Randall and on background vocals Bruce Robison. But Ingram has a seasoned vocal delivery that is expressive and never leaves you feeling that the process was without a spontaneous element. It’s Always Gonna Rain is song co-written with Lori McKenna and accepts that life has always got hope no matter how it might seem at times.

Two of the songs talk about letting go and relaxing with I Feel like Drinking Tonight and I’m Drinking through It, where the multi-voice closing chorus changes the I’m to We’re. The former is prefaced with a dedication to fellow songwriters Hayes Carll, Todd Snider and Chris Wall amongst others, writers with whom he has doubtless shared a brew or two. The other songs display a deceptive simplicity that serves them well.

This album is classic Ingram and will also appeal to anyone who has a taste for Texas storytelling and songwriter. It may an old motel but it is one that you can feel comfortable in and one that can be returned to whenever you’re passing. After 7 years it is good to have Jack Ingram back on a label that means that many will get the chance to hear this very fine album.

Michael Ubaldini Starshaker Self Release

The man dubbed ‘the rock ’n’ roll poet’ by both fans and critics focuses here on the rock part of his moniker. He has written and produced this album which is an energetic run through 14 songs of rock, roots, blues and a little country (Tombstone Woman - with Gary Brandin on pedal steel).  It’s not all hell for leather though, with the occasional introspective song such as Ballad Of Brian Jones, a slice of country blues in tribute to the Rolling Stones’ founder’s roots. Otherwise Ubaldini and the band let loose, play the blues and have fun. 

Mrs. Johnson, Simpson & Tucker is a cautionary tale of a man who does want his late night visitors to lead to his outline in chalk on the floor. Late night liaisons forms the theme of House Of Red Lights too. Whole Lotta Nothin’ Blues has a distorted vocal, some harmonica and soulful keys and slippin’ and slidin’ guitar. The Rooster Moans at Midnight, Once Over Twice and Ballad Of An Innocent Man are catchy blue-collar, foot tappin’ rock songs while 9 Ball Shuffle calms things down with a funky 12 bar. Ubaldini knows how to pen a song and place it in a musical context. That’s as true here as in has been on his previous albums. And while this album is a little outside the parameters of Lonesome Highway’s regular route, it has a broad enough musical base to appeal to those who regularly read our reviews.

Ubaldini has built up a steady following for his albums and writing and those acquainted with him will find much to enjoy. It is not going to cause anyone to rethink their musical opinions, but in the context of good time (or should that be bad times too) rock ’n’ blues Starshaker will get you to where you need to go. One listen to the closing song One Good Woman Blues underlines that.

The Goat Roper Rodeo Band Cosmic Country Blue Aveline 

A UK acoustic country blues trio based in the North West, the Goat Ropers have recorded this new album with Romeo Stodart (The Magic Numbers) as producer and have achieved a fuller, more rounded sound this time out. The band are Thomas Davis on vocals and double bass, Jim Davis on vocals and lead guitar and Sam Roberts on vocals and rhythm guitar. Here they are joined by some guests (including fellow Magic Numbers members Angie Gannon and Michelle Stodart) to realise these new, self-written songs that build on the vocals harmonies of the trio and their essentially acoustic approach.

The album opener I Got Room has a strongly nasal lead vocal that some may not like but it is one that fits neatly into the vocal mix on the other tracks. The songs are a mix of tempos from adrenalised stompers like Mean Man, Stick It On Red and Catch Me If You Can through a more blues orientated Blossom Blues to the softer harmonies of ballads Old Joanna, My Sweet Woman and the restrained piano and guitar of the closing Hey Chuck. There are 12 slices of the cosmic country that they righteously proclaim throughout. This is a sound influenced by many diverse American acts, but one they are developing to their own ends. This has led to their at times quirky and occasionally sad songs finding favour with the likes of Bob Harris and International Submarine Band member Ian Dunlop. 

The Goat Roper Rodeo Band look and sound like a band who would have fitted neatly alongside a similarly-orientated outfit like Quiver back in the 60s. They offer hints of the cosmic side of their sound which aren’t as prominent as they might become in the future but, for now, they are establishing themselves alongside other promising UK bands playing original roots music with a refreshing approach and independent attitude. 

Martha Fields Southern White Lies Self Release

For this album Fields has taken a more bluegrass/acoustic route compared to the electric sound of her previous album Long Way From Home. Dobro, fiddle and mandolin are prominent in the sound, all underpinned by double bass and drums. This is a sound that Fields has explored with the band Mountain High previously. This album is under her name however rather than that of Texas Martha, another name she uses. Some of the players here also play with her electric band and are versed in both styles, though in truth the songs could easily adapt to either (or other) formats easily. 

The songs are a mix of original songs from Fields and some traditional songs like Lonesome Road Blues and What Are They Doing In Heaven? She has also included Jimmie Rogers’ California Blues, Janis Joplin’s What Good Can Drinkin’ Do? and Mickey Newbury’s Tell Me Baby among the album’s 12 tracks. Front and centre though is Fields’ commanding voice which leads each song with conviction on tales of lies, hard drinking, hard times, lonesome roads and dead ends. American Hologram talks of a poor underclass being shut out of the American Dream to always find themselves on the margins with little to give them hope and so they have to resort to making the best of what little they have. 

Martha Fields, on this album, explores another aspect of her musical and familial heritage. She does it with the forcefulness that makes sense of her own story and of those who came before her. This is an album that Fields fans will doubtless want to explore. 

Massy Ferguson Run It Right Into The Wall At The Helm

This album features some unashamed rockin’ -  with some country rock thrown in for good measure.  It is what was once dubbed cow-punk, although this time there is less twang and more of a hard nosed attitude. What is good about these songs is that that have an honesty that rings true. They are not unique or that different to some other acts that have been mentioned in passing, such as Son Volt or The Backsliders, with reference to their music. Massey Ferguson (the name of a sturdy American farm tractor) are a solid and believable band who are committed to their music, and that counts in an era when so much of what is heard refers to another musical era anyway. 

Massy Ferguson are Ethan Anderson, Adam Monda, Dave Goedde and Tony Mann; the line-up is guitar, bass, drums and keyboards. They describe themselves as American rock which is a good a description of what they do. I’m assuming that singer Anderson is the primary writer as there are no credits on this promo CD. The album was produced by Johnny Sangster and recorded at Soundhouse Studios in Seattle. There are influences of that city’s grunge heritage in the music. However the things that count are how these songs sound and if they bear repeated playing. They do on both counts and Run It Right into the Wall has enough energy and melody to make the listening experience one that the more rockin’-oriented amongst you will want to return to it’s blue collar heart.

Tim Easton American Fork At The Helm

Tim Easton is another accomplished and lauded songwriter who has some twenty years as a performer and writer under his belt as well as four albums on the New West label. He’s back and he still delivering the goods. This album is produced by Patrick Damphier and goes for a full sound. Damphier employs some fine musicians like steelie Russ Pahl, Michael Rinne on bass, Jon Radford on drums and multi-instrumentalist Robbie Crowell 

There are a number of avenues explored in what is a broad palette of well-arranged and melodically structured songs. In the song Elmore James Easton lauds the bluesman in a swampy harmonica-laced groove. Gatekeeper shows off his guitar skills and is another dirty slide guitar-fueled reference to the oil that makes the entertainment industry world turn. He takes a smoother path with Burning Star, a literate song that features piano and steel which give it a dreaminess and longing. There is a darker and grittier, but equally feisty and fun sounding, take for Alaskan Bars (Part 1) which has a growled backing vocal that adds a sense of disquiet to the proceedings. Now Vs Now is an appeal to not get stuck in a state of apathy but rather to take control in whatever way possible. The album opens with Right before Your Own Eyes, a rhythmically realised song with touches of saxophone to bolster the chorus. The eight track (mini) album closes with On My Way, a soft touching song to his young daughter to let her know that he is always thinking of her, even those his chosen path takes him away.

Tim Easton writes songs that are those of one who continues to hone his craft and develop his sound. Here it is a well realised and considered exploration of his previous work as well as pastures new. American Fork is a twist on the folk music of America he grew up with and everything he has distilled since then into his own interpretation of the world he sees on his travels. He is past the gatekeeper and looking to his own future and muse now.

Reviews by Declan Culliton

Two Steps South There They’re There Self Release

Without ever intending to reinvent the wheel Lurgan Co.Armagh band Two Steps South debut album is a collection of country-tinged pop songs, simple, well written and very listenable. The three-piece band is made up of Mark Haddock, Gerard Magee and Tony O’Hara, musicians that have featured in various local bands over the years and who joined forces to combine their collective song writing skills. Additional musicians used on the album include Lawrence Hill whose pedal steel guitar playing is particularly impressive.

Stand out track on the album is The Jayhawks sounding Getting’ Over You but they are also more than capable of writing decent pop ballads such as Rainmaker and Friends and Lovers. You Ain’t Here No More also impresses as does the poppy Down By The Railway Tracks. 

The album was recorded at TSS Studio in Lurgan with production duties with the album cover design by the band members.

Sam Wickens Send Me dootdoot Music

My first exposure to Sam Wickens was earlier this year when he performed at The Belfast Nashville Songwriters Festival in a singer-songwriter circle in the company of Nashville legend Jim Lauderdale and Sonia Leigh, singer-songwriter and actress in American TV drama Nashville. Totally undaunted by his illustrious company the 20 year old Bangor artist performed three self-written songs with the confidence of a veteran and with quality to match. His song Oh Mother made a particular impression on both of his co-singers leading to Lauderdale simply commenting ”young man you need to get to Nashville and soon”. Wickens has subsequently visited Tennessee where he performed at the Bluebird Café in Nashville and also at The Factory in Franklin as part of the live broadcast Music City Roots which has an audience of over 60 million across the United States.

Send Me is the debut six track mini album by Wickens featuring four studio recordings and two live tracks. Guitar, synths and drums are performed by Wickens with contributions by James Reid (lead guitar), Andrew Whittaker (bass guitar) and Mark Johnston (piano).

It would be over simplistic to make comparisons with the music of Jeff Buckley, Bon Ivor and John Martyn, the most obvious connection being that similar to these artist Wickens possess quite a unique style. 

The focus throughout the album is on his wonderful vocal, always to the fore, soaring, melodic, atmospheric and emotional. Wickens has wisely allowed his vocal to dominate to the extent that the listener is immediately drawn to the lyrics. That’s not to understate the quality of the song writing, which appears to carry personal messages and a maturity beyond his years.   

Hold The Time drifts along accompanied only by keyboards giving the song a delightful lightness of touch throughout. The title track Send Me is dreamy, hypnotic with a vocal delivery that brings to mind Jack Lukeman at his best.

Oh Mother, which made such an impression of Jim Lauderdale and Sonia Leigh, is one of the two live recordings included and both the range and discipline of the vocal understandably brings Jeff Buckley to mind.

Given that futuristic folk/roots music seems to be in vogue at the moment, Wickens has without doubt the talent to make a name for himself. If he can continue to write such compassionate yet forceful material and with astute management and the right breaks the world could be this young man’s oyster. It worked for Hozier, so why not.

West My Friend Quiet Hum Self Release

A particularly vibrant and experimental folk scene currently exists in Vancouver, Canada and Quiet Hum by West My Friend confirms this beyond doubt. This is the third release from the quartet and continues on a similar vein to their 2012 album Place and When The Ink Dries recorded in 2014. 

West My Friend are made up of classically trained musicians Eden Oliver (vocals, guitar), Alex Rempel (vocals, mandolin), Jeff Poynter (vocals, accordion) and Nick Mintenko (vocals, bass). Their sound is quite distinctive, a wonderful combination of folk, country, bluegrass, chamber music and even a dash of cabaret thrown in for good measure. The result is a body of work that has an instant appeal from the opening track No Good Monster to the closer How Could I Not Sing.

Eden Oliver’s takes front of house vocally on ten of the thirteen tracks displaying a range that dips and soars beautifully throughout the album. The addition of four part harmonies and flawless playing combine to result in a collection of impressive songs.

No Good Monster opens the album tentatively, suggesting writers block with the line “I don’t want to write a today” but any uncertainty is dismissed by the third track Spruce Top with Oliver declaring, in a more upbeat mood, “There is something to be said for a voice and a song and a chord”. Gradient Graceful is beautifully bittersweet and stripped back featuring only vocal, bass and piano. The album was recorded at Fiddlehead Studios, Maine Island and produced by David Travers-Smith (Jason Romero, The Wailin’ Jennys, Pharis).

In summary, a most impressive modern indie folk sound that incorporates bits of The Decemberists, Frontier Ruckus, Bright Eyes and possibly Joanna Newsom. Probably best listened to on headphones to fully appreciate the wonderful harmonies and musicianship throughout.

Well worth visiting indeed.

Chris Murphy Red Mountain Blues Self Release 

Born in New York of Irish/Italian descent, violinist Chris Murphy cites his introduction to music as being exposed to the eclectic sounds of his neighbours traditional music while growing up, together with a mix of less traditional icons including Lou Reed, Peter Thompson, Bob Dylan and particularly David Lindley, whose fiddle work was instrumental in Murphy’s interest in the violin.

Currently living in Los Angeles, Murphy’s career is divided between teaching violin, guitar and mandolin, writing music and live performances. Together with his prolific personal music output the artists that Murphy has worked or collaborated with include Nels Cline, John Doe, Tim O’Brien, Victoria Williams, Joachim Cooder to name but a few.

Indeed, the musicians listed on Red Mountain Blues is in itself a who’s/who of some of the most respected artists in the bluegrass genre and such as Tim O’Brien (mandolin & vocals), Herb Peterson (banjo & vocals), Marty Rifkin (pedal steel & dobro), DJ Bonebrake (drums) and Ted Russell Kemp (bass). Recorded at Hayloft Studios, Los Angeles and Blacktree Studios, Santa Monica the fourteen track album was produced by Chris Murphy and Joshua ‘’Cartier’’ Cutsinger. 

Kicking off with the fiddle driven instrumental title track and followed by the driving Dirt Time the album packs a hefty punch from start to finish. Walt Whitman is a wonderful instrumental waltz, Kitchen Girl is perfectly paced with Tim O’Brien taking the lead vocal, Buckwheat Pancakes is a banjo driven back porch delight and Johnson County conjures up imagery of centuries past, civil war and brothers fighting brothers.

Chris Murphy is more than merely a revivalist and has the talent and ambition to produce, compose and collaborate.  He succeeds on all fronts hands down with this album. If you’re only intending buying a few bluegrass album this year, this should be one of them.

Dana Immanuel & The Stolen Band Come With Me Self Release

Dana Immanuel & The Stolen Band are an all-female London five piece bluegrass/Americana outfit. Citing influences from Alice Cooper to Hank Williams Come With Me is high octane, in your face and hugely enjoyable. Recorded live(ish) in three days at Retreat Studios the band features Immanuel on vocals, banjo and guitar ably assisted by Feadora Morris, Blanche Ellis, Maya Mc Court and Hjordis Moon Badford on a variety of instruments including cello, washboard, thimbles, cajon and foot tambourines.

The ten track album is anything but back porch bluegrass with nods towards Louisiana and New Orleans, delightfully mixing bluegrass, zydeco and old time jazz.

With song titles such as Nashville, Going to the Bottle, Rock Bottom, Devil’s Money and Motherfucking Whore it’s no surprise that the album is fun, uncouth, uncivil, knees up, toe tapping, feet stomping stuff, always powered by an excellent band.

Nashville offers a quite traditional roots by comparison to much of the material on the album with delightful harmonies, the title track is banjo driven bluegrass and the album closes with a rousing take on Viva Las Vegas, the Elvis favourite written by Doc Pomus and Mort Shuman.

Dana and her band have performed at a number of high profile festivals this year including Glastonbury and the Maverick Music Festival. The album begs to be heard live, all the better late at night in a packed venue with the drink flowing!

Greenshine The Girl In The Lavender Dress Tiger Dog Records

Greenshine comprises of husband and wife team Noel Shine and Mary Greene together with their daughter Ellie. Noel and Mary have both featured as session players on a host of albums over the years from Christy Moore to The Clancy Brothers and The Republic of Loose to Dr. Strangely Strange. No strangers themselves to the studio, Mary Greene has recorded a solo album Sea of Hearts and Noel Shine and her have previously recorded two albums as a duo together with their self-titled debut album as Greenshine.  Given their eclectic musical experiences to date it is not surprising that their debut album The Girl in the Lavender Dress is a journey across quite wide range of musical genres embracing folk (Pastures Of Plenty) , country( Lonesome Whipoorwill), traditional (Sammy’s Bar) and even a hint of reggae (Sweet As Honey Heart).

Readers may be familiar with the title track from the album which has received considerable airplay on national radio recently and had the distinction of reaching No.1 on the ITunes Ireland Singer-Songwriter charts. It’s a stunning song, dreamlike, buoyant and weightless and is most certainly the strongest track on the album. 

The eleven songs featured include six originals written by Mary Greene together with cover versions of Bob Dylan (You’re Gonna Make Me Lonesome When You Go), Hank Williams (Lonesome Whippoorwill), Cyril Tawney (Sammy’s Bar), Woody Guthrie (Pastures of Plenty) and Townes Van Zandt (Marie). As would be expected the musicianship throughout is top notch with multi-instrumentalist Shine contributing guitar, mandolin, banjo, bouzouki, whistle, lap steel, bass, harmonica, ocarina and keyboards.

 Particularly refreshing is the quality of two of the original songs (the title track and City of Dreams) which actually outweigh the covers, both sung beautifully by Ellie Shine. The album was recorded and produced by Noel Shine and Mary Greene and mastered by Dan Fitzgerald at Sound Studio, Cork.

Greenshine is most definitely the sum of its parts even if the wide range of styles represented possibly results in this album being a trifle dislocated.  However, given the very healthy mix of song writing, instrumentation and vocal talent they collectively possess and particularly if they can emulate the quality of some of their original songs on this album, Greenshine have the potential to produce music with an extremely wide appeal.

Reviews By Paul McGee

Rivers of England  Astrophysics Saved My Life Self Release

This band hail from the West of England and are comprised of Rob Spalding on vocals, guitar and keyboards, Brian Madigan on drums/ percussion, Jacob Tyghe on bass.

This is their second release and the 11 tracks here cover the ground from folk-rock to lightly tinged jazz arrangements. The vocal talents of Spalding carry the project on a warm glow of melodic tunes and acoustic arrangements, backed by some excellent strings (Danyal Dhondy take a big bow).

There are a number of additional musicians that help to enhance the experience and Neil Gay (guitar), Innes Sibun (guitar), Bill 'The Goat' Owsley (double bass), Patrick Morgan (drums), Roo Primrose (violin) all contribute to an overall sense of sweet release. 

In Universe, In Universe kicks off the project and explores great themes of infinity both, within and without. Endless affinity with the cosmic whole is a theme that runs throughout and we are asked to embrace loving awareness with the daily experience of being alive. Underneath the Moon is a gentle reflection on a relationship and our place in the great enigma.

There are plenty of references to water and sailing in songs such as You, Me and the Sea; Norfolk and Waves. Born For This is a very positive statement for living an expansive life and feeling alive. Love, Science & Peace is a plea for love in times of loneliness while In the Barley plays on conflicting emotions of wanting a simpler rural life versus the race to succeed in the city rat race. This is a very pleasant record and worth checking out. 

Rami and the Whale Self-Titled BIEM/NCB

Rami and The Whale is the solo project of Swedish singer-songwriter Rasmus Blomquist. This is his first release and the 12 songs were written over a period of ten years.

Rami is joined by an array of musicians, with Kristin Freidlitz on violin, Erik Lundin on flute, Henri Gylander on lead guitar, Ryan McMackin, Björn Sima and Johan Magnberg sharing drum duties across various tracks and Jonte Johansson with Lisa Illy on vocal harmonies.

The songs are very much rooted in contemporary folk with a slow, lazy groove and gentle vocals to lull the listener into a calm sense of being. The Unfinished Song and Autumn Song are instantly appealing while I Am Rami visits his relationship with the World and all its’ wide-eyed wonder.

The vocals are very much the catalyst for these songs and Rami sings in a plaintive and sweet voice. The mood is one of contemplation and reflection and the understated playing and rich melody constantly impress. The strings on Echoes of Matter play against the simple guitar lines to great effect and Shipwreck visits the past in order to free old demons. Tiny Seed ends the record and looks to a future where hope and expectation reside. This is a very strong debut release.

Don Conoscenti Anastasia Howlin’ Dog

This is a new release from American singer-songwriter, record producer, and multi-instrumentalist Don Conoscenti, originally from Chicago, Illinois. He has released 9 previous albums since the early 1990’s and is a student of jazz, in addition to the blues, Americana, and rock, as a member of several bands. This project is a diverse and lush affair with 14 tracks covering an hour of music that includes big vocals, string and horn arrangements and plenty of excellent playing. Mainstream rock with quite a bit of soul.

Special guests include Grammy winning orchestrator/arranger Paul Buckmaster, Eliza Gilkyson (Anastasia), Kevin Welch (What Else Could I Do), Ellis Paul (Love Is a Curious Thing), Dan Navarro (Drink Another Round), plus others.

The studio musicians are excellent and add real colour to the songs with Richie Cannata, sax and Bob Andrews, piano, Mina Tank on background vocals and Don Richmond on banjo, pedal steel and mandolin really pushing the performance levels higher.

There are plenty of superb guitar breaks which can only be expected from this experienced and mature player and the acoustic feel of Ariana, The Other Side, What Else Could I Do and She Didn’t Break Me show plenty of layers to the song-writing skills on display.

The up-tempo arrangements of Drink Another Round, Love Has Come, are balanced against the reflective That Train, viewed as a metaphor for life’s journey while the big blues sound of Smith Road is a slow groove with some fine solo work on guitar and swirling organ. So, plenty to excite on this release and something to suit all tastes. 

Mia Rose Lynne Follow Me Moon Waterknot 

This impressive artist grew up in Northern California and was exposed to bluegrass and Western Swing music at an early age through her family who had a touring group. Now living in Nashville, she released her debut recording Open Space in 2014 to much interest and media attention. Her songs are folk ballads with a rootsy feel and some lovely string arrangements that elevate the listening experience to another level. 

The 11 acoustic based tracks were all written played and sung by Lynne who is accompanied by a superb coterie of musicians who serve the songs beautifully. The understated playing and gentle touch of Danny Mitchell (Piano), Matt Slocum (Cello), Jeff Taylor (Accordion), Eli Bishop (Fiddle/Viola), Chris Donohue (Bass), Joshua Hunt (Drums/Percuson), Liz Poston (Backing Vocals), Austin Filingo (Acoustic/Electric Guitar), Chris Moyse (Acoustic Guitar & Vocals) are all perfectly aligned with the sweetly seductive vocals and acoustic guitar playing of Mia Rose. 

Opening up with two songs, January and Different, that speak about a rekindled relationship and aiming for happiness, despite external commentary and pressures. Colorado is about keeping a relationship together and being willing to sacrifice everything to hold that sense of true love. Not Just You & Me is a song for everyman and the daily lives that are quietly led by you and me in our corners of the World. Porcelain Doll lightens the theme with a quirky love story that begins on a shop shelf and ends with a happy reunion. 

Starlings is self-rumination on a long car journey and the reflection that ‘this is just the kind of drive that writes a song, by the time I’ve made it home’. Where To Begin and Gunshy are back-to-back songs about troubled times in relationships and wanting to endure the pain and struggle in the hope of a resolution ("I don’t wanna lose you by giving up"). The closing track I Like You a Lot is a playful wordy romp through the imagery of a love crush. Sung with Chris Moyse, it is the perfect antidote for much of the weighty themes before, but does not diminish in any way the bright talent of this exciting new talent. Definitely one to watch.  

Jaimie Michaels Once Upon a Different Time Appaloosa

Produced by Jono Manson and mixed at Kitchen Sink Studio in Chupadero, New Mexico, this is the 10th album in the past 20 years for Jaimie Michaels. Jaime was joined in the studio by his regular team of players, guitarist Ben Wright, bassist Josh Martin and drummer Mark Clark and a number of special guests. His sound is warm and gentle with plenty of insight in the words that reflect a musician and song-writer of some experience and a great deal of talent. 

Warming speaks as a reflection of our times and is a protest song against the waste of war and the way that political power corrupts. Somewhere Like Italy asks that we live for now and not overthink this life. Steal Light has a lovely blues shuffle and is reminiscent of JJ Cale with some nice understated keyboard parts. Circling Around and Singing For My Supper have philosophical messages contained in the clever wordplay, while The Heat speaks of a love that has gone cold (“we’re just two winding roads that no longer meet”). This is a very fine example of a talent at the top of his creative game and writing engaging and fun arrangements that are a joy to hear.

Reviews by Stephen Rapid

J. Hardin The Piasa Bird Self Release

This is the first release from John Everett Hardin under this guise. He had previously released albums under the name Everett Thomas but had decided to take a break from music to concentrate on some other aspects of his life. During that time, he’s written a number of songs but wanted to get his friend and fellow artist Hayward Williams to produce them. This they did at a converted farmhouse studio in Illinois. There, Hardin and Williams were joined by Daniel McMahon on guitars and keyboards and Darren Garvey on percussion as well as Liza Day and Naomi Marie on backing vocals. Hardin played acoustic guitar and sang while Williams played bass. They have done this two-sided set of 8 songs some justice.

The end result is a mini-album named after a mythical wall-painted Native American dragon which were less mythical and more about the often mystifying aspects of relationships. There are odes to a particular female characters in Oh Sophia (parts one and two), Woman Like You and Run Jackie, Run! Other songs such as Drifter and Shot My Baby Down are equally evocative. The former opens the album in a relaxed style that brings voice music and story together in a relaxed, full band folk/rock style that is rewarding and receptive. Though much of the album follows in this relaxed, restless mood the band can add weight and depth as required. Shot My Baby Down is a song just waiting for its place on the likes of a True Detective. It has a darkness that is underscored by the reverb guitar and funeral pace.

The lyrics are good here but it is the overall atmosphere that you are drawn to. One that sets the tone for the song even when, on initial listen the lyrics are not totally decipherable but enough is understood to know that these are full of imagery and invocation. The pace picks up, naturally enough given the title, for Run Jackie, Run! The album closes with Oh Sophia (Part 2) with Liza Day’s shadowing vocal echoing the poetic nature of the sense of intrigue and innocence of missing a person. It is stripped back to the voices and guitar and ends the album with you wanting some more. Hopefully this team will work together to bring a little more music to a waiting world - even if it doesn’t know it’s waiting.

Trevor Alguire Perish In The Light Self Release

When you hear a striking album and find out that it is the artists 6th release you realise just how much good music (and bad) remains to be discovered. On the evidence of this Trevor Alguire is well worth seeking out. A Canadian singer/songwriter who has co-produced and written all the material here and these are songs that have an immediacy that is as convincing as it is confident. For want of a better sound comparison I would say that fans of Blue Rodeo would be well at home here. Indeed, that band’s steel player (Bob Egan) is one of many players to add their noted contribution to the album.

Keyboards, violin (and pedal steel) enhance the bass, drums and guitars on what is essentially an Americana (or should that be Canadiana) album. There are up-tempo dance floor ready romps like Flash Flood that sit easily alongside a song like Out Of Sight/Out Of Mind that looks at life today from the perspective of a 93 man and how life has changed in his lifetime. It is an evocative piece of writing that hits home. Another stand out is My Sweet Rosetta a sing that starts in silence before revealing the longing and love that is the lady in question. It is a duet with noted Canadian singer Catherine MacCellan who both share the vocals and take individual verses to describe different viewpoints and perceptions. 

Wasted Ways, Wasted My Time With You are both songs that consider how easily time can be so easily spent on pursuits that have no satisfactory conclusions. Relationship that are going nowhere fast or simply a way to pass time - for a time. The use of time is considered again on the final track If I’d Stayed In School. The title of the album is taken from a line in the first song The Ghost Of Him about a man who is comfortable in the shadows but who would perish in the light. Likewise, music sometime equally need that exposure to grow stronger and Trevor Alguire already has that in his native land but could easily use some of the wider recognition that this album deserves. 

Silver Lake 66 Let Go Or Be Dragged Saw Tooth

Formally of L.A. based band The Ruby Trees, the duo of Maria Francis and Jeff Overbo now record and play under the name of Silver Lake 66. They play a roots music blend of country, rock and blues. They moved to Portland, Oregon and began to play sessions there which resulted in them gathering a group of players around them for live sessions. This became the nucleus of Silver Lake 66. Bass, drums, dobro, pedal steel, keyboards and fiddle were all added to the duo’s guitars to make this album. They wrote and produced the album together and it’s a summation of their music blend.

The opening Bury My Bones In Arkansas has organ and pedal steel running through a slow song about music and place. Jeff takes the lead with Maria providing harmony. They change roles though throughout and the next track up Magnolia is another slow paced song with more of a late night bluesy tone. Change Your Mind is taken at a similar pace and features a strong vocal from Maria. Sinuous steel and twang laden guitar are behind the duet Devil’s Lookin’ For Me a song that finds both declaring their allegiance to places that may be less than savoury. The album continues largely with this moody blend of influences that is less dance floor orientated than it is meditative. Sherman County is another strong country style song and a couple of tracks that definitely up the tempo in a welcome change of pace are San Francisco Angel and Don’t Have To Tell Me You’re Blue . 

The album’s twelve songs all are well performed, produced and written material that, of itself, may not make you feel that you’re hearing something you haven’t heard before. However, what you do hear should please and it is an album with many moments that feel right and should encourage you to listen back. Maria Francis and Jeff Overbo are definitely making music that they can be satisfied that they are achieving what they set out to do when they wrote and recorded these entertaining songs. 

Chip Taylor Little Brothers/I’ll Carry For You Trainwreck

By now Chip Taylor should have perhaps achieved some of the status that Leonard Cohen has achieved. Both have an understated semi-spoken delivery of well thought out and written songs. These two albums however taken a more personal direction.Little Brothers opens with a song about his granddaughter Alex on a ride home after winning a golf tournament. Each of these song has a little explanation note about it’s particular inspiration. There are a number of song that are dedicated and draw inspiration from his wife Joan. All are affecting and delivered in his inimitable style. Like Enlighten Yourself! has a spoken introduction that encourages to do just that. In fact, Chip tells some tales throughout not unlike a concert setting which in fact it pretty well is a live in the studio set-up. The musicians who accompany Taylor include long time guitarist John Platania. There is also upright bass (Grayson Walters and Bill Troiani) and some essential keyboards from Gøran Grini (who also co-produced the album with Taylor). Backing vocals are also present with some from his granddaughters. Refugee Children is a somewhat topical song that tells of an encounter with a group of them fishing in a forest in Sweden. 

The second album here is a shorter set of 8 songs that are inspired by Brooke and Brittany Henderson, two Canadian golfing sisters. Not a subject often taken on by singer/songwriters but then there’s Chip and anyone who is aquatinted with his previous album and live performances will know what to expect and will smile and be drawn into the Taylor way of doing things. There are some piano instrumentals on the album composed by Grini. While Platania is also present on guitar. A bonus track is the title song performed by Shave Zadravec. Taylor’s song is about striving to achieve against odds and succeeding (or not). He delivers it in a committed and emotional voice. 

Chip Taylor may not be for everyone but those who have got to know his music will recognise a human being who cares and observes and tries to put his feelings and beliefs into his music. Something he does with these two albums.

Kalyn Fay Bible Belt Horton

The debut album from the Tulsa, Oklahoma based artist is a contemporary take on a mix of country, folk and rock that is immediately accessible and pleasing. Fay is of Cherokee ancestry and a graphic designer by trade (she designed the album’s cover). She also sings and plays guitar and, although it doesn’t clearly state on the cover, has written all the songs too. She and co-producers (Scott Bell and Dylan Layton) gathered some musicians together to realise these songs with their skill and support.

Cody Clinton on electric guitar, Roger Ray on pedal steel and Cory Mauser on keyboards and Kevin Warren-Smith on fiddle are some of the team who join Layton on bass to lay down the tracks. They do so with an understanding for these, often, relationship related songs. Songs that show off Fay’s voice to good effect. She has a voice that has an intimacy and instinctiveness that allows these tales to be told with an understated ease. Black & Blue, Looking For A Reason, Wherever I Feel Right and The Fight all consider the way that relationships can twist and turn while Oklahoma, Tula and the title track are related to people and place. Spotted Bird wonders what secrets the titular creature keeps.

Bible Belt is a very promising start to Fay’s musical career and a chance for listeners to get to know her music in its recorded form from its inception. Her take on country music has a quality that makes it a living breathing form that is capable of going in different directions. There is a video of her playing an acoustic version of Oklahoma with a banjo player that shows another aspect of these songs. But for now this album is worth seeking out for a good listen. 

TV Jones & The Tomahawks Self-Titled Self Release

This mini-album comes from a Kilkenny band who specialise in all things ‘Billy. Be that rock, psycho and more. There is a lot of twanging guitars and full bore energy displayed on these 50s style songs. The band have written all the songs and they stand up well within the parameters they have set. Ones that usually come from locations far from Ireland’s shores. The band co-produced the album with Leo Pearson who would seem a perfect partner in crime for the recording.

The majority of the songs are paced like there’s a hellhound on their tail. There is no TV Jones to be found but his is a fiction of the quartet who are in fact Jimmy Conroy, Tony Doherty, Noxie Noonan and Pius Maher on vocals and guitar, electric guitar, upright bass and drums respectively. The themes are oriented to a time period that is instinctively American. Dragging My Chevy is about a favoured car and has some nice slide guitar. Other songs talk a somewhat darker B-Movie tones with songs like Die, Die, Die and Night Of The Living Dead.

There has been a healthy support for rockabilly in Ireland through the years with a number of prime exponents from the USA and Europe have played the Kilkenny Rhythm & Roots Festival through the years so it is good to see a home grown unit continuing that tradition and doing with some gusto and aplomb. In truth nothing too radical is happening here but that is not really the point. They are playing music that truly motivates them and they do it with the passion of those who live and breathe their inspirations and that should translate across to devotees and ‘Billy believers.

Reviews by Declan Culliton

Travis Green A Little Too Late - Self Release

A blend of blues, country and rock from Austin-based singer songwriter Travis Green. The inspiration for many of the songs can be traced back to Green’s exposure as a young man to artists such as Chuck Berry and Muddy Waters yet the album also has nods towards Nashville.

Recorded in Greaseland Studios in San Jose, California the album features a host of renowned West Coast session players including Norwegian Kid Anderson, who produced and mixed the album together with contributing guitar. Other musicians include Randy Bermudes (bass), Jim Pugh (keyboards), Jason Hansen (drums), Nancy Wright (saxophone), Lisa Leuschner Anderson and Courtney Knott (vocals). 

The title track kicks the album off in fine style, a tale of lost love delivered in a country/rockabilly style and features some wonderful guitar licks by Anderson. Everybody Knows maintains a similar lyric theme of relationships going south ("Everybody Know you’re a bitch at heart"). Keep You Off My Mind has a lovely Dave Edmunds rockabilly feel. Damage Done could be drawn from the Dolly Parton songbook having a melody not a million miles away from Jolene. Caroline bounces along with ripping saxophone by Nancy Wright and pulsating keyboards by Jim Pugh dominating.

Very impressive album and a particularly easy and rewarding listen.

Locust Honey String Band Never Let Me Cross Your Mind – Self Release

Delightful rootsy Americana offering from the Nashville based bluegrass band. Originally from North Carolina, Locust Honey String Band celebrate traditional Southern music, intelligently mixing fiddle/banjo duets with heavenly harmonies and old time honky tonk.

Locust Honey String Band consists of Chloe Edmonstone (vocals, fiddle, guitar) and Meredith Watson (vocals, guitar). Hilary Hawke and Ariel Dixon play banjo on the album with bass duties carried out by Andy Deaver Edmonstone. 

Fourteen tracks in total including three originals credited to Chloe Edmonstone, two Carter Family songs (Lonesome Song, Righten That Wrong) and a fine execution of Nick Cave’s Henry Lee. Immaculate harmonies and elegant playing throughout combine to get the old boots stomping throughout this timeless offering.

Steve Dawson Solid States and Loose Ends – Black Hen Music

More often named on the inner sleeve of albums rather than the cover, Juno Award Winning producer, session player, multi-instrumentalist and solo artist Steve Dawson is one of the most respected artists on the Nashville music scene at present.

Solid States and Loose Ends is the eight studio album recorded by the Vancouver born Dawson and includes contributions by many of the artists that he has regularly worked with over the years. Regina and Ann Mc Crary add backing vocals, Fats Kaplin plays fiddle, Jim Hoke contributes saxophone and Gary Craig plays drums, to name a few.

Ten of the fourteen songs are penned by Dawson, a pulsating version of Joe Tex’s You Got What It Takes is also included together with the traditional Delia and Riley Puckett’s Monkey On My Back.

Dawson plays electric and acoustic guitar, steel guitar, chamberlain, mandotar and Weissenborn combined with a relaxed and effective vocal style throughout. Gid Tanner and The Skillet Lickers Henhouse Door (ironically Dawson’s recording studio is called Henhouse Studio) is the final cover, recorded acoustically with sublime slide guitar by Dawson. 

In contrast to his solo acoustic instrumental 2014 recording Rattlesnake Cage his latest album explores a much wider musical landscape embracing gospel, blues, country and beyond. As would be expected the production is immaculate throughout and strong comparisons could be made with the late 70’s early 80’s output of Ry Cooder. Loose Ends opens the album in style, a full rich bluesy sound with delightful backing vocals by the Mc Crary sisters. So much to savour on the album from the pulsating Driver’s Wheel, showcasing the wonderful fiddle playing of Fats Katlin to the laid back California Saviour which includes sweet steel guitar by Dawson.

All in all, a wonderful bluesy Americana album immaculately produced with masterful playing throughout. 

Rupert Wates Colorado Mornings (True Love Songs) – Bite Music

Eight solo recording from the London-born singer songwriter Rupert Wates. A professional songwriter since the late 1990’s when he was contracted by Eaton Music Limited to write music for a variety of musicians crossing a number of genres from folk right through to blues, Wates is very much a touring artist playing over 120 shows annually.

Dividing his time between New York and Colorado his latest offering is a collection of love songs based on the travels of two lovers through the state of Colorado in times long gone by. Understandably the album has quite a British Folk sound to it (The Green and Goody Valley) but also embraces jazz (Motorbike of Midnight Blue) and traditional folk.

The packaging and artwork on the album are delightful, striking photography depicting Wates and partner suitably clad in turn-of-the-century period costumes.

The Southern Fold A True Ascension from the Wayward Path – Self Release

The Southern Fold have been earning quite a reputation on the local live music circuit over the past eighteen months, well justified on the basis of this very impressive six track mini album.

The band is the brainchild of Kilkenny based singer songwriter Emlyn Holden and co-singer Laura Hand. They are joined by recent recruits Joe Maher (The Mariannes) on guitar and Frieda Freytag (Fox Owl Crow) on cello and piano. Recorded at Crossroads Recording in Kilkenny the album features four self writes by Holden, the most powerful being Romance in Morphine and Home From The War, together with two covers (Farther Along by Baxter/Stevens and Ledbetter’s Where Did You Sleep Last Night?).

The shared vocals and harmonies by Holden and Hand are the highlight of the album, no more so than on the aforementioned WWhere Did You Sleep Last Night?. 

The Southern Fold are one of an endless number of bands mixing country, folk and blues at present. I get the impression, listening to this album, that they have the potential to make a much more lasting impression than most. Credit must also go to Lorita Preiano for the beautiful cover photograph on the album.

Auburn Love & Promises – Scarlet Records

Originally formed by Liz Lenten in the UK back in 1999 Auburn recorded two very well received EP’S (Sweet Sebastian and For Life) before the release of their debut album Dreams in 2003.

They disbanded in 2005, regrouped in 2011 and have been particularly productive since then. Following a tour of the UK supporting Jefferson Starship they gained considerable industry acclaim with the release of their 2013 album Indian Summer which included a host of renowned guesting musicians including Eliza Carthy and Laura Vane. 

On a creative roll, the band followed in 2014 with Nashville, which explored country, jazz and southern blues and twelve months later released Mixed Feeling’s both produced by Thomm Jutz (Todd Snider, Sid Griffin, Nanci Griffith, and Lynn Marie Rink).

Love & Promises sees Auburn sticking with the same winning formula that worked on the previous album with Jutz again producing and contributing guitar, Jen Gunderman of Jayhawks fame on keyboards and accordion, Evan Hutchings on drums and Mark Fain on bass. Notwithstanding the excellent musicianship throughout its Lenten’s distinctive and sometimes strained vocals which standout on what is most likely the strongest work the band have recorded.

Probably the album’s standout track is the opener Asleep, with a nod towards Bonnie Raitt. Cross The Deep Atlantic features shared vocals with Austin based singer-songwriter Chet O’Keefe and If Everyone Was Listening simply cruises along beautifully.

The thirteen tracks on the album were produced by Jutz and mastered by Alex Mc Collough in Nashville with all songs written by Lenten with the exception of If Everyone Was Listening which was co-written with Mark Gustavina.

Without doubt well worth investing some time enjoying this very good album

Al Rose Spin Spin Dizzy – Self Release

"I’m a lazy fuck, a dedicated schmuch. I kick right back and I bank on luck" announces Al Rose in a Crazy Horse moment midway through his seventh studio release.

It’s business as usual from the Chicago resident. No frills blend of high octane country blues featuring Rose on electric and acoustic guitars accompanied by Steve Doyle on guitar, Steve Hashimoto on bass, and Lance Helgeson at the drum kit. Worse Came to Worse (I Feel Alright) simply rocks along, the title track Spin Spin Dizzy is gloriously bluesy and like much of the album sounds like a live recording.

It’s not all a hundred miles an hour though and Rose is more than capable of penning cry in your beer material as demonstrated with the delightful ballad Sweet Bouquet.

A satisfying blend of rock, roots, soul and no little humour, well worth a spin.

Blue Moon Marquee Gypsy Blues – Self Released

Forth offering from Rocky Mountain blues duo A.W.Cardinal and Jasmine Colette who perform as Blue Moon Marquee. It’s high energy, no frills blues from the opener Trickster Coyote to the closing title track. With all twelve songs written by the duo, Gypsy Blues does not attempt to reinvent the wheel but simply deliver a raw and retro sound covering expected themes of poverty, lost love, whiskey, loose and fearless women. The album was recorded at Afterlife Studios, Vancouver and engineered by Erik Nielson.

Reviews by Stephen Rapid

Al Scorch Circle Round The Signs Bloodshot

This latest release from Al Scorch and his Country Soul Ensemble highlights a growing confidence and awareness of how best to develop his raw talent. Although there are nine players listed in the Ensemble many of the tracks are based on a smaller, tighter unit led by Scorch’s ever present banjo picking and strumming. He is a writer of songs that often focus on the kind of subjects that would be equally as appropriate for a raging punk band as for his current line-up. However there are equally moments that touch on more personal and individual stories. 

Poverty Draft is an example of a song that shows an understanding of the plight of the misfortunes of his fellow man. Scorch’s music is rooted in that sense of affinity and awareness of how society can often become something less than caring. However throughout the ten songs Scorch and band make sure that the music is never bleak or hard work. From the first bars of Pennsylvania Turnpike the banjo drives the energy and heart of the music in a way that is both powerful and affecting. Alongside the faster songs are a bunch of mid-tempo songs that are full of atmosphere - like the Lost At Sea a song that deals, as the title suggests, with a potential loss at sea. Insomnia is about that state of sleeplessness due to a particular predicament and not wanting to be an unrecognised cog in a machine. Lonesome Low is his take on rising above a sense of inertia but it does so with a strong sense of purpose and thinking about the things that can bring you down. How sometimes that innocence can bring that will often alleviate such attitudes. Woody Guthrie's song Slipknot ("Have you ever seen a hangman tie a slipknot”) fits the overall mood perfectly, as does the aforementioned Insomnia written by Gaylen Mohre.

Al Scorch co-produced the album with Neil Strauch in his native Chicago which makes Bloodshot the perfect label to bring this music to the world as it is indeed an extension of the insurgent country that the label introduced to the world back when they started releasing albums. A previous album was recorded live at The Spirit Store in Dundalk, Ireland so it is easy to see that while this album is dedicated to friends and family and the city of Chicago its music will fit in and work just as well in any location that takes good music to its heart. 

Western Centuries Weight Of The World Free Dirt

Cahalen Morrison’s last album The Flower Of Muscle Shoals was a damn good one. It was self-produced by Morrison and recorded with hi, then band, Country Hammer. Now he is back as a member of Western Centuries who also include guitarist and vocalist Jim Miller who survives from the previous line up. The band name is perhaps more fitting as both handle writing and the lead vocals duties. Not forgetting drummer Ethan Lawton who also takes the lead on the three songs he wrote. This gives the band some vocal diversity and some different writing perspectives from within its' ranks.

The songs largely look at the lives of those who struggle with a variety of personal and pertinent issues. Each vocalist has a distinctive but equally real voice. Lawson songs Double Or Nothing, In My Cups and Off The Shelf are largely songs that seek the upside of love despite its many travails. Miller views are not far behind in his songs Knocking ‘Em Down, The Long Game and Rock Salt (written with Morrison). Morrison, like his band mates, channels the disappointments as well as hopes that life tend to provide as fodder for the gifted songwriter. There is outright heartbreak in the pedal steel weep of Sadder Day, the hard thinking of Philosophers And Fools or the soul searching of Weight Of The World. What Will They Say About Us Now?, Hallucinations, The Old You complete Morrison’s exploration of subject that are lifeblood to real country music.

Of course listeners may well have their favourite vocalist but the album, produced by Bill Reynolds, is a cohesive work that also makes the best use of the harmony skills of all three of the lead vocalists. Alongside the aforementioned trio mention should be made of Rusty Blake on pedal steel and Dan Lowinger on bass as well as the welcome contribution of Rosie Newton on fiddle. Morrison plays electric, acoustic guitars as well as drumming on three tracks. Miller weighs in on acoustic and electric guitars and Lawson also adds occasional guitar as well as playing drums. The end result is twangy and time-shifting country music delivered by true believers that is well off the radar as regards what country radio currently considers fitting for the estranged format. How wrong they are as Weight Of The World testifies. A very fine album and undoubtedly a contender of the best of the year list.

Anders Westin House By The Lake Millhouse

This album emanates from Westin’s native Sweden where he primarily worked as a producer. One who also wrote songs and had a loose affinity for Americana. He was encouraged to make his demos a reality and with the help of a number of musicians who include, prominently, Nicke Widén on pedal steel as well as Peter Korhonen on drums alongside a range of featured instruments including keyboards, violin and Westin’s vocals, guitar and lap steel. 

There is a gentle, relaxed melancholy feel that befits the ambience of the title. There are 9 songs that complete a suite of songs that dovetail into each other. All are written and sung by Westin (with some added harmony vocals) and all are a world away from the frantic pace that a lot of music is delivered in a cluttered world over-filled with music. The songs largely appear to match the title of one of the songs Reminiscence in terms of theme. These are reflections on time and place tp a large degree. One song however, Tom Dowd, is a tribute to the four tack tape pioneer who worked as a producer for Atlantic Records and as pioneer of multi-track recording.

The album opens with Carpenter’s Daughter's Son a song that sets the tone with it’s subtlety and airy grace. It then takes a similar path through to the final song Long Way Back Home. All appear to focus on times and moods of days gone by and past relationships that are mirrored by the equally gauyzed sunshine of the music. Anders Westin did the right thing in getting his music from demo to this admirable destination.

The Western Flyers Wild Blue Yonder Versa-Tone

This guitar, bass and fiddle trio trail the same tries as The Hot Club of Cowtown and would doubtless appeal to a similar audience. In other words very fine musicianship from three acclaimed players who cover an intoxicating blend of western swing, jazz, cowboy songs and old time fiddle tunes. Joey McKenzie is the guitarist and vocalist, Katie Gassman is the fiddler and vocalist and they are completed by Gavin Kelso on upright bass and harmony vocals.

The songs include a slew off standards Along The Navajo Trail, I’m Gonna Sit Right Down And Write Myself A Letter, Tennessee Waltz, Old Fashioned Love and I’ll See You In My Dreams. So in the end Western Flyer aren’t the first and won’t be the last to take on the mantle of this music but the trio play the songs and instrumentals with such skill and love that there will always be room for performers dedicated to the revival and revitalising of any musical form that deserves to be heard outside the confines of memories and old releases or compilations.

Marty Stuart appears to think so too afrom his endorsement on the inner sleeve. The gender balance of the two vocalists works well giving different viewpoints to the songs while the instrumentals highlight the trio playing dexterity. Giving much to consider when you look into the wild blue yonder.

Freakwater Scheherazade Bloodshot

First album in some time from the band led by the duo of Catherine Ann Irwin and Janet Beveridge Bean. They released their self-titled debut album back in 1989. This time out they are joined by some ten other musicians this time out which gives their distinctive dark take on their particular blend of alternative country influences and sonic experimentation an added dimension that is at times akin to a (Nick) Cave-ian echo.

The writing and vocal delivery is largely split between the two. They have taken their specific sound and added layers of sonic exploration that takes their deeply rooted Carter Family sound into the contemporary arena. Some of the songs are relatively stripped down while others are shrouded in soundscapes that are a mix of diverse instrumentation from Moog to mandola, from banjo and bass to wah-wah guitar.  

The lyrics take on the more sinister side of life on songs like the opening What People Want which deals in rape and murder. The Asp and The Albatross tells of betrayal or Skinny Knee Bone which considers the fortunes of chance, of taking the opportunity to “bet it all on black.” Suffice it say that those acquainted with the music that Freakwater have made since their inception will hear a development of that distinctive voice. One centred around the voices and songs of Irwin and Bean (and their accomplices) which have variously been described as Southern and Appalachian Gothic as well as old-time country. These influences are undoubtedly a factor in the make-up of the music but as Scheherazade clearly shows Freakwater are not a band who are afraid to experiment and move forward by incorporating a myriad of sounds alongside more traditional sources. 

The end result works on many levels and stands alongside, if not above, any of their previous albums. Scheherazade makes for some compellingly haunted and haunting music that should please those who have listened in the past or those who are stepping into the water for the first time.

The Flyin’ A’s You Drive Me Crazy Self Release

This husband and wife duo describe their music as Americana with Texas grit which is not a bad summation of what they do. What makes the album that bit special is, along with the duo’s strong vocal and writing input, the solid production of veteran player and producer Chris Gage. He is credited here also with a variety of guitars, keyboards and harmony vocals. Anyone who caught him here in Dublin playing with Jimmie Dale Gilmore will need no convincing of his abundant talent on all three. Not to take away from Hilary Claire Adamson and Stuart Adamson vital contribution on vocals with the latter on acoustic and electric guitars too. Both contribute songs either written solo, together or co-written with the likes of John Ims and Steve Brooks. 

There are a couple of other songwriters involved too with Billy Edd Wheeler’s Blistered, Claude Butch Morgan’s Mr. Blue and Ims’ The Other Side Of Lonely - all strong songs that fit in with the overall rootsy-sounding delivery that is emphasised by the inclusion of some of Austin’s favourites players. Names know to those who scan the credits on many an Austin album will be Paul Pearcy, Glenn Fukunaga and Lloyd Maines. But back to the focus of the album, Stuart sings with conviction on the stripped back song Blood And Bone that wrestles with the notion of a less than honest relationship. There's a slightly more positive attitude expressed in Ims’ The Other Side Of Lonely, a steel guitar infused ballad of stepping out from behind darker days and moving on. Hilary Claire gives a strong vocal on the more jazzy blues of Mr. Blue. In truth both are adept in the vocal deliveries with handling the lead vocals or harmonising together.

Roadwork Ahead is a metaphor for the trials and tribulations of living together and maintaining a working relationship - on the road and off. As the title and some of the ad-libbed comments at the end of the song suggest making music as a duo is not always as easy as it might seems however good natured the banter is. What matters to the listener is that the music here holds the attention and it does that with a nice mix of moods, tempos and styles that would fit their description of their music. The album closes with Wild Texas Wind a plea for redemption “Wild Texas wind, won’t you heal me from within.” That wind has the Flyin’ A’s riding high.

Reviews by Paul McGee

Tony McLoughlin & Marlon Klein Where Is Jack? - Fuego 2634

This duo come together for a release that leans heavily on a roots rock formula to deliver 11 songs of atmospheric moods. Nine of the tracks are co-writes by Klein and McLoughlin and with production by Klein, in addition to playing drums, percussion and keyboards, his influence is very present on this project. On previous releases McLoughlin has used fellow Irish musician Ben Reel on co-production and the change of direction supplied by Marlon Klein brings a new edge to the song arrangements.

There is a moody atmosphere to the tracks Another Poor Rider and Eagle Eye which open the record and bring a rhythm that is both restrained and powerful. Only You comes out of the traps with a real driving beat and Heart of Darkness changes the mood completely with a samba-base to the beat that underpins some atmospheric guitar work.

The closing track Red Light Love has a Spanish cantina influence that is gently delivered against the more robust tracks that precede it. There is an ill-conceived song Bomb-maker which is very poorly timed, given the world pulse of terrorism at present, but that glaring slip apart, this is a solid release with fine performances and an interesting production.

Buford Pope The Poem & the Rose - Unchained

A Swedish artist with 4 previous releases, Buford Pope has delivered this 12 song project with some real style and confidence. His last release, Sticks in the Throat, was a rock oriented collection of songs that contained plenty of guitar heroics and hard edged driving rhythm.

So, it is a surprise to encounter this change of direction that reflects a laid back, Band/early Eagles influenced style of country music. It is a very wise decision, based on the quality of playing and writing on this release, with the combined talents of producer Amir Aly, who also plays an impressive range of instruments, joined by Mats Bengtsson on piano & accordion, Peter Andersson on pedal steel, Filip Runesson on fiddle and Mattias Pederson on drums.

Anna Liljeborg adds great colour on harmony vocals, never more striking than on the excellent My Heart Don’t Lie, that channels Levon Helm and the Band in an eerie-but-good fashion. The production is crisp and clear with the quality of the playing given plenty of room to breathe. The fiddle and pedal steel support the song arrangements beautifully, especially on All I Took Was You.

The music and lyrics are credited entirely to Buford Pope and his vocals, guitar, banjo, dobro and harmonica skills are impressive throughout. This is a fully realised project with not a weak track present. The playing skills of co-producer Amir Aly on acoustic & electric guitars, mandolin, bass, percussion & vocals adds much to the overall feel of the arrangements.

Songs such as At the End of the Week, I Light Up a Candle and If Ties Don’t Bind are particularly striking but it seems churlish to select particular tracks ahead of others. All I can say is go out and buy this collection. My favourite release of 2016 – so far…

California Feetwarmers Silver Seas - Shepheard’s

The California Feetwarmers are Based in Los Angeles, and play a heady mix of Ragtime, early swing and Dixieland Blues. Put yourself in prohibition times with a sharp suit, a fedora and a speakeasy playing the vibrant music of the times and you are right in the essence of this record.

With old classics revisited and material from The Blue Ridge Playboys, Scott Joplin, The Memphis Jugband and Emile Grimshaw’s Rag Pickers, the quality just flows effortlessly. This release was recorded live in Los Angeles at the Kingsize Soundlab and the 13 tracks really bounce out of the speakers with a groove and attitude that is irrestible.

Keb’ Mo’ used these musicians as the backing band for his latest album, Blues Americana. The collaboration won them a Grammy-nomination in the Best American Roots Performance category.

Six of the tracks here are originals with The Breeze That Brought Me Home, Wooden Nickel and Betty Brown standing alongside old standards like Scott Joplin’s Weeping Willow and At the Jazz Band Ball by the Original Dixieland Jazz Band 1917. Old time vaudeville and a heady mix of good time tunes.

Meschiya Lake & the Little Big Horns Bad Kids Club Continental Coast

Joining the Know Nothing Family Zirkus Zideshow and End of the World Circus – a ragtag traveling troupe that blended traditional circus arts with modern sideshow entertainment –gave Meschiya Lake all the tools that she needed for a life in front of the spotlight.

In 2007 she began singing with the Loose Marbles, a traditional jazz outfit on Royal Street, New Orleans before going on to create The Little Big Horns Jazz Band. Lake was recognized as Female Performer of the Year three years running at the Big Easy Awards and the Little Big Horns’ debut CD, Lucky Devil, appeared in 2010, followed by Fooler’s Gold in 2013, before the release of this offering.

If your tastes lie in the area of slightly twisted trad jazz, Prohibition era, New Orleans swing, old time rag, barrelhouse fun, or anything in-between then this is the perfect Saturday Night record for you. Full of the swing and swoon of all great jazz-groove vibrations, this release really kicks ass – tracks like 24 Robbers, Flim Flam Man, and the slow burn of Hey Mary Wanna show the true range of talent on display here, while the sassy delivery of You Ain’t Woman Enough is given the right combination of attitude and defiance.

There are 14 tracks included here and they all bounce around the room with attitude - Highly recommended. 

Screamin’ Miss Jackson and the Slap Ya Mama Big Band I Heard the Voice of a Donut - Little Paradise

Based in Bristol, U.K. and sounding like the best of New Orleans ragtime and swing, this 7-piece band has a lot of personality and talent. There are elements of many different influences, from Hokum, Jazz, Hillbilly Country and western Swing. The slap ya mama big band are a colour-box of street sounds across the 12 tracks included on this debut release. Most of the band share vocal duties and with a line-up that includes April Jackson (Washboard & Vocals), Marc Griffiths (Guitar, Banjo & Vocals), Becca Philip (Guitar & Vocals), Mark Legassick (Mandolin & Vocals), Henry Slim (Harmonica & Vocals), Mandrake Fantastico ( Double Bass) and AJ Murdoch (Drums), the arrangements are delivered with much energy and dextrous playing. Their infectious sound is quite compelling and you would never know that the musicians are all based in this current century and located far away from the original influences of this vibrant music.

Tracks like One Daddy, The Whiskey Tastes Too Good, Take Jesus On a Date and Boxcar Date are guaranteed to get anybody up and dancing around their furniture. All songs appear to be original compositions although the sleeve notes don’t confirm this and the co-production between the band and Ben Capp is perfectly pitched to highlight the tight-knit playing and harmony singing. An impressive debut and augers well for a future that will grow in a positive direction.

Jenai Huff Color Wheel - Self Release

If there were a category to place this sublime artist into then it would be Jazz-Folk. The wonderfully crafted 9 songs included here are a real joy and the atmosphere created by the production is one of quiet calm and a confident maturity. This artist released her debut album in 2013 with Translations and her soulful voice, reflective words and subtle song arrangements give her craft an immediacy that cannot be underestimated.

Currently living in New York City she has surrounded herself with a small group of special musicians with Ben Wisch (producer, piano and keyboards), Eugene Ruffolo (acoustic guitar and background vocals), George Naha (electric guitar), Zev Katz(upright and electric bass),  Chris Marshak (drums and percussion) and Jonathan Preddice (cello).

A cover version of the Marvin Gaye classic What’s Going On is beautifully delivered and apart from one other cover which is a version of Old Man (Bryan MacLean), the Love classic song from Forever Changes album  the effect is that of being in the presence of a skilled, sensitive artist who is in total control of her place in the creative firmament. Think Joni Mitchell and add a little blend of understated, restrained, classy midnight soul. One of the best releases this year.

Cliff Howard Spiritual Town - Self Release

A blend of Americana, blues, and country music feature on this debut album by British singer songwriter Cliff Howard. Originally from London and now living in rural North Wales. Twelve songs written by the artist who also produced the record, the vocal mix is somewhat flat and does not add much colour to these tracks. The playing is brighter and the saxophone on a few songs, Columbus Avenue (David Carmichael) and Spiritual Town (Jamie Baxter) are highlights. This would seem to be the direction that this artist should concentrate upon going forward as his wish to gain a foothold in Country music circles seems to be somewhat difficult. Flood Street Blues has a nice lazy guitar groove running through it and Waiting for the Dream has a Neil Young flavoured tempo but never breaks out into a full-on guitar crescendo. Contemporary music that could do with a sense of direction really.

Tia McGraff Crazy Beautiful - Bandana

Port Dover, Ontario, Canada is the place where we can find the talented Tia McGraff. With 6 releases in her career she has earned respect and a growing fan base. This collection was released in 2015 and is produced by her husband, Tommy Parham, who also plays guitar on all 13 songs here.

Recorded in different locations, Ontario, Austin and Nashville, the continuity does not suffer despite the large number of studio musicians used. The country strum of Mesa Gold is underpinned with some subtle fiddle and mandolin while Nineteen recalls a Bob Seger track with its’ look back at youthful innocence and has a guitar driven arrangement that builds nicely. Long Ride Home sings of lessons learned and displays a reflective maturity ("every dreamer pays a price").

The title track is a challenge to those who do not embrace risk and take chances in life – "a story is waiting to unfold; make yours the greatest ever told". All songs are written by Tia and Tommy Parham and the sweet vocals carry them along to a happy conclusion with the Gospel tinged Leaning on the Everlasting Arms. A fine collection of songs and worth investigating. 

The Robert Bobby Duo Folk Art - Self release

Quirky, different and full of inventive song-writing, this release by Robert Bobby is Folk music taken in a new direction and given a fresh coat of paint. Forget the self-emotive songwriter who wears his heart on his sleeve and sings of worthy causes. What we have here is the healthy sense of irony that Robert Bobby brings to the table.

Explaining God’s grand plan in the opening song, Constantly Tweaking, we are given the image of him needing a wife to put things straight in the World.  Another song, God Couldn’t Wait speaks of ‘If God is everywhere, then He’s spread too thin’. A sense of humour is never far away and the true meaning of Mason Dixon Line is very naughty indeed.

His expressive voice is given great spotlight with I Wish It Would Rain and My Baby Loves Her Man. With 4 previous releases we are dealing with someone who knows his way around a studio and the ability to cover different musical styles is captured with the blues swing of Blue Chevrolet and the folk strum of Too Much Time. With Mrs Bobby on bass and a small group of other musicians who fill out the songs, this is an interesting release that is suitably different.

Fallon Cush Bee in Your Bonnet - Lightly Toasted

Fallon Cush is the performance vehicle for songwriter Steve Smith, a Sydney musician who has released 2 previous albums. This release sees Glen Hannah (guitars), Scott Aplin (keyboards) and Josh Schuberth (bass, drums) joining Smith and producer Chris Vallejo for 10 songs that are full of great melody and pop driven arrangements.

Think Tom Petty crossed with Crowded House and you get some idea of the groove and rhythm that plays out here. With backing vocals supplied by Suzy Goodwin and Stephanie Grace, the tracks really bounce along and the impressive Kings Ransom is followed by Useless Friend with some fine swirling keyboards and sweet guitar breaks.

A rich production sound dominates throughout, perfectly illustrated by the sassy sparkle of Dorothy, all jangling guitars and warm keyboards. The dynamic of the title track with its’ slow beat and melancholy vocal is a highlight and the concluding song Biggest Show is a reflective look at a lost relationship, complete with swooning background vocals and a sweet melodic arrangement.

Ben Kunder Golden - Self Release

A Canadian singer-songwriter who hails from Toronto and has arrived with this debut release. Co-produced by Kunder and John Dinsmore, the sound is very warm with a mellow atmosphere across the 9 tracks. The musicians on these original songs are all very talented players and compliment the reflective vocals of Kunder with very laid-back and comfortable accompaniment.

Half Moon lifts the pace a little with a good beat and chiming electric guitar while Bags & Barrels highlights the restrained acoustic playing of the ensemble. In singing about relationships it is difficult to separate out from the throng of artists that have already covered such subject matter but songs like Don’t Dance with the distinctive clear vocal tone of Kunder linger long enough to leave an impression of real quality. As debut releases go, the songs here give encouragement for ongoing success.     

King of the Tramps Cumplir con ei Diablo - Self Release

King Of The Tramps (KOTT) is a roots-rock group, based in the Midwestern state of Iowa. The band includes Todd Partridge on Guitar and vocals, Justin Snyder on Guitar and Mandolin, Adam Audlehelm on Keyboards and Percussion, Ryan Aum on Drums and Ryan McAlister on Bass and Backing Vocals.

The band has released three albums prior to this and their sound has been described as "Whiskey Gospel" with influences from roots rock to rhythm and blues. They channel the Stones, circa Sticky Fingers era, together with a healthy dose of the Black Crowes, paired up with Lynyrd Skynyrd. The 10 tracks here are played with great belief and energy and the band sound is complimented by additional players on trumpet, saxophone, tambourine and acoustic guitar.

The gospel tinged That’s How It Goes is balanced against the rocking opener, See You On the Other Side. A swipe at Nashville and the less than welcoming music machine is the target of Nashville Line, while the bar-room blues of Airplane Bottles is a rant against authority. James Brown is a tribute to the great man which is played with swagger before the driving beat of Depression takes things in a completely different direction. Old Crow veers close to Country while closer ’89 Cutlass is a slow, 6-minute plus, acoustic blues strum.  

An enjoyable listen and worth your attention if you like roots rock with attitude and a little bit of soulful blues added to the mix.

Reviews by Declan Culliton

Lilly Hiatt Royal Blue Normaltown

It’s never easy for an artist to have a famed musician as a parent and Lilly Hiatt is no exception. The daughter of acclaimed singer songwriter John Hiatt has just released her second album Royal Blue some four years after she recorded her splendid debut album Let It Down. 

Let it Down was a welcomed introduction to Hiatt, her frail yet seductive vocal working its way through well written songs and slotting nicely into a country/bluesy sound though also prepared to rock out from time to time.

Royal Blue is more suggestive of turbulent times and encounters, feeling the pain of others, break ups and make ups, all delivered with no end of passion by a young lady that seems to be saying ‘not going to be messed around with anymore’. 

It’s unbalanced in a quite delightful way. Contrast the addictive, comical yet biting Jesus Would’ve Let Me Pick the Restaurant (surely a contender for song title of the year!) with the sombre heart-breaking Worth It, a song that would compete with any number of vitriolic works penned by Aimee Mann.

Machine positively thunders along reflecting wild teenage years (“Learned To Mix A Drink A 11 Years, Learned To Keep ‘Em Sorry With Them Fake Pearl Tears’”), the title track Royal Blue is confessional, honest and hopeful (“What A Nice Night To Know, I Wanna Let Go, What Would A Good Woman Do? And Write a Song or Two”)

Engineered and produced by Adam Landry (Deertick, Diamond Rugs) at Playground Sound Nashville the album features a host of East Nashville finest including her regular guitarist Beth Finney, Luke Schneider (Margo Price, The Banditos, William Tyler) on pedal steel, John Radford (Steelism, Tim Easton, Drew Holcomb, Greg Hager) on drums and Jake Bradley (Bill Mallonee, Scott Chism) on bass.

All in all, a stunning piece of work by an artist capable of communicating her anger, sorrow, vulnerability, hurt and strength in such an articulate manner.

Glenna Bell Lone Star Songs and Stories Straight from the Heart of Texas  Self Released

Fifth self-released album from Texan Glenna Bell. Lone Star Songs from the Heart of Texas featuring nine tracks produced by Mark Abernathy and recorded at Sugar Hill Studious in Houston, Sea Fog Studio in East Sussex UK and The Finishing School in Austin.

As you might expect from a graduate of the University of Houston Creative Writing Program the song writing throughout the seven original songs by Bell is evocative, full on expression yet simple and very much from the heart.

Originals Pig in Lipstick Blues features Johnny Nicholas (Asleep at The Wheel) on piano and George Reiff (Joe Walsh) on bass. The autobiographical Poor Girl (In Blue) and Shiner Bock & ZZ Top are delivered semi-spoken by Bell similar in style to Minton Sparks. 

Somewhat surprisingly the two covers on the album include Everybody’s Changing by Britpop band Keane, not an obvious choice for a Texan singer- songwriter and a spirited delivery of Don Henley’s Heart of the Matter.

Lazy Afternoon Whatever Artache

Thirteen track debut from Swedish Roots band Lazy Afternoon. It’s an uncomplicated, fun all the way listen by a group of accomplished musicians. Tex-Mex in style generally - with The Mavericks stamp on much of the material. 

Founding member Bo Ahlbertz toured in the 80’s and 90’s with Westerness and Patrask, both bands playing Irish and Scottish inspired folk music. He formed Lazy Afternoon in 2013 and wrote the majority of songs on the album together with undertaking the production duties. The album was recorded by Anders Nordh on the island of Gotland and released by the Artache label.

Standout tracks are the driving powerhouse Goodbye and Sunday Afternoon. It’s dance music all the way, particularly enhanced by the accordion playing of Jorgen Ahlqvist, by a band that one expects would excel live and brighten up any lazy afternoon.

Love On Drugs I Think I’m Alone Now – Paraply

Love On Drugs, not to be confused with War on Drugs, is the vehicle for the solo career of Thomas Ponten, guitarist and band leader of Swedish Americana band Little Green.

The album is quite short, kicking in at twenty five minutes and consists of eight tracks, six penned by Ponten together with two co-writes. All instruments, with the exception of bass and drums, are played by Ponten who also produced the album.

The albums opens with a brief snatch from the Tiffany chart hit of 1987 I Think We’re Alone Now followed by Ponten’s somewhat remodelled version of the song and the title track of the album. Very immediate and sing along it has to be said. I Wanna Stay Young follows a similar path, upbeat, poppy and very listenable in an uncomplicated way. Blue and Queen Size Bed are more reflective and considered and an indication of Ponten’s song writing ability.

The album is dedicated to his close friend Andreas Johannesson, sadly passed away in 2015, following a tragic accident.

The Lowest Pair Uncertain As It Is Uneven – Team Love

The Lowest Pair were formed in 2013 when Kendl Winter, who had already recorded three solo albums of her own, teamed up with fellow banjo enthusiast Palmer T. Lee, meeting up while both performed in various bands on the Midwestern festival circuit.

The musical marriage was one made in heaven, both being lovers of traditional banjo techniques but also anxious to explore more experimental playing methods to create their own unique sound. Within eight weeks of teaming up they recorded their first album 36 cents with their second recording The Sacred Heart Sessions following less than twelve months later.

In preparation for this album the duo spent the winter of 2015 in Minnesota working with guitar wizard Dave Simonett and bass player Erik Koskine, both renowned members of bluegrass band Trampled By Turtles. They then toured for a few months before returning to Minnesota to complete the recording of the album, using the skills of Simonett and Koskinen to produce and engineer the final product. Having written and accumulated so much material over the twelve-month period they bravely decided to record two albums, not necessarily related, but released simultaneously.

Uncertain As It Is Uneven sees them abandon somewhat the totally banjo dominated sound of their earlier work with the addition of guitar, harmonica, fiddle, bass and lap steel without ever losing that timeless, back porch, earthy, bare boned sound that is their trademark. Vocals are shared, often harmonised, Winter’s wispy feathered high pitched voice complementing the coarse raspy vocal delivery of Lee. 

Opening track, the intimate The Company I Keep is very much Gillian Welch / Dave Rawlings territory, lead vocal taken by Winter with Lee adding backing vocals accompanied by acoustic guitar, banjo. Like I Did Before is stripped back to the duo’s vocals and banjo picking, Mason’s Trowel is more spirited and driven. Pretend It’s True is possibly the most accessible track on the album with a splendid John Prine like melody.

All in all a very impressive listen for those who savour their traditional folk music soaked in country.

Richard Paul Thomas Salado Self Release

Texan based singer songwriter Richard Paul Thomas has been performing for over five decades opening for household names such as Townes Van Zandt, Bob Dylan, Odetta, Loggins & Messina and Anne Murray in the early days of his career.

For the past three decades Thomas has been combining live performances and recording music with video recording, acting and also the nine to five career job as a business software consultant.

The title track of his latest album refers to the town he has spent the past 32 years and is one of ten songs included in this collection of well written tales that moves effortlessly between folk and jazz tinged rhythm and blues. 

Reviews by Paul McGee

 

The Sumner Brothers The Hell in your Mind Self-Release

The sound of siblings Bob and Brian Sumner has been a long time in the making and dates back to their early years in Vancouver, Canada. In the summer of 2006 they changed their garage into a recording studio and created their debut release, In The Garage. It launched a career that has seen the brothers release a self-titled record in 2008, followed by In The Garage 2 (2010) and I’ll Be There Tomorrow (2012).

The media/press that I researched speak of alt-country, folk-roots and indie-country when looking to pin a label on the music. Having never heard of the band before and in the absence of a lyric sheet, I find myself thinking of touchstones like Crash Test Dummies for the quirkier songs and Pearl Jam for the more rock based arrangements. Dare I suggest that the vocals can sometimes sound like Eddie Vedder meets Bono in tone…

There is a dark element running through the eight tracks here and focus on our mortality in songs like Last Night I Got Drunk (death of brother/wife) and I’m Not Ready (not wanting to die alone). Ant Song is the stand-out track with chiming guitars, a military drum beat and throbbing bass lines that propel the song about mental illness and small town reactions.

Giant Song is very tongue-in-cheek and spins a new perspective on the mythical Yeti of the mountain terrain who feeds off young children in order to survive. Go This One Alone is a real band work-out complete with driving rhythm and distorted guitars and a resolve to survive a broken relationship. It Wasn’t All My Fault and Lose Your Mind are both gentle arrangements, with strummed acoustic guitars and even a clarinet, both looking at opposite ends of a relationship; the loss of love and the beginnings of new love.

Ending with a prayer for contentment and peace with one-another, My Dearest Friends sounds as much like a plea for enlightened awareness and replaces some of the darkness that runs through the rest of the recording. The Sumner Brothers are very interesting and I would certainly like to hear more of their music. The production and song structures are very strong and the players all dove-tail together into a tight ensemble. Worth checking out.

Lotus Wight Ode To Banjo Self-Release

Thirteen tunes spanning 46 minutes is a tall ask when all we are given is a small variety of instruments with a common link to the banjo. The notes on the sleeve refer to the African roots of the instrument and the cry of enslaved human beings with homes and families torn apart. In its time the banjo united a common movement of shared suffering before being absorbed into the mainstream of society. Where it began taking a place at the table of ragtime, blues, bluegrass and folk tales from rural communities.

Lotus Wight is a stage name for Sam Allison who produced this collection of tunes and also wrote all the songs. The speciality instruments used sound really impressive, especially when you try to absorb and consider which is a #36 Frostwood Gourd Banjo or indeed an open-back Tubaphone five-string; not to forget a supertone banjo-mando with four strings. I rest my case.

Atmospheric is the key word here as the 13 tunes come and go across the recording. Lotus is a banjo folklorist, bluesman, poet, fiddler, and plays jaw-harps and a contrabass harmoniphoneum (a banjo/megaphone combination).

Most of the tracks are instrumentals and you have to enjoy the sound of a claw-hammer banjo to really embrace the artistry at play here. If you are largely underwhelmed by the instrument and the somewhat brash sound it can make, then you will not have the patience to stay the distance here. Fine musicianship no question but not everybody’s automatic favourite choice – approach with reverence and a sceptical ear.

The Ted Vaughn Blues Band Harbinger Northwest

What a welcome surprise to put a CD in the player and hear no nonsense, straight talkin’ blues come jumping out of the speakers. This release is a real tour de force performance across ten tracks that really explode in a driving rhythm of ‘all aboard the blues train’ and we stop for nobody…!

The production by Leon Forrest is immediate and compelling while the players really inspire with the right sort of attitude and really tight playing. The Blues Harp is played with a real vibrancy by Ted Vaughn and Clay ‘Bone’ King burns everything down to ashes with some searing guitar work. The rhythm section of Ian Henderson on drums and Ted Larson on bass underpin the everything with some solid bedrock grooves while producer Leon Forrest adds some incredible keyboards on many tracks here.

Three tracks are written by Ted Vaughn; Nothin’ But Trouble, Swang Thang and Them 12 Bar Blues. The rest of the tracks are licensed and used by permission, such as Boom Boom (John Lee Hooker), Killin’ Floor (Howlin’ Wolf), The Thrill Is Gone (BB King) among others.

A giddy romp and a really enjoyable listen with rootsy blues that grab you in a dizzy spell of joy and some down ‘n’ dirty playing.

Kevin Gordon Long Time Gone Crowville Media

This collection of 11 tracks starts with the slow groove electric blues of All In The Mystery and sets a high standard with some superb ensemble playing. The studio musicians are drawn from an impressive list of experienced players, with Nashville producer Joe V. McMahon contributing guitar on everything, Bo Ramsey (Lucinda Williams, Greg Brown, Jeffrey Foucault) on acoustic and resonator guitars, Lex Price (k.d. Lang) on upright bass and acoustic tenor guitar, Ron Eoff (The Band, Delbert McClinton) on electric bass and Paul Griffith (Sheryl Crow, John Prine) on drums and percussion. 

The tracks vary between the rockabilly beat of GTO to the late night atmospherics of Letter To Shreveport and into the acoustic folk strum of Crowville, Shotgun Behind The Door and Goodnight Brownie Ford.

There is a hypnotic quality to the overall tone and tempo of the recording and the authentic writing of Kevin Gordon comes across in the narrative-style writing and lyrics that reflect local experiences around Louisiana where he was born.

The drum shuffle and Little Feat guitar riff of Church On Time gets into a real blues boogie and Cajun With A K is one of the stand-out tracks that changes the pace with a spoken rap and a rich tapestry of characters and images that pass across our senses as if taken from a novel or TV show. Country Blues born out of the bayou and played with depth and style. A very fine release.

Mr Rick Sings About God + Booze Self-Release

Skiffle as a music genre defined itself by absorbing Blues, Folk, Jazz and Roots influences in equal measure. It didn’t matter whether old time Swing mixed with vintage Country or served up a healthy dose of Gospel. It was the overall feel of the music that counted and there were many artists that developed out of this early influence in the 50’s on both sides of the Atlantic.

Mr. Rick hails from Ontario Canada and he does everything to keep this music alive with a blend of String Band, Rockabilly, Gospel and Blues. This 13 song release centres around the twin topics of Drink and Religion. Many songs have been written on these themes, as God-fearing folks looked to save their souls and praised the heavens, while battling with their human frailties upon this Earth. The inside sleeve carries the sub-header “Love Whiskey – Fear God” and this sums up the feel of these songs perfectly.

The music has an infectious rhythm at the hands of the music ensemble gathered here. We have Drew Jackson playing superb fiddle on One Kind of Favour, It’s The Bottle Talking, Liquor Store Blues and Death Come In My Room. He is ably assisted by the understated guitar playing of both Mr Rick and Steve Briggs. The Clarinet playing of Jono Lightstone on I Know I’ve Been Changed is very atmospheric and the Gospel voices of the Ted Hawkins Singers feature on a number of tracks like Hush, Drivin’ Nails In My Coffin, Beams Of Heaven and I’ll Fly Away.

Mr Rick has been playing with fellow musicians the Biscuits since the early 2000’s as an Alt- country power trio and this release has expanded upon this activity with fine production from Rick Zolkower and superb playing from all concerned with the project.

The Mystix Live Rhythm and Roots Mystix Eyes

This Roots band is based in Boston and has been performing their unique interpretations of the music of rural America, as well as original material since their first release in 2007. On this live album of 14 tracks, a number of songs are included that has brought them a strong support base across their local state of New England.

Over 5 studio releases this band of veteran musicians has produced some memorable moments. The dynamic playing of Matt Leavenworth on fiddle and the great Bobby Keyes on guitars is a real driving force. The blues harmonica, organ and mandolin playing of Annie Raines is also of real quality and the entire recording swings along at a very strong pace. Jo Lily anchors the band and his vocal style is something of an acquired taste, sounding somewhere between Roger Chapman of Family and JJ Cale.

There are covers of You’re The Best Lover That I Ever Had (Steve Earle), To Ramona (Bob Dylan), Hard Times (Stephen Foster), Whiskey and Wimmen (John Lee Hooker), Cry, Cry, Cry (Johnny Cash), among others. Jo Lily includes a few self-penned songs in the mix and overall the mood is one of celebratory playing and an organic sound that is full of rich textures. The impressive musicianship is coupled with soulful and restrained performances that gives this group of musicians a real gravitas.

Peter Gallway Muscle and Bone Galway Bay

This is the new solo release from acclaimed singer-songwriter and producer Peter Gallway. Written, performed, produced, recorded and mixed by Gallway, these eight songs demand full concentration and Gallway is taking a gritty look at life in response to the inhumanity and lack of empathy that is all too prevalent. In the press release he states that "this collection is a plea written in outrage, sorrow, anger, shame, hope, hopelessness, expectation, regret, belief, release and prayer."

It has been said that Gallway displays a blue collar observational lyrical style, inspired by Raymond Carver, and there are songs of deep meaning contained on this release. Echoes of Bruce Cockburn are present in some of the spoken word passages that urge us to seek out our higher calling and spread inspiration and joy. This sentiment is included on the excellent Hymn and also the opening song, Anthem.

The aggression of Tear Something Down channels the frustration of a returned war veteran shunned and pushed to the margins of a society that he has fought to protect. “People, not sure I want ‘em, Not sure I need ‘em, Not sure ‘bout anything, Except I want to tear something down . . . “ 

Downtown Ferguson deals with the fallout from the shooting of black youth Michael Brown in Los Angeles. The Distance Of My Fall is inspired by the life and writing of Federico Garcia Lorca, a Spanish poet, playwright, and theatre director who was executed by Nationalist forces at the beginning of the Spanish Civil War. The writings of Mahatma Gandhi are included in the closing track Blow This World, in addition to a spoken word segment in Downtown Ferguson.

This accomplished artist has been releasing albums since the late 1960’s and has achieved a level of excellence that is truly inspiring. The song arrangements are very sophisticated and the mood of the music in the melodies is of quiet resignation, dignity and fortitude. There is Leonard Cohen in the sentiment and Jackson Browne in the spirit of the lyrics. A better use of mind is the key message being delivered.

Overall this is a very impressive release and something of a meditation on our human condition. Clocking in at just on one hour of music, this is not for the faint hearted but the benefits are many in the listening experience. A work of some importance and artistic integrity. 

Reviews by Stephen Rapid

Country Lips Till The Daylight Comes Self Release

An eight piece country band may not be what immediately springs to mind when you think of music from Seattle, Washington. But this band more than hold their own with their brand of hard-core country music. This album follows up a live album Live at the Little Red Hen released earlier this year that pretty much sums up the band’s taste and influences with original material alongside songs from Hank Williams through to Bruce Springsteen. The album also features a live version of one of the tracks from this album Holding Out.

The band are slightly less rowdy than I expected on the live album and here put in a pretty polished performance. One, however, that is neither slick nor soulless. Country Lips may not take themselves too seriously but they are serious about what they do, though the keyword here is fun. The album opens with Laundromat and you get a feel for what is to follow from the opening line “You don’t have to drive me crazy, darling, I’m close enough to walk.” Their music is rooted in traditional country themes that hark back to an earlier time but equally serve as a platform for a contemporary audience to dance and let off steam to. Basically what a country band has always been best at and what they have been doing for decades. Country Lips don’t bring anything new to the party - rather they bring the party.

They write a bunch of catchy songs, they play and sing them well and sound like this is what they want to be doing. The line up features fiddle, accordion, piano and guest pedal steel over the bass, drums and twangy guitar bedrock sound. This creates a diverse and diverting sound. One that often seems to be coming from a border and State that’s pretty far away from Seattle but is one that feels a natural fit. There are thirteen songs included and all are originals bar Please Be My Love, a song previously recorded by George Jones and Melba Montgomery. They are the kind of band who write songs that could easily be from the pen of a classic country writer. You are soon captivated by the band and their music. There are four members credited with vocals and they are also a strong point in the band’s sound with the lead vocal supported by solid harmonies throughout.

With songs like Day In The Sun, Grizzly Bear Billboard, Don’t Quit Your Day Man, Bar Time and Reason I’m Drinking Country Lips feature the trials and tribulations of a blue collar lifestyle. In the end it is an overall package that works. It is an album that I have returned to many times and I enjoy it each time. Till The Daylight Comes is the sound that could not be classified as anything but country but has little chance at receiving mainstream airplay at mainstream country radio. That is a shame but in this day and age you can go to the Country Lips website to hear (or purchase) their previous 3 albums. This album is due for release in August and if you find yourself in Seattle and Country Lips happen to be playing you won’t likely find a better evening. These guys are in it for the music. Listen up.

The High Bar Gang Someday The Heart Will Trouble The Mind True North

Bluegrass is not exactly my forte but when it is played either with a punky energy and spirit or with a sense of storytelling and musical inventiveness rather than just technique and speed then I can appreciate it as much as anyone. The High Bar Gang are a seven piece band from Canada and are following up their well received debut album Lost & Undone with this second offering of well chosen covers. The song choices cover such bases as Silver Dagger (Dolly Parton) to Branded Wherever I Go (Roy Acuff), I Still Miss Someone (Johnny Cash) through to One I Love Is Gone (Bill Monroe) and Long Lonesome Highway Blues (Steve Earle). All fit the parameters of what the band have set out to do which is to deliver some classic songs in a classic setting. 

The lead vocals are shared between the majority of the band with only double bassist Rob Becker and Colin Nairne playing guitar and mandolin not featured on vocals. This gives the band a wide range of voices to suit the individual song choices. Dave Barber, Kirby Barber, Barney Bengal, Wendy Bird and Shari Ulrich all sing as well as (mostly) playing and they all make a sweet sound. They are joined by guitarist and occasional participant Colin James for their version of Utah Phillips’ Rock, Salt and Nails. As with any album certain songs immediately hit home and One I Love Is Gone with lead vocals by Bird and How Many Times Have You Broken My Heart which has Ulrich taking lead with the other ladies adding harmony are special. The latter incidentally written by Hank Williams but then finished by Norah Jones. That, though in the end, is just a selective viewpoint as the whole album is a balanced performance of fine acoustic playing (listen to Cold Rain And Snow as one example of that) and heartfelt singing.

The High Bar Gang are continuing a genre of music that they love but in doing so give it a new purpose and audience. It appears that the various members also play outside of the gang and therefore to not get together to tour that often. They have however done what they set out to do which was to play some of their favourite songs in an old-time bluegrass setting. This they have done and the end result is an excellent album that should be heard beyond the obvious listening circle. 

Bianca De Leon Love, Guns & Money  Self Release

Self-written and produced album number four from De Leon (other than the one cover Nothin’/Ramblin’ Man which combines songs by Townes Van Zandt and Hank Williams). It was recorded in Austin, Texas with some local players stepping up to the plate. Names know to those who check such things on albums coming out of Austin like John Inmon, Paul Percy and some, not so well know perhaps, like Radoslav Lorkovic on piano, B3 and accordion (he also plays with Jimmy LaFeve and others)- an instrument that adds much to the atmosphere of the song Guns And Money. De Lone has a strong versatile voice that is the centrepiece of the material here. 

For her fourth album she handles the production herself and gets a strong, textured and varied sound from her assembled players. Some of the songs really evoke a time and place  such as I Sang Patsy Cline. A song that details the background to the title which was about the night that Manuel Noriega was removed from power in Panama. It appears in an extended 6-minute version and as a bonus track at the end of the album as a radio edit. To underline her affinity and heritage, Buscando Por Ti is sung in Spanish and is about looking for love. Stale Wine and Roses is  about leaving and being left behind and is delivered with a softness that echoes of regret. The Bottles On The Table, which features some effective playing from Lorkovic on piano and the East Side Flash on resophonic guitar and some string harmony vocals, has a similar sense of unresolved emotions.

The remainder of the album is equally effective and the songs bear repeated listening and the printed lyrics allow for closer inspection and therefore the meaning of the songs though relationships gained and lost are central to the songs. Garden In The Sun has another nice harmony from Hilary Claire Anderson. It is also a more acoustic-based song that considers offering a place of refuge. Nothin’/Ramblin’ Man fits well into the overall scheme of things by sounding completely in sync with the self-written songs. They are tributes to two writers who have likely provided much inspiration to De Leon. Silence Speaks Louder Than Words is an expression of a universal truth which again underscores that De Leon is a writer and singer of note who has produced an album that works on several levels and is the work of a person who has lived some life to get to this place. A place worth getting to.

Wild Ponies Radiant No Evil

Band mainstays, husband and wife, Telisha and Doug Williams have previously released albums under their own names before moving to the more band-orientated Wild Ponies name. Telisha is the main singer and plays bass, Doug also sings and plays guitar. Add to that two other trusted players in Fats Kaplan - strings and steel and Megan Jane on drums and you have a tight, multi-functional combo who have made a thoughtful and trust worthy album that is full of atmosphere and lives up to its title. Folk music with electric guitar might suit the overall sound best with Kaplan’s steel adding more of a dreamy texture than traditional country steel styled licks.

Mom and Pop, a song written by the duo with Jeff Barba, has a twangy country feels with joint vocals and a theme that fits - local stores that are quickly vanishing. Unplug The Machine sounds like a new wave band singing a Billy Joel song. It works though, and shows the open minded approach that the duo and producer Tres Sasser have taken this time out. The Night We Never Met is a ballad that chronicles a sense of unfulfilled longing. Lullaby is exactly what it says - a percussion based ode to a child, but one with a dark edge. That feel is further explored on Graveyard Train, a song that was inspired by a Texas graveyard that has a train track running through its’ middle. The musical tone is suitably weighty too. A plea for tolerance is contained in Love Is Not A Sin a duet that balances the Williams’ voices well. Telisha’s has been compared to a lot of other singers in reviews but suffice it to say to is a vibrant and sturdy one that commands attention. Doug meanwhile is no slouch in that department either and a fine guitarist to boot.

The songs are all written by the duo with a selection of other writers including Amy Speace, Roddy Hecht and Amelia White amongst others. One song, the title track features lyrics by a 12 year old girl Mariah Moore who submitted them when the duo were doing a program to nurture young writing talent. The duo added the music and one verse and Telisha sings it with the kind of open wonder that a person of that age would have. It is a gentle, soft song that does all involved proud. As does this whole album which make the best of all the talents involved and adds the name of the Wild Ponies to the list of performers that should be checked out and listened to.

Ana Egge & The Sentimentals Say That Now Grace

Ana Egge is an acclaimed artist with a bunch of albums to her credit and this latest one with Danish band The Sentimentals will doing nothing but further that reputation. She produced and plays on this album together and it covers a lot of bases from the traditional country of Promises To Break to such songs as the harmonium infused energy of title track and hard guitar riff that drives Spider. The songs are written by Egge and other co-writers including band member MC Hanson (whose own work has been favourably received here at Lonesome Highway in the past). He also contributes a self-written track The Girl From The Banks Of The Ohio that is a powerful folk-rock statement that shows the assembled players working as a unit that has skill alongside heart and soul.

Another standout is the Hanson/Egge co-write Still Waters Run Deep that features Hanson as lead vocalist with Egge joining him on the choruses. The song has an acoustic feel with the mandolin and acoustic guitar but is buoyed by solid drums and bass. The other players here are Jacob Chano and Nikolaj Wolf with help from engineer Peter Brander on occasional bass guitar. Wolf and Egge wrote Falling, Falling, Falling a song that at its heart is about wanting and needing another person. While on Take Off My Dress the shoe, so to speak, is on the other foot here and is about walking away that wants to be together. But perhaps the strongest statement is another Hanson/Egge co-write He’s A Killer Now which take the viewpoint of a mother whos’ son has committed that unsurmountable crime before having his own life taken away. It tells of the emptiness left in the wake of such devastation for all those involved. Especially in the wake of recent terrorists shooting in Denmark. This is not the stuff of happy-talk radio but something more substantial by far and proves that such difficult topics need to be aired.

Say That Now is an album that considers all aspects of life from a set of people who have witnessed and reflected on such conditions and have turned those experience into meaningful music. If you haven’t encountered Egge, or The Sentimentals, previously then this is an album that will doubtless enrich your listening experience.

Bill Jackson The Wayside Ballads - Vol 2 Laughing Outlaw

An Australian artist who has recorded this album in Nashville with Thomm Jutz producing (and playing). It is an acoustic album but one that transcends easy categorisation as folk or bluegrass. It is indeed coming from that area but as drums are also featured adds a more percussive element to the mix. Jackson is a folk styled writer influenced by such icons as Woody Guthrie who he quotes on the album cover. The players involved bring a variety of textures to the songs with banjo, fiddle, upright bass, mandolin and dobro to the fore from musicians like Sierra Hull and Justin Moses involved. 

There are 11 songs which were co-written by Bill Jackson and his lyricist brother Ross, two are co-written with others, that include the story telling about Silver Screen Cowboys, a Gippsland Boy and the notion that Every Day’s A Drinkin’ Day. Overall Jackson’s simple but effective delivery and warm, undemanding voice will remind you of a bunch of other troubadours. Nothing too wrong with that as in the end it’s about the songs and the way they have been put together. Thomm Jutz can be relied on to give the whole process a sense of understanding and a solid sound that would be hard to dismiss. Your liking for Bill Jackson will depend on your appreciation for the songs on offer here. Although Australian Jackson is also steeped in Americana and that is the subject of many of his songs. Something that may be familiar to fans of Irish singer/songwriter Mick Hanley who takes a similar musical path.

Jackson has released several albums previously including (obviously) Volume 1 of The Wayside Ballads and has developed a comfortable relationship with his songs and the musicians he plays with. Those who have a liking for care-worn troubadours, and we seem to take to them over here in Ireland, will enjoy these tales of the less fortunate but often satisfied characters who are the subjects of these songs.