Albums - New Reviews

The Hanging Stars A New Kind Of Sky Crimson Crow

With a sound that embodies the best elements of psychedelic folk and cosmic country, loaded with positive energy, The Hanging Stars are prime movers in keeping that musical treasure chest alive and vibrant. The band's output circles back to their hometown London’s underground musical explosion in the early to mid-70’s, prior to the arrival of punk/new wave, when a country-ish music scene flourished.  Local bands Ducks Deluxe and Starry Eyed and Laughing, together with recent UK residents (via America) Eggs Over Easy and Clover lead the charge, offering a welcome and novel blend of American & U.K. inspired music, a breath of fresh air at the time when the scene was saturated with what had become overly self-indulgent progressive rock.  The Hanging Stars would have been in their element and most likely leaders of the pack in that era.

A NEW KIND OF SKY follows on the heels of their well-received debut album OVER THE SILVERY LAKE (2016) and SONGS FOR SOMEWHERE ELSE (2018). The band have gone through some line-up changes since their start up, the current players being songwriter, singer and guitarist Richard Olson, Paulie Cobra on drums, Patrick Ralla on guitars and keys, Sam Ferman on bass and vocals, and Joe Harvey Whyte on pedal steel guitar. If both those previous albums pointed towards a band with endless potential but yet to find their sweet spot, they have hit the bullseye this time around. An extensive tour of Germany in 2018 gave them the opportunity to test some of the material on the road. On their return home, they immediately holed up in Echo Zoo Studios in Eastbourne to record the ten tracks that feature on the album. The result is a musical chemistry of players very much on the same page.

Opener Choir Of Criers slowly builds up to a Radiohead like groove with thumping bass lines, layered harmonies and wistful pedal steel. Three Rolling Hills embraces elements of early 70’s prog rock and would have fitted quite comfortably into the Peter Gabriel led Genesis of that time. In contrast, what follows is unadulterated Big Sur territory on (I’ve Seen) The Summer In Her Eyes and you can almost feel the scorching sand on the soles of your feet. I Woke Up In July, as the title may suggest, is dreamlike and hazy, powerful yet soothing.  

It’s all too easy to get lost in the album’s melodies, harmonies and hooks, given their impact.  However, on closer listen, social commentary close to home emerges. The title track, in particular, could be construed as a reference to revisiting an era and utopian fantasyland that exists only in the most selective memories. I Will Please You has its foundations rooted more in glam rock than country. With lyrics possibly pointed in the direction of political leaders on both side of the pond, its central message is disguised in a melody that, I guarantee, after a few plays, will be on repeat in your subconscious for some time.

Lyrical content aside, it’s the music that stands out. Twelve string guitar picking, mournful pedal steel, memorable hooks and intricate arrangements all play their part in what can only be described as a sonic delight. In keeping with their somewhat antique vibe, the album front cover has a fatigued look which offers a blurred photo of the band.  It’s like a rediscovered gem that you unearthed in your father’s dusty attic, that hadn’t seen the light of day in many a decade. 

The Hanging Stars may pay homage to musical movements from the past.  However, they’re far more than caretakers and A NEW KIND OF SKY establishes them as an outfit that stand firmly on their own feet as purveyors of a quite beautiful sound.

Review by Declan Culliton

Luan Parle Never Say Goodbye LPR 

Making the transition from child star to adult contemporary artist is a near impossible task in the arts, whether it be in acting or as a recording artist. Very few have made that progression with any degree of success. Luan Parle has managed to achieve this and has kept her career train firmly on the tracks since recording her debut album FIRST IMPRESSIONS at the age of 12. More recently she released THE FULL CIRCLE in 2010, followed by her mini album ROLL THE DICE in 2014, which featured the single Day Is Done, which charted highly in the Irish Radio Airplay Chart.

The material for her recent recording was pieced together followed the passing of her father two years ago. A trip to the remote island Innisboffin, off the coast of Galway, to gather her thoughts and escape the everyday distractions proved the most fertile environment to put her initial thoughts to paper.

Her music continues to be radio friendly, easy on the ear with melodies that sit comfortably between country and pop. She has most certainly hit the bullseye once again with NEVER SAY GOODBYE. The title track, we can only imagine, is a tribute to her father. The opener My Something Beautiful, the first single release from the album, topped the Irish iTunes charts within days of its release.  An immediately catchy song, it’s matched by the equally instant and tuneful Change Your Mind. The slow country ballad Come To Me Darlin’ enters early career Dolly Parton territory and Fare Thee Well introduces a sprinkling of traditional Irish alongside its country direction. The dreamy ballad Falling For You is delivered from the heart and bound to feature in Parle’s live setlists going forward.

Eight of the ten songs included were written by Parle with the remaining two being co-writes with Dire Straits guitarist Hal Lindes. Her chief musical collaborator Clive Barnes has been a fixture in her live shows in recent years and his stamp is firmly on the album, providing electric and acoustic guitar, lap steel and bass. He is also credited with Parle as co-producer alongside Thomas Donoghue.

Regardless of how strong the song writing and musicianship are, the real winner is Parle’s instantly recognisable voice which, like her musical heroes Dolly and Emmylou, is as sharp and self-assured as ever.

An awareness of your market is a prerequisite to remaining successful in an ever-challenging music industry. With NEVER SAY GOODBYE, Parle does not attempt to stray from her comfort zone and has delivered an album that will retain her standing as one of Ireland’s leading lights in the Country Pop genre.

Review by Declan Culliton

John Blek The Embers K&F

At a recent instore album launch John Blek suggested, tongue in cheek, that the people who most welcomed the release of THE EMBERS were his parents, as boxes of the album had been stored in their house for a number of months. I’m not entirely convinced that followers of the Corkonian would concur, as after just a few listens it’s not difficult to rate the album as his strongest offering to date. It’s also testament to Blek’s prolific output, as it signals his fourth solo album in as many years.

His 2019 release THISTLE & THORN, reached No.1 in the Irish Album Charts, earning him a prestigious IMRO Number 1 Award. It featured contributions from equally big hitters in the modern folk scene, Kentuckians Joan Shelley and Nathan Salsburg. Interestingly, the material for THE EMBERS emerged in the immediate aftermath of completing writing the songs for that album. Blek presented himself with the challenge of composing an album of songs on a given theme, rather than his traditional method of writing entirely from life’s experiences. The result is a collection of songs through the writer’s lens that examine failed relationships at various stages including infatuation (Death & His Daughter Fair), the often-tortured passion phase (Flame) and the sunken and unfulfilled aftermath (Empty Pockets).

The end product is business as usual from Blek, a continuation of his adeptness at penning and delivering traditional folk songs with his smooth vocal delivery and by now, trademark finger picking guitar style. That guitar playing is on full display on the short instrumental Old Hand which is included in the nine tracks on the album. He also includes drums - played by Davie Ryan - this time around and clarinet by Matthew Berrill. He abandons the relationships theme on the politically charged and experimental closing track Walls. Echoed vocals combine with fuzzy background guitar and clarinet as the writer asks ‘Who built the wall and stole the innocence? Who stood and watched with ambivalence?'

Recorded at Wavefield Recordings, Clonakilty, like its predecessor the production duties were shared by Blek and Brian Casey. Fellow Corkonian and songsmith Mick Flannery adds vocals. Thumbs up to Karol Ryan for the impressive artwork which includes full lyrics and a similar graphic template for the sleeve as previously used on THISTLE & THORN.

THE EMBERS is possibly Blek’s most accessible album of his solo career to date. It’s also another string to the bow of a craftsman at the leading edge of the modern folk movement both in Europe and much further afield.

Review by Declan Culliton

Eric Brace and Last Train Home Daytime Highs and Overnight Lows Red Beet 

A very welcome return to a band that had boarded a train bound for a town called happy memories back in 2007. Well, never say never, as here we are, back at the station, with a 6th album and a line-up that includes 11 musicians appearing on the 14 tracks, plus a few guests.

It was 1998 when the self-titled debut appeared and we were introduced to a sound of easy melody and gentle words, a brass section and pedal steel to augment the rhythmic groove of the band. There were a further four albums between 2000 and 2007 when the release of LAST GOOD KISS signalled the writing on the wall for this fine ensemble. 

However, coming full circle, 13 years later we are presented with the release of DAYTIME HIGHS & OVERNIGHT LOWS. Eric Brace, founder member, met with Martin Lynds (drums) and Jim Gray (bass) in Nashville and together they recorded the rhythm tracks for this new project. Brace then met separately with Jen Gunderman (keyboards), and recorded his vocals and guitar at musical friend and playing partner Thomm Jutz’s studio outside Nashville. Brace then went to up to Washington D.C., the original home of the band, where Jared Bartlett, co-producer, recorded his guitar sounds, along with brother Alan Brace (harmonica and vocals), Kevin Cordt (trumpet), Chris Watling (saxophone) and Dave Van Allen (pedal steel).

Bill Williams (slide, banjo, mandolin) and Scott McKnight (guitars, organ) recorded remotely and posted their contributions from home studios to Eric, who then began the mixing process with Jared. There were final touches added by guests Justin Moses (banjo), Thomm Jutz (acoustic guitar), and Lindsay Hayes (backing vocals). Quite the collective! Opening with a song that extolls the virtues of being at home, Sleepy Eyes sings of missing the small local pleasures that would be taken away by travel. The combination of accordion and mandolin give it a folky feel with a swinging melody. Similarly, Distance and Time follows a path of wishing for the reunion of friends and loved ones across the miles of travel. A prayer for the journey. Dear Lorraine is a Country tinged relationship song about what divides us - if only we could be on the same page - pedal steel adding atmosphere to the superb trumpet of Kevin Cordt and the harmonica of Alan Brace. Love changes. 

Caney Fork is another excellent Country song about moving on from a relationship and Floodplains is a standout among all these excellent songs with a great dynamic in the arrangement and the playing, all slow groove and understated angst in the melody and the words - Americana  mixed with an understanding of the essence of what Roots music holds dear.

What Am I Gonna Do With You (Barry White), is a surprise choice of cover song, showing a soulful side to the band, big production, expansive arrangement and a harmonica solo that just fits in, somehow. Old Railroads shimmers in a true Country fashion, slow tempo and muted horns, piano and atmospheric guitar parts. 

With a sound that is rich and full of colour, Eric Brace contributes lead vocals and his clear vocal has a warm, poised quality throughout. There are many different musical styles and influences at play and the use of different studio locations doesn’t hurt the overall feel of the music.

Songs about railways and travelling – Taking Trains, Old Railroads – life on the water, Hudson River, Sailor – relationships lost and found, Distance and Time, Happy Is, I Like You and the 60’s bubble-gum pop of Wake Up, We’re In Love all point to a strong return and a band at the top of their game. 

Review by Paul McGee

Crow Vs Lion The Heart, The Time, The Pen Self Release

Crow vs Lion is the music of Dan Gallagher and this is the second album he has released since he first appeared to the greater media, back in 2010. The music is very much in a contemporary Americana vein, with interesting melodies and song arrangements. The production by Gallagher (guitars, vocals) and Raphael Cutrufello (piano, organ, vocals) is very clean and engaging, while the studio musicians play with great understanding throughout.

The album separates the title themes into three sections, each section having four songs relating to The Heart, The Time, The Pen. The last song, the title track, embodies all three themes. So, in total 13 songs. There are three bridges, or transitions, that are included before each section but rather than clarify any direct link or meaning, I found these to be as much of a distraction, as anything else.

Gallagher has two sons, Danny and Dylan, with both given special place in the tracks featured. Indeed, across the 13 songs, there are messages in the highlighted words that spell out Special, Dylan, Time, Crow vs Lion, Believe, Danny and Rachael (his wife). Much care and thought has gone into the project, from the impressive packaging to the expansive liner notes. The number 13 is a constant source of reference throughout and in a sense, I am reminded of Numerology, where one tries to get to the root number by reducing digits until a final single digit is achieved. 

Taking the number 13, we end up with a root number of 4 – intrinsic in that Gallagher has 4 in his immediate family. Of course, we could extend the family to include relatives and wider members, ultimately ending up with a community. The core message of the album is one of being the best that you can be, personal awareness and growth, healing and renewal.

The four songs that deal with The Heart as the concept are written for his family, with son Daniel the main focus of Daniel Odin, highlighting the message of being special in the World. Newborn (Exon 42) is written to other son, Dylan, referencing his impact on a life that had experienced hard roads and of not being in control of circumstances. Beg, Steal and Borrow is written for perhaps, his wife, in a message that lays down his devotion and love to the family. Missouri is a realisation that the past can be a hard thing to let go and old love and indecision are best left behind.  

Part two is The Time, leading off with 5,6,7,8 – a song about perspective and the choices made, trading material success for a chance at a happy family life. Waking The Truth deals with the passage of time and being caught up in thoughts of mortality while Entropy looks at the randomness of life, the lack of order and the pain it can bring. The End Of Everything, with superb trumpet playing from Patrick Hughes, looks at the impermanent nature of life and the pressure of selling out on what is important.

The Pen deals opens with I’m Gray which looks at being overwhelmed by the big questions and wanting to experience it all, both good and bad. The violin by Kiley Ryan is very engaging, not only on this track, but across a number of tracks, together with her excellent backing vocals. Alpha and Omega is about the need to stay open to everything that comes your way and the interplay of violin, trumpet and steel guitar (Brad Hinton) makes this one of the outstanding tracks.

Red Ring offers advice to son Danny to love unconditionally and be mindful of outside forces that can threaten the peace you crave. The last song in this section is A Thousand Pages, with sweet acoustic guitar and a reflection on living your days and being optimistic. All comes together on final song, the title track, a loving paean to Rachel, his wife. A message of loving awareness, keeping it in the family and being open to the Universe. 

Review by Paul McGee

Annie Keating Can’t Stand Still Self Release

This 6-track EP was released during 2019 and adds to the impressive body of work by this excellent artist since her first release appeared in 2004. With six full albums, two compilations and a number of singles to her name, this Brooklyn based singer-songwriter continues to explore her talents and stretch her range. Apart from a decent cover version of the Cat Steven’s song, Trouble, she delivers a blues groove on Mother Of Exile that is full of atmospheric playing by the musicians; Dan Mills (electric guitars, vocals),Chris Tarrow (electric, acoustic, slide guitars), Mark Goodell (bass, guitars, vocals), Jesse Humphrey (drums, vocals) with Annie on acoustic guitars and vocals. Sun and The Moon is a mid-tempo arrangement that has a fine melody line, while the driving beat of Boxes, Beholden and $20 are more defining of the band dynamic. There are four co-writes with Dan Mills and production by Matt Shane is of the highest standard. Trouble is a brooding end to the EP with Keating applying all her vocal nuance and experience to a song for our divided and divisive times. 

Review by Paul McGee

Phil Lee & The Horse He Rode In On Self-Titled Palookaville

Something of an old favourite, this new release from Phil Lee finds him revisiting some of his favourite songs from previous albums, recording them this time with Ralph Molina and Billy Talbot from Crazy Horse (hence the album title). There are a bunch of others bringing their skills to the party too. This album was originally released in 2018 but only got to Lonesome Highway recently as the initial posting went astray. It is a fine album and therefore worthy of attention. 

There are a host of guitar players involved aside from Mr. Lee himself including Jan King, Richard Bennett, George Bradfute, Gurf Morlix, Pete Anderson, Bill Kirchin, Dorlan Michel and David West. Most certainly one for the guitar enthusiasts out there. (try Rebel In My Heart for instance). But it is some of the simpler songs that hit home on first listen like Hey Buddy,which is imbued with that Lubbock feel. No Exit Wound has a very Sir Douglas Quintet feel with the Vox Continental organ from Jack Irwin. Barry Goldberg features on keyboards throughout too.  In I Don’t Forget Like I Used To there is a reflection on love, one that may be a double-edged sword in that “there’s a reason I’m still blue, I don’t forget like I used to.” Woman troubles also raises its head on Party Drawers a duet with Molly Pasutti wherein both give as good as they get. There are some bonus tracks such as a tale of a trucker who ended up killing some children in a road accident. For this he names the trucker as his friend and fellow musician Sonny George! 

Lee is an interesting writer with some well-placed observations of the human condition, often tinged with a mischievous humour. Add to that a voice that is immediately distinctive and you have an underrated songwriter and performer who flies largely under-the-radar, even in the Americana world. The main players here are all in their 70s and none seem to have lost their verve for music and keepin’ on keepin’ on. What you hear is some good ol’ rootsy rock ’n’ roll up-tempo tunes mixed with ballads that are both from the heart. It is in many ways the perfect introduction to the crazy world of Phil Lee and his musical cohorts and buying the album is highly recommended.

 If you can’t find a physical copy you can get one from Lee’s website, where there are some notes from the man himself on each track and the players who were on each of the songs. This is one for punters who love the real thing, however crazy it may seem on the outside. You and the horse you rode in on.

Review by Stephen Rapid

Luther Black and the Cold Hard Facts Self-Titled DA

This in fact is an album that was produced, written, arranged and played by Rick Wagner, with a number of additional musicians adding an instrument or two and on selected tracks. There are twelve songs of which the closing track is his version of the Hank Williams Sr classic I’m So Lonesome I Could Cry. So, let’s start there. It opens with the noise of crackling vinyl and a distorted vocal. It is a slow, moody delivery that is a million miles from the original and in some ways an odd way to end the album after the preceding set of original songs. However, it also may be the best place to place it, not to interrupt the flow of previous songs, while offering a précis of a certain world weariness that goes back to the nerve? of heartbreak.

These are songs that are of the traveler, the road weary musician and the searcher. Perennial themes for Wagner’s filtering of the traditional aspects of country music, the back roads of the outlaw and the contemporary nuances of today’s non-mainstream Americana. Wagner grew up on rock and then its bastard son punk, before walking the side streets of the foil and singer songwriter boom. These are all elements he brings to this debut album under this guise. Previously he has played, as a bassist mainly, with The dBs, The Silos, Paul Collins and many more. Now at 60, he delivers this solo statement of intent with songs like 59, a reference to the age he was when he recorded the album and a summation of his thoughts on the life that brought him here.

Other songs take on a dirtier, bluesy rock sound as on Trouble. Some of the songs are confessional in approach and as such take a lighter approach to expressing that as with Proof. Take that to mean the one related to alcohol as it does life’s certainties or the simple understanding of World Won’t Wait. Warners’ focus has rough edges to it, that seem appropriate to the mood expressed on the album. Under The Influence Of Love has the feel of some fine 80s roots rock and tell a tale of the more upbeat sides of living. There is an undeniable layer of melody among the more barbed guitars, allowing the listener to uncover that as they play through the songs. The guise of Luther Black and The Cold Hard Facts is a productive one and while I was expecting something slightly more traditional in advance, what we have here is impressive in itself and that’s a fact.

Review by Stephen Rapid

Bobbo Byrnes The Red Wheelbarrow Brokensilence

This is an album of roots rock fronted by Byrnes’ guitars and robust vocals. Recorded in Nashville and California among other locations, it set out not to be overproduced or over thought. As a result, it has a lively feel that is energising and rough and ready. Byrnes is joined on the album by some 18 other contributors, some of whom may be known to the readers of album credits such as drummer Ken Coomer and keyboard plater Rami Jaffee. Another familiar name, if not in roots music circles, is that of Paul Manzanera, who adds his guitar to the roots take on Roxy Music’s Virginia Plain. One of a number of covers that feature, including their version of the truckin’ song Looking At The World Thru A Windshield. Mexican Home is from the pen of John Prine, the other outside song being Lovers. From then on Byrnes is the writer or co-writer of the other six songs.

Byrnes describes this sound as a joyous noise and that pretty much sums up its sense of having a good time on these largely up-tempo workouts that are full of moments that raise a smile and keep a foot tapping. It sounds like they would be a great band to catch live but here, from the studio, they have done much to capture that feeling. Part Time Cowboy is pretty much self-explanatory of his musical life. The previously mentioned Looking At The World Thru A Windshield is one of the more countryesque outings here with some twanging guitar solos. Byrnes is solid and satisfying throughout the recording on guitar, baritone, piano and pedal steel and well as on his bar room ready vocals.

The John Prine song Mexican Home is a male/female vocal ballad with steel and harmonica and therefore standout because of the pace and subtlety. Bu way of contrast Lover, a cover song, is a fast paced tale of going for the good times in the city. Mrs. What’s His Name is about trying to change a lifestyle but not really being able to, even whilst declaring love for a partner who has a different outlook. 

The album closes pretty much as it opened with January but one that concerns itself with the problems that a relationship which isn’t reciprocated can have. Byrnes however manages to deliver as an album that overall has a sense of positivity and uplift that offers up hope and not a little humanity in its raucousness and righteousness sound.

Review by Stephen Rapid

Album and Book Rerelease

Marty Stuart The Pilgrim, A Wall To Wall Odyssey BMG

The Pilgrim album was originally released on the MCA label in 1999 and served as something of a renaissance for Stuart. It was not a career highpoint or chart toping contender in the terms that record companies might aspire too. Rather it is a rounded statement of creative roots inspired music that does not rely on the commercial aspirations of either the artist or record label. It is an album made for the simple reason of wishing to communicate, to tell a story and to make it a universal one. He wanted and needed to grow musically, to explore new pastures in a context that was both spiritual and musical.

This twentieth anniversary edition now comes with the original album and a host of additional tracks that were recorded at the same time and feature fellow seekers like Johnny Cash, George Jones, Ralph Stanley, Earl Scruggs, Josh Graves, Connie Smith, Pam Tillis and Emmylou Harris. Their presence alone should give you an idea of the respect that these artists had for Stuart. It is also a visual treat coming as it does packaged as a 100 page book that documents every aspect of the recording process in word and picture. There are photographs and notes on the instruments. reproductions of lyric notebooks, photographs by Jim Arndt from the cover photo session, alongside many other photographs from Stuart’s career and some more casual in studio snapshots. Also featuredare Stuart’s own reflections on the entire process and his own photography that covers the people and places that helped define the rich history of country music for what it was and should be. These sit alongside such sources as the work of O. Winston Link’s, a photographer who captured fantastic images of an era when steam trains were dominant and a mention of the great Native American portrait photographer Edward S. Curtis. 

All of this makes for a rounded and rich accompaniment to the music which is essentially the backbone of this project. If you think of it as a kind of CD super booklet that every such album indeed needs to give it the context it requires for a major reassessment for those who didn’t appreciate its worth on its initial release. It  also makes the enjoyment of the album all the more special as well as giving an insight into the mind and music of one of the undoubted greats of country music who has himself reached that status of icon in what has become something of a maligned and misplaced genre.

Review by Stephen Rapid

PS. As yet I haven’t seen a physical copy on sale. It is listed on Amazon for £40 sterling and €47. You can also purchase it from Marty Stuart website along with a vinyl and poster edition.

New Album Reviews

Leaf Rapids Citizen Alien Coax 

Keri and Devin Latimer were founding members of alt-country band, Nathan, based in Winnipeg, Manitoba. They released four records and in 2015 this husband and wife team decided to form Leaf Rapids. This is their second release and these songs are beautifully conceived and brought to life with tender loving care. They look to a past where life was supposedly simpler but in reality, was so much harder. It is a tribute to fortitude and the strength to endure whatever life throws at you. 

Whether it is unwanted teenage pregnancy, Dear Sister, or the quiet desperation of motherhood, captured in the track, Virginia, this key-hole look into the past lives of hardship and hope is beautifully observed. Barbershop Shears is based on a true story of an immigrant picture-bride from Japan who delivers a punishment to a lumberjack client in a barber shop in Victoria, Canada. Husavik honours the immigrants who came from distant lands only to suffer death and disease at the hands of a smallpox epidemic. 

On it goes with gentle tributes such as Helen’s Waltz, for Devin Latimer’s mother who died last year – which includes Oscar Latimer, aged four, constructing a song and Helen Latimer reciting her own poem, poignant and touching.

Parliament Gardens and a salute to the heroes of WW1 who suffered terribly from PTSD long before it was ever diagnosed or recognised.  Caragana Switch looks at child punishment at the hands of parents who knew no different and the scars that remain from such abuse. 

The title song, Citizen Alien, recounts the horror of Japanese immigrants being declared illegal aliens by the Canadian Government during 1942 and the Second World War. Evicted from their farms, homes and land in an act of unbelievable cruelty. Forced to survive through hard labour until 1949 when they were granted freedom of movement, these Japanese were never given back what was taken from them. These are the stories of everyman, passed down from immigrant generations who displayed incredible dignity and force of spirit in the fight to endure in a cold World. 

Co-produced with acclaimed Winnipeg multi-instrumentalist and composer Rusty Matyas (Imaginary Cities, The Sheepdogs), Keri Latimer realises a singular vision by delving into her family past and the stories that were passed down across generations. Husband, Devin Latimer carried out a similar research and together they have created and documented a project of incredible artistic merit and depth.

Twenty Stories High doesn’t seem to fit into the overall theme and appears to be a song about demon hangovers, slightly unwound individuals and those who try to keep a focus on normality. Equally, There They Go seems to be a song about subjective observation of another’s life and getting it probably very wrong. Self-righteous isolation.  

The studio players are Keri Latimer (acoustic guitar, theremin, lead vocal), Devin Latimer (bass), Joanna Miller (drums), Rusty Matyas (keyboards, trumpet), with various guests on selected tracks, notably Bill Western on pedal steel and Michael Johnson on piano. Ground breaking and joyful, the past serves up lessons for the present.

Review by Paul McGee

Great American Trainwreck Self-Titled Self Release

This debut release was recorded at Bear Creek Studios, Washington and is self-produced by a band who are based in Seattle, USA. The twelve tracks included here are just shy of 44 minutes and their sound is very much in the Americana stable. There are elements of Bluegrass, Country and Roots Rock and the players are Stephanie Ward (vocals, acoustic & electric guitars), Chuck Dunklin (electric tenor guitar, mandolin), Andy Basinger (keyboards), Dan Rogers (electric/upright Bass), Dave Bush (drums). The album features guest appearances by Danny Barnes (Banjo), Dave Harmonson (Pedal Steel), and Judd Wasserman (Vocals). 

Hell On the Rise and Louisiana are strong openers and see the band driving forward with a rocking sound. Gears is classic Country with banjo to the fore and Moving Mountains falls into both camps with a slow rhythm and tone. Devil Woman shows off the vocal prowess of Stephanie as she takes the main part in filling out the sound, warm keyboards surrounding the delivery. 

Undercover slots nicely into a Bluegrass field with both Boxcar Pass and Friend Like You energetic numbers with great ensemble playing, again displaying Bluegrass influence and leanings. Highland Drive has a slower tempo but some sweetly delivered melody lines and the last two tracks, Relativity and Heavy Weights show both sides of the band, the former is a full-on, up-tempo workout and the latter, a slower groove around the vocal of Ward and a soaring chorus line. Engaging and a fine debut. 

Review by Paul McGee

Kyshona Listen Fish

This artist lives in Nashville and has been at the forefront of bringing positive messages of hope and reconciliation to the growing number of admirers who are discovering her music. She sings with a passion and her powerful voice has been compared to both Aretha Franklin and Etta James no less.  Her medium is Soul, Gospel and RnB music and before she found an outlet for her songs, she graduated as a music therapist, working in mental health hospitals and correctional facilities.

Kyshona sings of healing and empowerment and co-producer on the album, Andrija Tokic, (Alabama Shakes, Hurray For the Riff Raff, St. Paul and the Broken Bones) anchors everything with a creative energy at his famous Nashville Bomb Shelter studios. 

The tracks are a melting pot of soulful blues, gospel and plenty of R’n’B in the mix. The ten tracks include messages in support of the marginalised and the title track, Listen, is a strong opening swipe at the authorities who turn a blind eye far too often. Fear is a great band workout with the rhythm section steering a mean groove around the driving guitars and a blues vocal that really delivers.

The sweet Soul sounds (We The People/Fallen People) and slow groove (My Own Grave/Try) arrangements all deliver with great conviction. Worried Mind is pure Gospel Blues with piano and organ laying down a warm texture on top of the rhythm, while Marching On has a R’n’B pulse that is infectious. 

I received no information regarding the studio musicians on the project but the playing is tight and full of colour throughout. Kyshona really sings these songs with everything that she has in her vocal range and her spirit shines through. The last song, More In Common, is a slow, soulful blues with a plea to realise that there is support out there for those who feel beaten down in this World. 

No doubt we will hear much more from this talented artist who has already shared the stage with acts such as Margo Price, Wynonna Judd, Lake Street Dive, JD McPherson, Cracker and many more.

Review by Paul McGee

Bronwynne Brent Undercover Self Release

A simple yet striking image of Bronwynne Brent adorns the cover of UNDERCOVER, the third album from the Mississippi born singer songwriter. She’s depicted glancing furtively to her left, as if she’s expecting an unwelcomed pursuer to appear. It captures the underlying direction of much of the album’s material, with titles such as Lost In The Moonlight, Empty Pot Of Gold, You’ve Lost Your Way, Big Talker and the title track, suggesting relationships devoid of happy endings.

However downbeat these titles may appear; their delivery is another thing altogether. Brent possesses one of those voices that wraps itself around notes like a blanket and works equally well delivering jazz tinged numbers as it does soul infused country. Comparisons with Amy Winehouse are understandable and those familiar with the equally talented Frazey Ford will notice similarities.

Brent presents thirteen tracks on the album which includes two cover versions, Whatcha Gonna Do When Your Baby Leaves You and Jacques Brel’s If You Go Away. I’m not convinced that she needed to include either as her own material far outweighs them, and sometimes less is more.

She bares her soul on the stripped back Raincoat and fleshes out the mid 60’s sounding (I’m reminded of Lulu’s To Sir With Love) You’ve Lost Your Way with a cool Memphis horn driven sound. The previously referenced Big Talker, given its content, could be downbeat and morose but Brent transforms the subject matter into a beautifully melodic ear pleaser. It stands alongside the title track as the highlights from a delightfully packaged, measured and refined body of work that offers a flawless crossover of folk, soul and countrified blues.

Review by Declan Culliton

Elaine Lennon Self-Titled Little Sailor

Difficult to slot into any definitive musical category, Glaswegian Elaine Lennon’s debut album is most certainly easy on the ear. Gifted with a delicately beautiful voice, her sound embraces light soul, jazz and radio friendly pop, across the eleven tracks on this album.

Next Friday Night, a breezy love song, opens the album complete with Lennon’s impressive layered vocals. Trouble and Little Bird Little Sailor are soul driven gems, the latter an ode to her two young children. Alone Here With Me explores loneliness and isolation and the dramatic This recalls her fellow Scot Annie Lennox. The album includes one cover track, Hank Cochran’s She’s Got You, immortalised by Patsy Cline back in the early 60’s.

Top marks to Elaine and her team for the striking packaging, which includes a lyric booklet and some stunning photography. So many more high-profile artists seem to dismiss the principle of including the lyrics with their albums and settle for bland album covers - a cardinal error in my humble opinion - so thumbs up to Lennon and many of her contemporary emerging artists for reversing this trend. Also noteworthy is the impressive production by Glasgow singer songwriter Finlay Napier, who also contributes guitars and backing vocals in the mix. The Glasgow ‘go to man’ for pedal steel, Iain Sloan also features, as does Euan Burton on bass.

Review by Declan Culliton

Evie Ladin Band Caught On A Wire Self Release

From California comes a superb (and truly Americana) album for the times that are in it. Grown out of her deep roots in country, folk, bluegrass and old time music, Evie Ladin has captured the essence of what folk music is about - she explains that this album ‘explores contradiction ... singing about conflict, to sing it through to resolution’. Those contradictions are aptly illustrated by the cover art - a stark photograph of shredded white diaphanous material caught on strands of black barbed wire.

Kicking off with a country ballad California I Cry, Evie’s gorgeous twangy vocals lament the urban build up and environmental damage to the state that she loves, and now calls home. Renowned for her clawhammer banjo playing, songs like Glory and Gone Again show that instrument at its best. Collaborating on all tracks are the two members of her road band:- Erik Pearson (vocals, guitars, banjo uke) and Keith Terry (vocals, bass, drums and percussion). Recorded mainly using acoustic instrumentation, the interesting and often unusual arrangements are a testament to the fact that all three have spent their lives embedded in music and dance, as performers and educators. Away from the serious stuff, there are also several joyous songs that wouldn’t be out of place at a hoedown or a rock and roll dance party. Of the thirteen tracks here, all but one are originals written by Evie. Late In The Evening slows it right down and guest Sundra Manning is called upon to lay down some piano for a moving portrayal of the heartbreak of the migrant worker - unfortunately all too relevant for many millions of people around the world today.

News Cyclone is another highlight - Keith Terry’s percussion adeptly creates the stormy atmosphere behind Evie’s driving banjo, echoing the constant stream of words which we are bombarded with on an hourly basis by the media. Recommended.

Review by Eilís Boland

Phil Davidson Out Of The Dark Self Release

On the poppier side of Americana - or should that be Australiana? - comes the fourth release from Phil Davidson, who hails from the Blue Mountains in NSW. Phil upped and went to Nashville to record at Eastside Manor studio with his old friend and fellow Australian Sam Hawksley (Sunny Sweeney, The BoDeans) in the producer’s swivel chair. 

The songs clearly germinated during Phil’s serious brush with mortality in the recent past. He has thankfully had the all clear from cancer since, but the profound effects have naturally coloured his songwriting. Themes explored are those of gratitude, love for family and friends, his faith and a renewed appreciation of life. 

The Nashville influence is obvious almost from the start. Fearless and several other tracks feature the pedal steel playing of Dan Dugmore, who can rightly be called legendary. Producer Sam Hawksley contributes guitars, mandolin and bass, James Farrell plays keys, and Rachel Loy and Jano Rix complete the lineup on bass and drums, respectively. There’s a melodic 80s pop feel to Mavis Staples and Angelique Kidjo, and Mavis is name-checked again in the lovely Fort Worth TX. The latter is written about his friendship with the Texan singer-songwriter Bonnie Bishop, who returned the compliment by adding her much acclaimed country soul vocals to most of the tracks. The standout song for this reviewer is the beautiful slow burner Things I Didn’t Say, a cowrite with Fred Wilhelm and Sam Hawksley. Phil Davidson has a steady following in his native Northern Ireland, where he was a favourite of the late Gerry Anderson and of another broadcasting legend Cherry McIlwaine. I suspect he will be getting even more radio play on the BBC and further afield for this latest project.

Review by Eilís Boland

Ruby Lovett It’s A Hard Life Puff Bunny

A stellar country voice returns with a brand new album that is titled after its opening track It’s A Hard Life, penned by the still prescient Nanci Griffith. It’s a song that takes in the Troubles in Belfast as well as overt racism in America. These examples are used to illustrate the continuing divisions in society and Lovett quotes the lines from the song on the back sleeve “If we poison our children with hatred, then a hard life is all that they’ll know” which serves as a warning for the future (and for the past).  That title track, written in 1989, sets the tone for the album, which features a number of Lovett co-writes (several with K.S. Taylor Pie - who also has a song on her own as well as one written with Herb McCullough). Taylor Pie also co-produced the album with Lovett and Mark Miller.

Musically it is acoustic country with an edge. The assembled players include multi-instrumentalist Jeff Plankenhorn, violinist Gene Elders, Dave Pomeroy on bass, Taylor Pie again on several instruments and Russ Pahl. But the focus is Lovett’s vocal dexterity which is laced with a twang that places her undeniably in the country basket. It has a heart and soul that shines through and the musicians simply underscore those sense of values.

A Father’s Life, espouses hard work as an honest way of life, a value passed on to her by her adopted father) that hard work which was a way a life but an honest one and one that from which her adopted father passed his own values to her. Catfish John was written by Allen Reynolds (who Lovett worked with in her early days) and Bob McDill. A song about a former slave who works as a river hobo and the attraction he had as a misfit. It is played in a simple bluegrass fashion. The Blues You And Me is given a treatment that is in line with its title with fiddle a steel that both emphasise the fact that the blues “they come to town every now and then.” Home Sweet Honky Tonk was written by Jim Rushing and Carl Jackson, but like the covers here sits with ease beside the self-written co-writes. It is slow paced, reminiscing on heartbreak and the place where “the same ol’ crowd of losers seek comfort.”  Riley Bring Your Fiddle has Lovett singing that she needs “a little music with that old-time sound.” The use of the pedal steel with the acoustic instrumentation again proves effective and noticeable. Straight From The Heart is a love song that is “til death do us part.” They Don’t Know is about a relationship that works though not seen as right by others on the outside. The final song Walkin’ On The Moon, takes on dreams and ambitions and hope for one’s self. It is filled with a spirit and heart that is seen throughout the album. One that is musically strong and full of courage and grit and real emotion. There may be hard times in life but sometimes there is music to sooth the soul too.

Review by Stephen Rapid

Philip Rambow Canadiana Fretsore 

Now this is an interesting release. I was a fan of Philip Rambow since his emergence as frontman of the pub rock band The Winkies. A band that were a part of the pre-punk emergence of shorter, faster, edgier bands like Eddie and The Hot Rods and’s set list. Since then Rambow has released a number of solo albums since the demise of The Winkies but returns with a wide-ranging release that makes reference to his birth country and his current musical endeavours. He is a part time member of The Tex Pistols (UK), an occasional band that includes Pete Thomas and Martin Belmont (who also features here on Springtime In My Heart and Piggin’ Out).

The new release opens with the recent singles American Buffalo and Things Are Not Looking Good. The former song features the Elvis Costello rhythm section of Pete Thomas and Davey Faragher as well as UK pedal steel guitarist CJ Hillman and guitarist Paul Cuddeford. Former Basement Jaxx singer Sharlene Hector is backing singer here, though she also appears on a couple of soulful duets on the album too. American Buffalo ponders its loss alongside the soul of the nation in its search for the mighty dollar. Things Are Not Looking Good is a song that is led by the fiddle of Bob Loveday and has the piano of Geraint Watkins adding to the overall feel. The song laments that life doesn’t always go the way it should. These musicians are joined on other tracks by Stephen Gilchrist, Mick Hutton and multi-instrumentalist Jack Henderson along with other contributors. The latter produced Angel Everyday and Devoted to You, playing all the instruments on the first and all expect for the bass on the latter. The main producer for the other material was guitarist Paul Cudderford, who has his own impressive track record. Hector is very much to the fore on Oceans Apart, a verse by verse duet with Rambow, where both vocalists are well suited to the song’s message of separation but closeness.

The sound is pretty wide ranging but all falling under the wider umbrella of Canadiana/Americana. However, it is Rambow’s name over the door and he proves that he is still an impressive vocalist and songwriter who has written all eleven songs on the album, three as co-writes. He also plays acoustic guitar throughout. Rambow is a largely undiscovered talent but one deserving of wider exploration, which may come with an upcoming re-release of his back catalogue. Even without any knowledge of his previous work this album is full of tracks that standout and is both welcome and worldly wise.

Review by Stephen Rapid

New Album Reviews

Arborist A Northern View Rollercoaster

 I had wondered how long it would take for a full-blown album to appear with its influences fuelled by the enormity of Brexit and its ramifications. It should not come as a surprise that Mark Mc Cambridge of Arborist should take up that mantle, given its potential impact on Northern Ireland and particularly as he composed the soundtrack to Clare Dwyer Hogg’s recent film Brexit: A Cry From The Irish Border.

The album appropriates different musical forms across its eleven tracks, weaving between folk and rock, experimental and the spoken word, as Mc Cambridge considers eras past and the unsureness of times to come. His sound at times brings to mind that of New Zealander Marlon Williams, given his impressive vocal range and I’m also reminded of his fellow Ulsterman Neil Hannon on the album’s second track Here Comes The Devil. A dark shadow prevails across much of the material - and indeed from the album’s artwork, as the writer attempts to unravel thoughts of a sense of gloom. “I haven’t seen the sunshine in nearly a month, I’ve retreated, I’ve drawn the blinds, I need a little space so I can rewind” he announces on Too Much On My Mind.

In a similar manner that HYMNS TO THE SILENCE was a reflection by Van Morrison of a particular moment in time, A NORTHERN VIEW is similarly passionate and thought provoking. The recording process commenced in 2017 at Peter Gabriel’s Real World Studio in Wiltshire. Over a two-year period, further recordings took place at Amberville Studios in Ballymena, Soup Studio in London and Start Together Studio in Belfast.  Mc Cambridge co-produced alongside Ben McAuley, with further musicians James Heaney (bass), Jonny Ashe (guitar) and Richard Hill (piano, organ). Additional musicians were engaged to add strings, brass, pedal steel and backing vocals, resulting in lush and rich orchestral layers on By Rote and Can I Add You To My Will. The spoken word Taxi is both a sad and amusing tale of his father’s cousins claim that he was single handily responsible for transforming Whisky In The Jar from a traditional ditty to a rock chart topper. The title track brings the album to a close in spectacular fashion, it’s a six-minute epic that builds to a crashing climax like great rolling waves breaking on a stony beach. Distorted fuzzy guitar and exploding horns contribute to the rawness of the song, alongside Mc Cambridge’s rugged vocal, its simply beautiful.

 Arborist have been coming to the attention of both the media and punters over the past number of years without any fanfare. This delightful album is bound to raise McCambridge’s profile even further.  Essential listening.

Review by Declan Culliton

Louien None Of My Words Jansen Records

The positive and unexpected kickback to a five-minute demo song, uploaded to Soundcloud by Louien in 2018, was the spark that ignited the Norwegian singer songwriter’s solo career. Yet another female artist carrying a torch for the burgeoning Nordicana genre, Live Miranda Solberg is the lead singer songwriter of Norwegian four-piece band Silver Lining. Using her stage name Louien, she joins labelmates Signe Marie Rustad (who guests on the album) and Malin Petterson on Jansen Records, to release a striking debut album.

There must be something in the air in Norway that generates such exceptional vocalists of late. Louien’s high pitched angelic voice is immediately impressive from the word go, before you even consider her lyrics. Much of the material was conceived following the passing of her father four years ago, as she attempted to cope and reconcile with her loss (‘’this album is probably more about the first phase of a grieving process – hopelessness, isolation, anxiety and depression”).

Emotion filled and open hearted it may be, mourning the passing of her father, but it also focuses on rebirth and stoicism, as she accepts the inevitable and reassess her own relationships, both past and present. Opener I Will Follow ushers in her crystal-clear voice alongside simple acoustic guitar, before being joined by sweeping strings.  Heart And Mind Alike is for her father, an acceptance that grief is more than a passing emotion, as she vows to cherish the memory rather than mourn the past. The Fool is self-deprecating, a gentle folk melody harking back to bad relationships. Like much of the material it’s awash with exquisite string arrangements. Endless Love, the second last track, offers optimism and light at the end of every tunnel.  

The final song is the demo that ushered in the motivation to write and record NONE OF MY WORDS. Louien has resisted retitling the song and simply names it Demo. No.1. It’s a fitting bookend to a body of work that navigates its path across a collection of emotions. It’s another gem to add to the growing catalogue of Nordic artists successfully gate crashing the Americana classification.

Review by Declan Culliton

Amberly Chalberg Hi-Line Self Release 

There is a clear heart to this album that highlights the various stories that make up a life - from the those that were a part of a lesson learned, or of the positivity of growing to understand who and what you are, or may become. This is Chalberg’s first full length album and is dedicated to her father. The album cover and title are both a reflection of their relationship, with the title being their home location and the cover image a personal reference to him. He passed away last year after the album was recorded and therefore this is a lasting tribute to their relationship and also of others.

Chalberg recorded the album under the guidance of producer/engineer Todd Adelman, who also mixed the album. It was recorded straight to quarter inch tape and makes good use of the very seasoned rhythm section of Jim Christie and Taras Prodaniuk and equally well with guitarists Joe Mazza and Eben Grace. This core band was joined on occasion by the added instruments of keyboards, pedal steel, harmonica and harmony vocals. This gives the album an urgency and vitality that is in keeping with the motivation behind the songs. Chalberg has had comparisons with some of the best of the leading performers of roots Americana and it is not difficult to see why.

She possesses both a talent as a vocalist and as a songwriter, and these 12 self-written songs (one of which is a co-write) are testament. The sound is built around solid roots rock that is firing on all cylinders. Crazy ‘Bout You is a bluesy statement of love with some upfront guitar. A relationship with alcohol appears in the titles of the songs Drunk and The Whiskey Song. Lil Bit Country refers more to location that musical choice, yet like many of the other songs it has a nicely roughen edge to its delivery. There is a venerability and openness in the vocal of I Apologise, a self-explanatory song of the way that one cause hurt to another and is an album highlight.

HI-LINE marks Chalberg as a mature artist who, after one EP and this album, is likely to continue to produce work that is, while not unlike in overall sound to a number of her equally worthy contemporaries, honest and true to her particular viewpoint. In doing that she is also mirroring the situation of many others, who will readily recognise a kindred soul and some similar situations - but with a compelling soundtrack.

Review by Stephen Rapid

Neil Bob Herd & The Dirty Little Acoustic Band Every Soul A Story Cattlecall

This is the latest incarnation from Herd that continues his musical journey through roots music that include blues, bluegrass, country and Scottish folk. Herd is a former member of Western Electric and The Coal Porters, among many other musical guises. He now seems armed to get a little more electric with his comrades Paul Fitzgerald (dobro, guitar, vocals), Glenn Lamberton (bass) and Gary Smith Lyons (drums). Herd contributes lead vocals, guitars and pedal steel. A couple of guests also join them on various tracks, all under the production hand of Dan Swift.

One of the immediately noticeable components here is the vocal inflection with an identifiable regional Scottish accent throughout. This gives focus and personality to the songs which are robust, roots and rocking’ for the most part. The albums first track Bad Lands is open enough lyrically to make the place where things are turning bad to be whatever place that suits that description. It moves at a pace and features some dexterous guitar from Herd. As Much As I Need To declares that love, in this case, is a necessary function but one that is only given with consideration. It is another guitar driven outing with some pedal steel to sweeten the deal. The Colour Of History takes a decidedly folkish sea-faring tone, with accordion adding much to the overall mood of times past. In context it is a stand out, though on its own may give a slightly unrepresentative view of the album.

Leave Only Love features a more relaxed pace and has banjo high in the mix to give it an old time flavour. There is a hopeful premise to Light A Single Candle as it offers the need to light a single candle where darkness reigns … and hope remains. The next song takes on a groove that is uplifting with underlying bass behind the fiddle and baritone guitar, giving the backbone to a song which makes the point of its title and what may lie in each of us. It is a song that again should be given prominent exposure and another album highlight as is the beat group 60’s feel of Well, Well. Coming Back As Jason is a softer ballad about a beloved friend and hero. Herd’s pedal steel is integral to this song, adding to its slightly dreamy nature. Exactly What I Wanted is co-written by Herd and Kerenza Peacock, otherwise the remainder of the song were written by Herd and show him as an accomplished writer. They have saved Best Song to last. While it may not necessarily be the best song on the album, it is the last track and again has an engaging retro feel that offers an up-tempo and uplifting ending. An album and artist that are a welcomed addition to the better examples of roots music emerging from the UK at this time. That tells a story in itself.

Review by Stephen Rapid

Della Mae Headlight Rounder

This is the fourth album release from this Boston bluegrass band and the title track, Headlight, supports the ‘Me Too’ campaign with a call to arms for all to endorse such a worthy movement. There are other tracks that communicate a similar message, It’s About Time and Change among them.

Now based in Nashville, this all-female string band is made up of Celia Woodsmith (lead vocalist/guitar), Kimber Ludiker (fiddle, guitar, vocals), Jenni Lyn Gardner (mandolins, vocals), Avril Smith (acoustic and electric guitars) and Jen Gunderman (piano, organ Wurlitzer, synths, celeste, harmonium, mellotron, vibraphone). 

They are joined on this venture by Sophie Guigeno (upright bass), Jamie Dick (drums, percussion) and Dan Knobler (electric and acoustic guitars). Guest vocalists are The McCrary Sisters (three tracks), Vickie Vaughn and Ruth Moody. 

Produced by Dan Knobler (Caroline Spence, Lake Side Drive) at Sound Emporium Studios in Nashville, the sound is really buoyant and celebratory and jumps right out of the speakers at you. The arrangements are terrific and filled with dynamic melody and rhythm changes as the songs unfold. Throughout, is the superb fiddle playing of Kimber Ludiker, weaving in and out of the arrangements and underpinned by the excellent mandolin lines of Jenni Lyn Gardner.  

However, the entire project is led by the compelling vocals of Celia Woodsmith who carries the songs lightly with stellar performances on all twelve tracks. The colour and texture of the songs lifts the entire process way above that of a simple bluegrass band and the musicians have really stretched out this time around with playing that is of the highest order. 

The Odds Of Getting Even has some killer mandolin playing which is matched on fiddle on Wild One, a real rocking tune that kicks hard. Waiting For You deals with a woman who is trying to start a family but cannot get beyond the fact that her body is not responding. Peg Monster is written by Kimber Ludiker and is a pure bluegrass instrumental with the band having quite a workout and guitar, mandolin, fiddle all dancing around each other in a heady stew of sound. The Gospel Blues of Change carries a message that there is a light in the darkness and the mandolin leads a stirring arrangement that has another impassioned vocal delivery from Woodsmith. 

The Long Game speaks of staying in the fight as long as possible and Working is a Blues song that tips a hat to those who went before and their sacrifice in making things better for all women. It has a fine blues arrangement with backing singers that give the song a Gospel feel. Final track, I Can’t Pretend, councils that we learn from our mistakes and that in order to grow, we must accept our failings in an imperfect World.

Five of the songs are written by Celia Woodsmith and she co-writes on another two, with Kimber Ludiker contributing two songs and one co-write. Advocating for women’s rights is a worthy activity and with these songs of different female perspectives they are certainly championing the rightful path on their journey.Their goal is to spread peace and understanding through music and in showcasing female musicians, they preach action through advocacy, mentorship, programming, and performance. This is a very enjoyable album and builds upon the momentum and success that this band has experienced over the last few years.

Review by Paul McGee

Bonny Light Horseman Self-Titled 37d03d

The band name is taken from the traditional song of the same title and this performing collective is comprised of Anais Mitchell, Eric D. Johnson (Fruit Bats The Shins, Vetiver and Califone) and Josh Kaufman (Craig Finn, Josh Ritter, The National). An unlikely partnership on the surface, but one which works beautifully and seamlessly across the ten tracks chosen for this collaboration. 

All songs are based in the old traditional Folk history of the British Isles and beyond. The airs and melodies are used as a creative inspiration for the three artists to embellish and add contemporary nuance to the arrangements.

There is a finely woven texture to these songs and the interpretation of long loved ballads is very enriching, creating a special piece of work. The opening, title track, is a lament from the Napoleonic Wars and considered to be approx. 400 years old; timeless in its slow sorrow, with a repeat chorus and a high pitch to the plaintive vocal of Mitchell. Deep In Love has a message of loving and being vulnerable to pain, with the alto voice of Johnson hitting high notes to compliment the sweetly laid-back playing that accompanies the song. There is a nod in the lyric to the traditional song The Water Is Wide and the whole arrangement is beautifully understated.

The Roving is another traditional song which is quite beautifully delivered while the subtle guitar and piano interplay frames Mitchell’s soft delivery. It has been covered by other artists, among them Mary Black, and is a lament about love lost. On the superb Backwaterside, Anais and Eric share vocals and the folk infused arrangement is tinged with banjo, piano and sax, together with backing vocals from Jessica and Emily Stevely – a tale of lies and deception in breaking a young heart.

Magpie’s Nest is an Irish traditional song, given a modern insight and sung by Eric with such longing that you really do wish he could win the hand of the fair maiden. Lowlands has Anais and Eric harmonising around the lovely melody created by guitar, banjo, sax, harmonica and piano, all played with sweet sensitivity and dovetailing around the arrangement in gentle ripples. Mountain Rain follows with a sad tale of blasting rock in railroad tunnelling and the toll paid for such hard work with no pay worthy of the name. 

Bright Morning Stars is a hymn to rural work and family. It is a Gospel arrangement with harmony singing. Final track, 10,000 Miles, is a wistful air and a song about leaving, never to return…

All the songs sound beautiful. Played with minimal backing and light touch – there is a timeless quality to them and it feels like they have always been waiting to visit with us. The purity in the sound does credit to the production of Josh Kaufman and justice is done to these songs at every turn. Jake Xerces Fussell delivered a similar moment in time with the release of Out Of Time last year, with a collection of traditional songs that he reworked and this is certainly a trend to be welcomed in the industry that instead of always trying to reinvent itself, could do well to visit what has been left in the past just a little more.

Working at a venue called The Funkhaus, Berlin, the trio recorded what would become the foundation of the album, featuring fellow artists-in-residence Michael Lewis (bass, saxophone) and JT Bates (drums, percussion) as well as Justin Vernon (Bon Iver), Aaron Dessner (The National), Kate Stables (This Is The Kit), Lisa Hannigan, The Staves, Christian Lee Hutson, and many other contributors. Leaving Germany with roughly 60-percent of a record, the band reconvened at Dreamland Studios in Woodstock, NY, in January 2019 to finish, bringing Lewis and Bates as well as engineer Bella Blasko and mixer D. James Goodwin along with them.

Anais Mitchell plays guitar and sings, Eric D Johnson provides acoustic guitar, 12-string electric guitar, piano, harmonica and banjo. Josh Kaufman plays acoustic and electric guitars, organ and piano.  This is a complete joy and it will be a highlight in many lists come the end of 2020. Essential purchase.

Review by Paul McGee

Nadia Reid Out Of My Province Spacebomb

The title of the album may suggest some level of discomfort in the process of creating these wonderful songs, however, if anything, Reid appears to be more relaxed and very much in control of career trajectory than ever before. 

The first thing that hits you upon listening to this third release is the superb production and the beautifully understated playing of the studio musicians. Reid’s sweetly reflective vocals are so inviting and seductive that from opener, All Of My Love, you feel yourself submitting to the hypnotic spell. 

The lyrics are somewhat veiled and no doubt hide meanings that are personal to Nadia herself as this New Zealand artist relocated to the USA in order to bring this undertaking to fruition. The whole record appears to be a chance for self-reflection, looking inwards and also, externally, to define herself in the World. There have been changes, questions and shifting boundaries brought about by international travel and the distance created. The loneliness of separation is a message that I pick up strongly, if indeed there is an overall theme running through the ten song titles. There is also the sense of looking back at younger days and relationships, both with lasting memories and broken dreams.

All Of My Love has a slow tempo with an atmospheric mood and deals with feelings of love, commitment and being apart.  High and Lonely has a simple guitar strum before the band joins in with that voice, both intimate and warm, and the swell of keyboards and muted horns, setting a relaxed rhythm that propels the song forward. Again, distance and separation are the main themes here. 

Oh Canada is more up-tempo and swings along to a lyric about a relationship compromised by Nadia’s need to travel for her career; wanting a partner to join her for the journey. Restrained guitar lines underpin this song, along with subtle keys and brass. Heart To Ride is a mid-tempo acoustic number with gentle strings and guitar, producing a memorable melody against the message of missing someone.

For this record, Nadia travelled to Spacebomb studios in NYC with long-term music partner, guitarist Sam Taylor. They were joined in the studio by some top-drawer talent in Cameron Ralston (electric and upright bass), Brian Wolfe (drums) Daniel Clarke (organ, piano, and keys), and producer Trey Pollard, who arranged strings, horns, piano, and Rhodes. His deft hand on the controls gives the songs plenty of room to build their sweet sound.

Other Side Of The Wheel is a delicate longing for someone who is far away and feeling lonely. The essence of time is explored in the lines “We are looking at the same blue sky, How does it feel? On the other side of the wheel.” She also sings that “Time is cruel, Time is a healer.” Almost as if she is happy with a break from the intensity of a relationship where some perspective can be gained – “I feel free for the first time. I am lonely but it’s not for the last time. And we needed it a little too much, What a shame, To rush our love.” A terrific track with some stellar playing from the studio musicians.

Best Thing follows with a look back at younger times and memories of an old flame and the growth that came from their time together. I Don’t Wanna Take Anything From You has a slow tempo and checks into a moment of reflecting back and feeling change – perhaps some self talk?

The Future is a really excellent track that references her Mother and sister in a look at how the past and lessons learned can be an arrow into the future. Who Is Protecting Me is again, an engaging melody and a personal song revolving around feeling vulnerable and reflecting on her relationship with, perhaps a brother?

Final song, Get The Devil Out, deals with the destructive side of feelings and having self-doubt, but asserting that “I’m making friends with who I used to be” and realising that “They will never take it from me.” There is real beauty here and this album lays down a very strong marker for the year ahead.

Review by Paul McGee

Lazy Afternoon Almost Home Paraply

Gotland is a province in Sweden and home to the Folk sounds of Lazy Afternoon. This is their second album and the band are comprised of founding member Bo Ahlbertz (lead vocals, Irish bouzouki), Cristina Säfsten (lead vocals and acoustic guitar), Jörgen Ahlqvist (accordion and melodeon), Lars Johansson (bass), Pontus Nordborg (electric guitar and harmonies) and Stefan Magnusson (drums and harmonies). They are joined by Maria Nordseth on backing vocals and Mattias Svensson on drum and kajon (2 tracks).

There is a nice Cajun swing to the rhythm in Water, with the co-vocal of Bo and Christina working really well in harmony and the blues-tinged guitar of Pontus playing off the accordion of Jorgen. Make Love Real and Every Time highlight the clear vocal of Cristina and there is the hint of a Celtic tone in her delivery. The World Is Her Home bounces along even if the vocal delivery of Bo reveals the nuance of his accent. Sunshine has a cool Reggae groove with a fine vocal from Cristina and final track, These Words Are True, has a nice tex-mex swing. The twelve tracks are very well arranged and played by the ensemble and the production of Anders Nordh is alive and full of energy in the mix.

Review by Paul McGee

White Owl Red Existential Frontiers Hush Mouse

Singer/songwriter Josef McManus is the creative source behind this performance vehicle. The band also includes Kyle Caprista (drums), Gawain Mathews (guitars) and Leah Tysee (backing vocals). In the absence of any information regarding this release; who wrote what, who played which instruments and where the project was recorded, I must assume that McManus is the sole writer across the 14 tracks included here. He may well have also self-produced the whole project and these numbers fall very firmly into an Americana sound with a wave at Folk/Roots sensitivities along the way. Album number three, since his 2014 debut and there is already a fourth release due to be with us in Spring 2020.

The songs are interesting, with a variety that evades a defining, signature sound. The musicians serve the songs well and the understated playing on Good Morning Moonshine, See Through Me, Set Free and Love Her Still reflects the ease with which the melodies unfurl and linger. Starcrossed Lover and Everything But Crying are more commercial radio-friendly songs, while the Country sound of closing track, Wishing You Well, with harmonica and simple melody, compliments the previous song, Take A Good Look, - a fun take on the genre with steel guitar and shuffling rhythm. The overall production is sharp and there is lots of separation in the mix to highlight the different instruments.

Union Fight Song is a protest against Corporate greed and Big Business myopia with a promise that the common man will rise up to retaliate. I’m A Saint is a race to the end of the track in a Cow-Punk sprint, while the title track muses on the reality that nobody really knows what we are doing here and how we all have to figure out our purpose on our own. Fourteen tracks and just shy of forty-four minutes to find some hidden gems that reward the listener – there is much to enjoy here.

Review by Paul McGee

New Album Review

The Sweet Sorrows The Australian Sessions Self Release 

This husband and wife duo have been releasing superb music for many years now and this latest project sees them taking Australia, Kylie’s homeland, as a theme for the eleven tracks included.  They use their base in Co. Wexford, Ireland as the centre of their activities and tour on a regular basis, spreading their excellent Folk/Roots/Traditional sound to audiences far and wide. 

Sammy plays guitar, mandolin, bodhran and bass on this record and Kylie delivers on accordion, whistles and lead/backing vocals. The sound is very bright and full of texture with producer Brian Baker having done the honours at The Bakery, Victoria. Other musicians involved include multi-instrumentalist/producer Brian Baker (guitars, dobro, mandolin, piano, organ, strings, bass and drums), KJ McEvoy (guitar, 4 tracks), Tim Cotterell (fiddle, mandolin and pipes) and Rich Davies (background vocals).

It kicks off with the hard-edged rocking sound of Coober Pedy Opal Mine, a track that references the mining town that is known as the opal capital of the world, with a message to look below the surface before judging people in life. The next track arrives with a bluesy groove and Wiradjuri is a song about this Aboriginal tribe and their heroic role in saving people during Australia’s worst natural disaster when the Murrumbidgee River rose, causing widespread flooding in 1892. Adelady is a song about the joys of Southern Australia, depicted as a beautiful woman, and the arrival of an Irish emigrant to the beauty and the heat of a new land.  There are some superb guitar lines delivered by KJ McEvoy (The Remedy Club) on the track. Thirty Hours is a song that celebrates how Kylie and Samuel first met; you travel half a World away and find your one true love – the flying time between Ireland and Australia being … 30 hours! 

Orphan Girl, sung so sweetly by Kylie, is another tale of emigration from Ireland, this time due to the Famine of 1845 and sailing for Australia in order to survive and build a new life. The violin playing of Tim Cotterell is beautifully restrained and dovetails nicely with the acoustic guitar of KJ McEvoy. Don’t Weep My Bonnie Lassie has a traditional feel to the arrangement and the gentle melody, with pipes from Tim Cotterell and whistle from Kylie, add to the solemn tale of a soldier awaiting the gallows and thinking of his Scottish homeland and his sweetheart. 

Sydney Harbour is a love song, written by Samuel for Kylie, beautifully created and features acoustic guitar and accordion, a slow melody, with the song arrangement augmented by some fine fiddle playing. The final song, Hand Of The Almighty, is a hope for unity and acceptance across the globe and a feeling of being part of a greater plan. Four of the songs were written by Samuel, with a further two songs co-written with Kylie. The remaining five songs are by other writers, with Willingly (Brian Baker), Don’t Weep My Bonnie Lassie (Rich J. Davies), Grace (Ralston Bowles) and Orphan Girl (Brendan Graham) taking their place seamlessly alongside Wilderness, a song co-written by Samuel and Alex Legg. 

This is another excellent record, diverse and full of hidden treasures with the superb vocals of Kylie and Samuel warming these tuneful songs that gel together into a very satisfying listening experience. 

Review by Paul McGee

Hope In High Water Bonfire and Pine Fish

This is the second release from this musical duo, Josh Chandler Morris and Carly Slade, following on from their 2017 debut, NEVER SETTLE. They are based in Milton Keyes, England and both have had colourful journeys through younger years on their way to finding each other. Josh plays guitar and sings while Carly plays banjo, u-bass and harmonises beautifully with Josh across the twelve tracks featured. They are joined by Luke Yates on violin and percussion, who also recorded and mixed the album. Darren Capp provided drums and all songs are written by Hope In High Water.

The website states that their sound is “Mountain Music from the Flatlands of Milton Keynes” but I must admit to finding their creative muse falling more into the arena of contemporary Folk sound with a strong Blues delivery in the vocals. The album starts with Healed and a message of overcoming adversity, opening up to others and leaving behind the nightmares of the past. It’s Over Now follows and this has a similar theme, with new beginnings, embracing the positive and moving away from bad times and depression, the key message.

Pray Away speaks of loneliness, longing for another and memories that linger, while Bonfire and Pine deals with leaving the city noise behind and reverting to stillness and nature. Stronger Than You Know is a song about domestic violence and breaking the chains of fear until you learn how to say ‘No.’ Again, the banjo of Carly creates an eerie atmosphere before the band join in to build the dynamic.  

Alone is about sharing troubles together and opening up to others, with the simple acoustic arrangement featuring the stark sound of Carly’s banjo plus some superb violin lines from Luke Yates. Here Lies is about redemption found through the love of another and the strength to open up to a new beginning; this is the common theme that is laced through most of these tracks, of overcoming personal pain and adversity in order to get to a better place. 

Grenfell is a social commentary concerning the dreadful disaster that struck the tower block in London in 2017 and the lack of support from the authorities for the survivors and the victims. Pull Apart The Pieces looks at how our experiences leave their scars and that wanting to feel valued can be hard if you feel invisible. Banjo and acoustic guitar blend well together to deliver a stripped back arrangement. 

It’s almost a therapy session in itself and there is no doubt that the songs are all quite personal in their composition. With all these bare bones on display, there is a tendency to think that this duo dwells in too much introspection but then along comes Taken Too Much Pride and the lines “Stay true, stay hopeful, They can’t take the peace that’s in your heart.”

The final song, Something Unnamed, looks to the possibility of some greater force and states “All is unfolding in its very own way, When I come to believe in something unnamed.” This is an interesting release and the harmony singing is very appealing with a great edge to it. The playing is very strong, whether it’s the full band in flight, or just the gentler acoustic songs that give cause for reflection. A lyric sheet would have been nice as the words are not always easy to make out in the mix but they are all available on the website.

Review by Paul McGee

Cathryn Craig and Brian Willoughby The Cooley and Mourne Cabritunes

Brian Willoughby has worked with many musicians, including Dave Cousins and The Strawbs, Mary Hopkin and Nanci Griffith, as well as releasing solo work, BLACK AND WHITE (1998) and FINGERS CROSSED (2004). This recent recording with his wife, Cathryn Craig, features 15 tracks, including four guitar instrumentals and the couple were joined by Dermot McQuaid (bass, banjo, whistle and harmonica), Paul French (piano), Fergal Hughes (drums) and Colum Sands (double bass).

Willoughby contributes on acoustic and electric guitars, keyboards, ukulele and E-bow, while Craig plays acoustic guitar, in addition to providing lead vocals. She also has quite a pedigree in the music business, having worked with Shel Silverstein and the Righteous Brothers, among others. Her back catalogue includes three solo recordings and together with her husband, they have released a further seven albums, including a live concert from Saint Pancras Old Church in London (2016). 

So, quite a creative output and a duo who complement each other perfectly when it comes to performing and writing together.  For this project, they co-produced with Steve Fearnley at the Narrow Water Recording Studio, Newry, Northern Ireland.  They have made their home in County Down over recent years and the love for the region comes through in songs like the title track, The Cooley and Mourne, both mountain ranges within a short distance of their place of residence. Also, the song, County Down, speaks of the beauty they have found in the region as their lives have unfolded and their activities have seen them use this base planning tours and returning home. 

Such contentment comes through in the songs, most of which are written by Craig/Willoughby. There are two co-writes, with You Don’t Care At All, a collaboration with Charlie McGettigan and Do It For Love, a positive massage on the power of love, with the assistance of Colum Sands. The four instrumentals (Narrow Water; Castle/Blue/Keep) highlight the wonderful guitar prowess of Brian Willoughby and his gentle touch and melodic lines are full of fluency and lyrical phrasing. He leaves plenty of space between the notes also and it is a genuine treat to hear the pure craft involved, delivered with such mastery. On the sleeve, he lists the guitars used during the making of this record - ten in total, plus a ukulele! 

Other songs touch on homelessness (For Martha), past memories that linger (To The Past), loss (Goodbye Old Friend and Take Me With You), blinkered property developers (On This Ground) and the final track, Bless Your Way, a prayer for everyman and the love that is there to be shared. This is music to be celebrated and enjoyed by all.

Review by Paul McGee

Jordi Baizan Free and Fine Berkalin

This Texan songwriter releases his second album and with Walt Wilkins as producer, together with Ron Flynt as co-producer and engineer, they recorded these eleven songs at Jumping Dog Studios in Austin. 

They gathered quite an array of talent to help bring these story songs to life and the impressive list of studio musicians includes Baizan (vocals, acoustic guitar), Ray Rodriguez (drums, percussion), Bill Small (bass), Chip Dolan (piano, wurlitzer piano, B3 organ), Walt Wilkins (acoustic guitar, percussion), Heather Stalling (fiddle), Geoff Queen (steel guitar), Dick Gimble (upright bass, fretless bass), Corby Schaub (lap steel), Rich Brotherton (mandolin on Pictures on the Wall, acoustic lead guitar on Tears and Mascara), Bart DeWin (accordion), Ron Flynt (bass, piano, and B3 organ on Footsteps on the Ceiling, keyboards, synthesizers), Libby Koch (harmony vocals on Pictures on the Wall, Tears and Mascara, and Could Have Been Us), Jaimee Harris ( harmony vocals on Between the Sun and the Moon), Walt and Tina Wilkins (harmony vocals on Desert Line and Winter’s Come).

Between The Sun and the Moon is a tale of first sight attraction and connection as guests at a wedding while Could Have Been Us imagines such an attraction leading to something more substantial and a wish for dreams to become reality. Pictures On The Wall is a reflection on the vagaries of relationships and the question of permanence. Desert Line speaks of the freedom of the road and living light and unencumbered. Footsteps On The Ceiling is a fine example of this artist’s gifts, with a gently reflective song about the noisy neighbours who have their own story to tell when you look below the surface. Baizan is certainly someone who writes from a unique perspective and his way with words is suitably different. Whiskey And Water is a fine example of this with a salutary tale of a father who intends to take revenge on a drug dealer, only to fall at the hands of the law and a routine vehicle check point.

 Let’s Have Seconds is a light melody that traces the life (and lust) of an artist who looks for self-expression in more ways than one!  Time To Leave The Neighbourhood is a look at what binds and what separates in the way we live our lives.  Closing track, Heroes All Around Us, deals with the reality of hurricane threats and the fellowship of friends and neighbours with the fortitude to reach out and offer a helping hand to others. 

This artist is worth the admission fee and his gentle songs are insightful and observational, all that you look for in a song-writer who reflects on life, love and everything after.

Review by Paul McGee

Hollow Hearts Peter Westergaard

Totally new to me, the impressive Hollow Hearts are a four piece from the far north of Norway, who clearly have been steeped in Americana as well as in their native Nordic folk music. Fans of First Aid Kit will detect some similarities but Hollow Hearts have their own distinct signature sound, marked by lushly layered vocals, skilfully wrought catchy melodies and gothic undertones. 

The last in a trilogy of albums based on the concept of a relationship between two protagonists, Peter and Annabelle, it is not necessary to understand this to enjoy the songs here, which chart the emotional rollercoaster of the dissolution of a relationship, a universal theme after all. 

Childhood memories are recalled in A Sailor’s Warning, the melody led by Mikael Pedersen Jacobsen on mandolin who switches effortlessly between drums, mandolin and also piano. The dual themes of water and weather are always to the forefront, never more so than in the outstanding Cold River, a truly beautiful song led by Ida Lovheim on vocals and accordion, with a slow build up, lush echoey harmonies and a haunting electric reverb-heavy guitar riff, courtesy of Christoffer Mathisen. I’ve Got Hope features an uplifting chorus that recalls Fleetwood Mac in its swelling multilayered chorus. Home For Him is a wistful country ballad, both in theme and in sound, dominated by Christoffer’s pedal steel playing.

Bassist and keyboard player Ida Karoline Norgard and Mikel Pedersen were members of a now defunct band, The Northern Lies. In fact, Ida also played bass with Linda Gail Lewis during her Nordic tours. They are joined by Ida Lovheim (accordion) and Christoffer Matthiessen on guitars, with two Idas being the main songwriters and vocalists. I certainly hope this band get the wider recognition that they deserve, beyond their current stomping grounds of Norway, Germany and Switzerland. 

Review by Eilís Boland

Jeffrey Foucault Blood Brothers Blue Blade

This album bleeds integrity. Another top-notch songwriter who has a brought together a selection of songs, some important players and a voice tinged with the patina of life. It manages to find its place in what is, often, an over-subscribed category with skill and talent. It is full of stories that one can be related to on a number of levels, whilst having a sound that is both comfortable and rewarding, even without absorbing yourself in the detail of these crafted tales. There is some level of observation at play from the seeming domesticity and straight forwardness of the opening track Dishes. The laid-back setting of that set of simple tasks is followed by the more effervescent guitar and pedal steel of War On The Radio. Foucault is joined by Tift Merritt for the intimate duet that is Blown. It features cello and Eric Haywood’s steel guitar to underline its sense of isolation. These are not straight stories but rather something more poetic that allows individual interpretation. Foucault is the author of these songs but on three occasions he has written the music with his drummer Billy Conway.

There is a sterling set of musicians and singers involved on the album including Jeremy Moses Curtis on bass, Bo Ramsey on guitars, as well some other notable guests like Pieta Brown, Kate Lorenz, Laurie Sargent alongside Merritt on additional vocals and Barbara Jean Meyers on violin and Kenneth Pattengale (Milk Carton Kids) on acoustic guitar. These musicians are never intrusive or uneconomic with their contributions. Outside of the core players most feature on a single track but add to the overall context. It was recorded live back in 2017 over a three day period straight to tape in a studio in Minnesota, but the sound very much of the here and now.

Cheap Suits, Rio and I Know You are all imbedded with a simplicity and language that makes them worthy of individual attention though, in truth, everything here fits and is deserving to be heard. The components of love, loss, loneliness mingle with moments where a more intrusive world and its unforgiving political attutidues intertwine. Jeffery Foucault has, through the years, given us a number of albums that are literate and likeable and have explored different sound palates. Blood Brothers is a fine addition to that catalogue.

Review by Stephen Rapid

Ry Cavanaugh Time For This Self Release 

A tribute to a late, beloved father. This album has a back story in that Cavanaugh’s father George was a working musician who lead that life with all its uncertainty and chaos. In the late 70’s he played in a country band under the name of Bobby Pedd and played dates in the New York venue The Lone Star Cafe. However, in the 1980s the band and his life fell apart. He has been struggling with addiction and depression, which undoubtably framed some of Cavanaugh’s feelings about their relationship. This album is Ry’s take on nine of his father’s songs. 

They are played in an almost demo fashion with Cavanaugh being joined by Duke Levine on guitar and his wife Jennifer Kimball on vocals. It would seem that these songs document aspects of his father’s life with titles like Cold Wind, Too Tired For Drinking, Sink Or Swim, Gypsy Dad and Help Me Doctor. Seemingly recorded around a single microphone, they have a sparseness that is at odds with Cavanaugh’s recordings with his band Session Americana, but perfect to bring these songs back to the basic context. Given the underlying story, it adds a poignancy to one’s perception of these songs.

In this setting the voices blend with a closeness that is intimate and the guitars are also understated with enough dexterity to make take them to something beyond a simple strum. There is thought given here to the best way to present this legacy. Some have an immediate connectability (Lost Woman Song and the confessional Gypsy Dad) while others need a little more time to have their stories unfurl. This may be a sidestep from Cavanaugh’s main musical output but undoubtably an important one for him.

Review by Stephen Rapid

Stephen Fearing The Unconquerable Past Fish

In the opening lines of the first song Break Our Mother’s Heart Fearing sings of “leaving his hometown for salvation.’’ It is interesting to ponder if that refers to his birth town of Vancouver or the town he grew up in (Dublin), before he then left to return to Canada. Either way the song allows that his chosen lifestyle was going to break his mother’s heart. That lifestyle finds Fearing pursuing the route of a musician, a songwriter and travelling storyteller. In that light he succeeds admirably. He returns to the theme of leaving one’s homeland again in a song co-written with Andy White that considers the effect and the reasons why it is sometimes imperative to leave, to find oneself. There is a strong Celtic influence on the particular song that suits its mood well and emphasises its point in a musical context. The album itself, was recorded in Winnipeg and was produced by Fearing and Scott Nolan and a core band that also included such notable as Jim Hoke and Nolan himself on a myriad of instruments.

From the opening songs that are more folk oriented, we suddenly hit Stay With Me, an up-tempo rocker that reveal Fearing’s and the band’s scope and vision. The title song and later No Country return again to the theme of the traveller finding himself in less known territories. The latter song is played in a very stripped back way and is all the more effective for that. Marie, a tender ballad, also includes mention of the infamous brownshirts and the growing presence of those who now hold the high ground, and power and the glory that comes with that position. Sunny brings you inside the world of a transgender person and their search for love. 

Fearing’s themes are based on his own observations, seen and heard on his travels. His journey is one of empathy and engagement, which is best given light through his crafted songwriting and reflected vocals. With a number of noted troubadours leaving us, it is time to perhaps consider those that are still with us, still moving their abilities forward and trying to make sense of an increasingly crazy world. Fearing can be counted among them and this is one his best missives to date.

Review by Stephen Rapid

The Adobe Collective All The Space That There Is  Love Sands

This Joshua Tree based quintet play what is referred to a high desert sound and on this, their third album, have succeeded in living up to that cosmic Americana concoction of rock, roots and twang filled country and psychedelia. The Adobe Collective comprise of Tim and Faith Chinnock, the husband and wife duo who founded the band along with Caleb Winn, Chris Unci and Tyler Saraca. Their sound is one of layered textures, pinned by a solid rhythm section and flourishes of hard edge guitar and keyboards, all topped by strong vocal harmonies. It’s a sound that reflects the diverse nature of its influences and creation.

The album was self-produced and recorded in Unck’s studio High Lonesome Sound, which underlines the richness and variety of the location that is the Joshua Tree National Park. A location that is both unworldly and has an ageless deeply grounded sense of place. The album opens with the catchy dreamscape Carousel with its airy sound that, like the title suggests, reflects the movement and reacted light of such a fairground attraction. The next song Blind has a pop feel that brings to mind some of the West Coast bands of the mid-60s. By way of contrast the next few songs expand on this feel of exploration and harmonic possibility, allowing for different elements to be revealed on each play. The instrumentation manages to highlight different aspects of particular songs allowing, synth, organ, steel guitar sit alongside the slide and electric guitars to build up an overall sonic landscape, that allows the tight harmonies to give a human focus that is both effective and affecting.

But just as the more ethereal nature of the sound is established, they throw a curveball with the straight country sound of All I Know. This allows another aspect of the band’s influences to step forward and underline the fact that there are a number of different directions that the band are equally adept with. Shine On has a heavier sound that features the vocals of Tim and Faith and their combined harmonies and lead vocalists are the centrepiece to the sound of The Adobe Collective. There are songs included such as the closing Happy That It Hurts, that assume a slightly more unsettling ambience that creates a balance and contrast to the brighter moments that abound.

Overall this is a transportive album, that falls outside any number of strict classifications, yet is never at odds with itself. It may seek a specific type of listener to fully appreciate its charms, but they are revealed to those who wish to take the time to reach into the sun enriched heart of its collective space.

Review by Stephen Rapid

Album Reviews

Ad Vanderveen Final Refuge CRS

An invitation by Van Morrison to be his opening act is a compliment any singer songwriter would be proud of. Such was the positive impression Ad Vanderveen’s 2017 album WORLDS WITHIN made on Van the Man, that this gesture was made by him and gratefully accepted.

Dutch born but with Canadian parentage, Vanderveen has been performing solo, as a duo with Kersten de Ligny and with his electric band The O’Neils, throughout a career that spans over twenty-five years and boasts over thirty albums. Despite that output and its quality, he remains very much under the radar yet hugely regarded by his peers, which includes John Gorka, Dave Olney, Eliza Gilkyson and writer Joe Boyd, to name but a few.

His latest offering is an impressive collection of eleven songs, uncomplicated stories that visit simple every day occurrences, yet demand your undivided attention. Whereas many artists draw you in initially with melody, Vanderveen, in classic singer songwriter style, stops you in your tracks with his lyrics. Dylan’s Every Grain Of Sand is remodelled and covered, but it’s the original material that stands out. Know Yourself certainly does just that, a reminder of the power of our inner selves and our capabilities to self-cleanse and survive. Tinytown revisits times gone by and considers how particular people and places change over time, yet others appear timeless. Coming Home has a mid-70’s California ring to it. The Signet Ring, the album’s most powerful track, speaks of a broken and detached family and a path to forgiveness and healing.

You get the impression that Vanderveen never had ambitions to be a household name. More important to him has been his carefully measured and refined writing, always without compromise.  He has achieved this once again with FINAL REFUGE, another delightful chapter of stories, impressively put to music.

Review by Declan Culliton

American Pleasure Dome Self-Titled Self Release

Minneapolis four-piece band American Pleasure Dome have delivered a power pop and guitar driven gem in their up-tempo swirling debut album. Drawing on influences that range from brooding art pop to full on indie rock, they hardly draw breath from opener Time Wave to the closing track Sister Adelheid.

The band members listed are lead man and songwriter Hans Schumacher, who plays rhythm guitar, keyboards and is lead vocalist. Park Evans adds lead guitar, Brenda Shepherd is on bass and contributes backing vocals and Greg Shutte plays drums. This may be a moveable feast as the current line up on their website lists Lindsay Paine as guitarist and Joel Arpin as drummer.

Schumacher’s songwriting is both visionary and slick, his songs cover both the lighter and darker life spectrums. Obey That Bling considers the increasing influences and obsessions of the so-called reality TV world. Saint Grumpy drifts towards country, it’s a cleverly crafted tongue in cheek high five to his favourite bar tender. Dark Side is dark and brooding, recalling a close friend who tragically took his own life. Alcohol fuelled infidelity is the subject matter of Bad Girlfriend. Happy Pills dwells on the prescription drug epidemic in America. It boasts an infectious melody with equally poignant lyrics (‘The day has not been fun, life’s not for everyone’). The previously noted Time Wave is a raw edged opening track that wouldn’t sound out of place on an early REM offering.

Schumacher is a Buddhist, a painter, and self-confessed fantasy literature lover with music tastes that included Led Zeppelin, The Replacements and Rush. He’s waited until he reached the ripe age of 53 before recording this debut album with a simple explanation. ‘’Buddha said, the body ages, the mind doesn’t age.’’

Review by Declan Culliton

The Campfire Flies Sparks Like Little Stars OverPop

This is the debut album from a band of musicians and writers that reside in the New Jersey area. They are all multi-instrumentalists and all eleven tracks are performed, arranged and produced by the Campfire Flies.

The members are John Baumgartner (vocals, keyboard, accordion, percussion), Toni Baumgartner (vocals, flute, recorder, clarinet, percussion), Matthew Davis (vocals, guitar, bass, percussion), Jon Fried (vocals, banjo, guitar, bass), Ed Seifert (vocals, guitar, mandolin, harmonica) and Deena Shoshkes (vocals, guitar, bass, percussion).

The sound is very much Folk/Roots based with acoustic arrangements that contain great melody lines and which allow the musicians room to flex their individual talents. With all six members providing vocals, it is hard to know who is singing on specific tracks but suffice to say that the harmonies are really strong and full of nuance in their delivery. 

John’s Song is particularly memorable with a great arrangement and vocals that dove tail in and out of the melody, underpinned by the piano playing of John Baumgartner.  I’m Not Changing My Mind (Ed Seifert) has a nice tempo and a warm sound, as does the Piano-led melody of Lost My Place In A Small Town (Matthew Davis). 

I Can’t Find A Place That Feels Like Home (Ed Seifert) is a song that highlights the fine harmony vocals again with some nice flute playing by John Baumgartner. Waiting To Shine (Matthew Davis) has a dreamy quality in the arrangement and some nice restrained guitar lines while Deep Water (John Baumgartner) is another piano based song that highlights the ensemble singing across the sweet melody. Way Way Back (Deena Shoshkes) has a traditional air about it with accordion and harmonica fitting in perfectly with the song arrangement. 

All the players are involved in other bands and came together for this project to explore each other’s songs that didn’t quite fit on prior records and to share their love for playing together with no boundaries.  One can almost the band sitting in a circle around a campfire and teasing out these tunes in the warmth of a starry night and a few shared bottles of inspiration to keep the spirits high.

Review by Paul McGee

The Truehearts Songs For Spike Self Release

The Truehearts are singer-songwriting duo, Debra Buonaccorsi (vocals, guitar, keyboards) and Steve McWilliams (vocals, acoustic and electric guitars). They originally performed as The Hummingbyrds and moved to Nashville some years ago. This debut release was co-produced by them, along with Dave Coleman (baritone guitar and percussion), in East Nashville and the other players featured are Pete Pulkrabek (drums), Brian Hinchliffe (bass) and Coleman 

There are additional musicians with Richard Bailey of the Steeldrivers playing banjo (one track) and Paul Niehaus of Calexico playing pedal steel guitar (two tracks). There are also horns on the opening track, Won’t It Be Something, featuring Diego Vasquez (trombone) and Robert Gay (trumpet). No credits for the piano that appears on closing track, Goodbye, but apart from this oversight, the music is both varied and interesting. Across ten tracks and some 38 minutes, they touch upon Pop (Milky Way/Won’t It Be Something), Americana (Goodbye), country (Let It Sing/PFC Frankie Walker), rock (32nd Street), rhythm and blues (Mamzelle Marie), reggae (Hey Hey), and folk (Late July) music. 

The harmonies are excellent throughout with the solo vocals of Debra particularly sweet and strong. The songs are melodic and well produced but with so many styles covered, it is hard to place a definitive stamp on the Truehearts overall sound – not that it’s a bad thing to be able to move across genres with their range of influences.

Review by Paul McGee

Brad Byrd Phases Elusive Tiger

This is the fourth album from an artist who first came to media attention back in 2005. His sound is a cross between Americana and country rock with plenty to recommend the ten songs included here. Released on his own label, Byrd draws on all his experience as a musician to mix the dynamic of That Great Feeling, an up-tempo arrangement, with more reflective tracks, like Is There Another Way.

Sunset Girl has a cool acoustic melody and takes a look back at a relationship that has influenced everything that followed. Lies is a slow burn with some nice guitar playing on top of the easy rhythm and horn backing. American Life is a duet with Kay Hanley of Letters To Cleo fame that simmers and builds to a satisfactory climax. 1982 has a strong rock beat and a good band workout and Vampires is more reflective and layered.

Another Direction and All For You are both gentle arrangements that highlight restrained and understated playing and the sense that all musicians were very much in the moment. Closing track, The Stars Are Out Tonight, Boy is a highlight, with atmospheric touches on guitar and a slow groove that ends things in real style. No information arrived with this CD so I hope I am accurate in saying that Byrd is joined by John Kimbrough (electric guitar, piano, keys), Matt Pendergast (piano), David Ralicke (bass) while he contributes on lead vocal, drums and guitars. Bryan Cook, John Kimbrough, Matt Pendergast and Byrd himself took on co-production and mixing duties in what was clearly a collaborative affair. Does it work? Most definitely - these are very engaging songs that are filled with nice moments and fine playing. 

Review by Paul McGee

Sonny James The Capitol Years 1963-1972 Hump Head

Sonny James, was a country singer who also crossed over into the Pop arena and proved very popular during his reign in the 1960’s and into the 1970’s. He had 23 number one hits, starting with his teen ballad, Young Love and he was known for his revivals of old pop and rhythm n’ blues hits. He also broadened country music's appeal across the nation and during the late '60s, he had a five-year run of number one singles which held the top spot for a combined 45 weeks. He was vocally seen as similar to other stars at the time, such as, Ray Price, Charlie Pride and Conway Twitty. Included here are 50 tracks and favourites like Take Good Care Of Her, Heaven Says Hello, Don’t Keep Me Hanging On, Here Comes Honey Again, It’s The Little Things and Behind The Tear. Inducted into the Country Music Hall of Fame in 2006, James was never really accepted by a number of the purist brigade who favoured a more traditional approach but his legacy on this release stands against any such narrow view.

Review by Paul McGee

Bobby Goldsboro With Pen In Hand Hump Head

During the 1960’s this artist caused quite a stir on the radio and the charts with a number of top selling singles, among them the million seller Honey, a song that pulled at the heartstrings of a generation. He also had the gift of crossing over between the pop and country genres with his voice and his clean-cut image very representative of the times – the kind of guy you would want your daughter to bring home.

His popularity lasted through to the 1970’s and only began to lose momentum as the succeeding decades brought new generations with different musical preferences and tastes. Indeed, the production on many of the songs included here is very thin and lacking in real depth, making a lot of the songs sound similar. What is never in doubt is the clear, melodic voice that Goldsboro used to great effect. His sound falls into the broad area of perhaps, Pat Boone, Gene Pitney or Bobby Vee. There is a total of 50 songs included on this 2-CD Hits collection that covers his output for the United Artists record label between 1964 and 1976. Most of the favourites are here, from See The Funny Little Clown, to Summer (The First Time), plus Autumn Of My Life and It’s Too Late.

There are some omissions like It Breaks My Heart, or The Cowgirl And The Dandy (covered by Brenda Lee, Dolly Parton and John Denver), but most of the recognised hits are included.  Goldsboro played guitar in Roy Orbison's backing band in the 1960’s and there are clear hints of the great man in some of the song arrangements. He also had his songs covered by many artists, including Aretha Franklin, Dr John, Johnny Cash and Bette Midler. If you grew up with this music then a trip down the nostalgia highway is something you will enjoy, otherwise, this collection stands as very much a product of the decade in which music was finding its way towards a crossroads with plenty of new signposts.

Review by Paul McGee

Michael McArthur Ever Green, Ever Rain Dark River

This was a pleasant surprise, so late into the year. The artist is from Florida and released a few EP’s and singles since 2012, culminating in a compilation release in 2017, titled FOR ELAINE. Clearly an influence on his life and creative muse, Elaine is the title of one of the 12 tracks included on this 2019 album. 

McArthur released it on his own label, Dark River Records, which he founded in 2018. He took a lot of songs that were written in Florida during a sabbatical from the music industry and  travelled to Hollywood, California to hone down the writing with producer Ryan Freeland, a five-time Grammy Award winner who has worked with, among others, Bonnie Raitt, Ray LaMontagne, Aimee Mann, Joe Henry, Grant-Lee Phillips, Loudon Wainwright III and Rodney Crowell.

There was no information with the CD but if my research is accurate, studio musicians who sat in on the project were Steven Nistor (drums, percussion), Paul Bryan (bass), Lee Pardini (piano, keyboards), Jebin Bruni (keyboards), Josh Davis (guitars) and Dan Kalisher (guitar, pedal steel, bass). They gathered at United Recording Studios in Los Angeles, where McArthur sang and played live with the band, finishing these 12 tracks in just four days.  An impressive achievement and the quality of these musicians is true testament to the ability to pull this off. Terrific ensemble playing and a great sound that draws you into the warm embrace that is McArthur’s vocal, not unlike Ray LaMontagne in timbre. His sensitive delivery and winsome quality mark out these songs as coming from a deeply personal place and whereas the lyrics are not always easy to hear, the mood and sentiment of the arrangements win out every time. 

Stand-out tracks, among the twelve songs included, are Simple Kindness, We Live and We Die, Rest’s Unknown, Warmer Months, A Conversation Before Bed, Wild In The Blood and the closing title track that looks towards a future with a perspective gained from the past and all the life lessons learned. Quietly superb.

Review by Paul McGee

Dan Navarro Shed My Skin Red Hen

This is the first solo release from an artist that has travelled a long road in the industry and gathered many accolades along the way. Known as part of the acclaimed acoustic duo, Lowen & Navarro, until Eric Lowen’s retirement in 2009 (and passing in 2012), Navarro is also a voice actor and singer in major films, TV ads and TV shows. As a songwriter he has written for Pat Benatar, The Bangles, Dave Edmunds, The Temptations and Dionne Warwick, among many others.  

This record starts with the title track, a slow, acoustic number that deals with moving on and keeping light. Night Full of Rain is a cover and a metaphor for a relationship that is going through a stormy patch with the hope that all will be better in the morning. The production from Steve Postell is quite superb with just the right touch of space and balance in the playing and the song arrangements. 

Bulletproof Heart is another love-based theme, while Straight To The Heart Of Me is an invite to share the journey and be open with everything along the path. Arrows is another relationship song where he assures a friend that he will always be there as a support and a comfort. Let Her Ride is a warning to stay away from a broken relationship and a dangerous partner in the game of love. Ghosts is a rueful look at past mistakes and the memories that linger over the road not taken. Hard For Me Now follows a similar theme with it being difficult to walk away from something that was once so fine and strong.

You Drove Me Crazy, another cover, has a tex-mex rhythm that just rolls easily along and features Janiva Magness on co-vocals, as the song laments a love destroyed by crimes of passion and a jail as the final companion. New Year’s Day is about starting over and beginning with a clean slate, leaving the past baggage down and running free. Sweet Sixteen is a cover of the Billy Idol track and Navarro’s version of Wichita Lineman is perhaps a better example of his fine song interpretation skills, infused with sweet soul and a gentle groove. 

Navarro has a strong and warm vocal that leads these songs while the playing of the studio musicians lifts the arrangements into a sweet spot. Navarro (acoustic guitar, percussion, vocal) is joined by Steve Postell (electric, acoustic guitars, vocals), David Glasser (mandolin, octave mandolin), Phil Parlapiano (accordion, piano, organ), Jon Ossman (upright Bass), Brendan Buckley (drums), Debra Dobkin (percussion), Tony Furtado (banjo), Joel Tepp (harmonica) and Aubrey Richmond (violin). 

Studio guests on specific tracks include Leland Sklar, Danny Kortchmar, Wendy Waldman, Freebo, Grace Pettis, Janiva Magness, Bob Malone, Butch Norton, Brother Sun, Peter Adams, Dennis Edwards and each contributes to what is a really sophisticated project with excellent results. 

Review by Paul McGee

Album Reviews

Gill Landry Skelton At The Banquet Loose

A former New Orleans busker and member of Old Crow Medicine Show, Gill Landry has been quite prolific since parting with that band in 2014. SKELETON IN THE BANQUET is his fifth solo recording since then and was conceived during last summer, when Landry retreated to a small flat in a Western French village, to gather his thoughts and reflect on present day America and more personal matters. A multi-instrumentalist, Landry contributes vocals, guitars, pedal steel, keys & harmonica on the album, alongside his co-producer Seth Ford-Young playing bass, Josh Collazo on drums, Stewart Cole on trumpet and Odessa Jorgensen on violin.

Landry’s solo work is far removed from his work with OCMS. His relaxed baritone vocals, aided by accomplished playing throughout, impress on the nine tracks that feature on the album. It’s a collection of unhurried, contemplative songs, often dark and wistful, reflecting on relationships both fulfilled (I Love You Too) and doomed (Angeline). With its swirling pedal steel twang, the former creates visions of hand in hand walks on sun drenched beaches. The latter represents the opposite end of the spectrum, a harmonica intro and Dylan like up-tempo delivery, which launch into a bitter breakup rant. The Refuge of Your Arms, probably influenced by his stay in France, is a tender waltz like stroll, recollecting past comforts sadly missed. The beautifully punctuated and melodic A Different Tune recalls Veracruz by the late Warren Zevon.

Landry’s luxurious low-pitched vocal delivery mirror mid-career Leonard Cohen on the gloriously uncluttered Nobody’s Calling. The apocalyptic Trouble Town, with a similar vocal delivery, paints a picture of impending hopelessness and despair. Perhaps a reflection on the present day political and environmental turmoil, it closes with a simple appeal ‘’Captain let’s turn this ship around.’’

SKELETON AT THE BANQUET follows in a similar vein to Landry’s previous album LOVE RIDES A DARK HORSE. Its minimalistic, laid back and brooding approach perfectly captures an artist at the top of his game. Late night candle light listening of the highest calibre and a wonderful album to kick off a new decade.

Review by Declan Culliton

The Southern Fold Bible Fear Self Release

Dark events, characters and phenomena are explored by The Southern Fold across thirteen tracks on BIBLE FEAR, their debut full album. The recording follows their mini album A TRUE ASCENSION FROM THE WAYWARD PATH, which was released back in 2016.

The Southern Fold are Emlyn Holden (Vocals, Guitar, Banjo), Laura Hand (Vocals), Brian McGrath (Bass), Cian Doolan (Guitar) and Jamie Fitzpatrick (Drums). They cite their influences to include both Hank Williams and Nirvana, but their core sound is best described as Gothic Americana, bringing to mind the early output of both Willard Grant Conspiracy and The Handsome Family. The material on the album is entirely self-written by Holden, with the exception of a re-modelling of the traditional song Run On. It’s a powerful showcase of creative and fanciful song writing, covering the emotional baggage of religious torment, damnation and redemption. Writing aside, the real winner here is the vocals of both Holden and Hand, a combination that impresses throughout.

Hold Back The Sun, the album’s first track, kicks off with acoustic guitar alongside those combined vocals, recalling the unlikely yet potent musical marriage of Mark Lanegan and Isobel Campbell, when they joined forces in 2006 with BALLAD OF THE BROKEN SEAS. It’s a comparison that repeats on a number of occasions on the album. The evocative and deathly Sunday Best is a dark late-night listen, that unites Holden on banjo alongside splashes of accordion, compliments of Ger Moloney.  

Jesus Christ & The Holy Ghost (Not Taken In Vain) is a swinging country affair, laced with mournful pedal steel guitar by David Murphy. It’s particularly easy on the ear and radio friendly, though unfortunately the title is most likely to exclude it from our national radio airwaves. Murphy also collaborates on God Is A Ghost, another mellow country ballad that bookends the album. Blood OF Life is torrid and mischievous, bluesy with a twang. Run On (For A Long Time) and The Devil In Me are both on the same page, stomping toe tapping country blues. Save Your Soul enters gospel territory, showcasing two vocals perfectly balanced and on the same page. No - One Is My Name is a dreamy ballad with Hand’s hypnotic and simply gorgeous lead vocal impeccably complimented by background cello from Ella Englishby.

Released at the busiest time of the year towards the tail end of 2019, let’s hope it doesn’t get overlooked by both the press and buying public.Make no mistake, this is a quality product that compares more than favourably alongside the darker side of roots music being recorded by well-established acts in The States. BIBLE FEAR is further evidence, if we needed it, of the exceptional quality on our own doorsteps and an album that should take pride of place on the shelf of any serious Americana supporter.

Review by Declan Culliton

Session Americana North East Self Release

Session Americana are a Boston folk collective consisting of core members Ry Cavanaugh, Billy Beard, Dinty Child, Jon Bistline and Jim Fitting. This album, their seventh recording, reunites them with a host of talented musicians best described as part time members, who join the band on stage or in the studio occasionally. These contributors are John Powhida, Rose Polenzani, Kris Delmhorst, Isa Burke, Duke Levine, Merrie Amsterberg, Peter Linten, Jason Anick, Dietrich Strause, Zap Trojano, Jennifer Kimball, Ali McGrath and Jeffrey Foucault. NORTH EAST finds the band exploring songs and songwriters of North Eastern America, music with roots predominately in English traditional music, unlike the music of the South which often developed from Irish and Scottish beginnings.

The tunes chosen to cover include a selection of recent and not so recent compositions.  The James Taylor song Riding On a Railroad opens the album with a somewhat more up tempo offering than the more laid-back original. You’ll Never Get To Heaven, written by Bill Morrissey, explores the once bustling mill towns, now practically deserted. The Pixies Here Comes Your Man is reconstructed and delightfully countrified and Jonathan Richman’s Roadrunner is delivered in Dylanesque style. Others featured include Patty Griffin’s Goodbye and the album standout track, a rousing delivery of Tom Rush’s Merrimac County.

The album was intended to revisit and represent both the Old-World Charm and New World grit of New England and does exactly that. A delightful selection of well-chosen songs, impressively packaged and easy on the ear.

Review by Declan Culliton

Darling West We’ll Never Know Unless We Try Jansen

Another act from Norway that are making lengthy strides under the emerging Nordicana genre, Darling West are duo Mari Kreken and Tor Egil Kreken. They have spent quite some time in The United States in recent years, honing their sound and gaining invaluable experience while touring there and networking with similar minded people.  Included in their collection of friends is Nashville ‘man about town’ Aaron Lee Tasjan, who together with Ohio alt-rocker Erika Blinn, collaborated with them on True Friends, the only song of the nine on the album not composed by the duo.

Together with a steady stream of artists from Norway, earning recognition in the Americana world by recording material with alt-folk leanings, Darling West’s sound is somewhat more sugar-coated, a blend of well-crafted melodic pop songs, alongside some dreamy ballads.  Much of the material was written while they were in Nashville and on tour across the U.S.A. Whereas a large portion of the material being released in that part of the world at present, is a reflection of the turbulent political climate and its consequences, the theme of WE’LL NEVER KNOW UNLESS WE TRY is somewhat more positive, concentrating on hopefulness rather than hopelessness. Winners of the prestigious Spellemann (Norwegian Grammy) in 2016 with their debut album VINYL AND A HEARTACHE, this is their third release and with its mid-tempo sound and glorious harmonies has all the ingredients to qualify for commercial radio airplay. Make It Last and Can’t Help It, the first single from the album, particularly succeeds in this regard.

Americana, to my mind, is stretching the imagination in categorising WNKUWT. It’s a polished and impressive offering leaning towards the mainstream pop market and perfectly suited to what currently dominates the airwaves in America’s Country Music Radio Stations.

Review by Declan Culliton

Genevieve Charbonneau Heart Is A Tower Self Release

This singer-songwriter is based on Vancouver Island, British Columbia where she lives a life that is centred around homesteading activities as a Mother and provider for three children. 

This album is her third release and it was recorded at a state-of-the-art studio at Shawnigan Lake School. Her children attend the school and it was her meeting with music teacher Jack Connolly that led to him becoming involved as producer and player on the project. A fine job he makes of it too, with lots to admire across the eleven songs featured here. The album is a very enjoyable experience and the central themes running through the songs revolve around Family and relationships.

Her Father, Gerry Auger, contributes one song, Lonesome City, about a parents’ perspective when his child wanted to leave home and go into the World to explore her hopes and dreams. He also co-wrote another song, Here’s To Hereafter, which looks at a life lived and the legacy that gets handed down from grandfather to grandchildren with all the joy and insight that experience teaches. 

All other songs are written by Charbonneau and from the title track about love gained and lost, with superb fiddle and cello, to the closing song, Thank You, a love letter to her life partner, Daniel, who keeps everything running smoothly when she is out touring “Thank you for letting me share my heart with strangers, Every time I take the stage” – the ensemble deliver beautifully realised melodies and harmony singing of the highest standard. The contentment of living in the moment is captured on No Other Time, with superb mandolin and banjo parts. Wilderness talks about feeling trapped in the city and needing to break free, with some great banjo playing on this track.

Queen Of Hearts looks at love now departed and looking back at what once was – some great Bluegrass playing and superb fiddle from Ivonne Hernandez. She features strongly throughout and her playing on Hit A Wall, a song about breakdown and meltdown, with an up-tempo beat and catchy drum shuffles from Brian Horwitz is a real joy. Empty Dresses is a song about the missing and murdered girls and women in Canada and was inspired by an Art installation in Winnipeg. The song could also be taken as a cry out against the inequality and suppression that women have suffered for generations. Not Enough Love dissects the state of the World with a side look at a personal relationship that is also going through hard times, “What is to blame? Our ignorant tongues, The forums are many and cheap.” 

Jack Connolly also contributes on acoustic and electric guitars, keyboards and vocals, together with Brian Horwitz (drums), Alex Rempel (upright bass), Daniel Lapp (fiddle, on 3 songs), Eli Bender (cello), Peter Reid (banjo) and Jessica Blakney (vocals). Quite an impressive line-up of local talent and they all contribute in bringing great nuance to the bright, mellow and wistful tunes on display.

Charbonneau also plays and sings with her all-female band, Genevieve and the Wild Sundays, all of whom are featured on this solo album, with Ivonne Hernandez (fiddle, vocals), Kelly Sherwin (vocals), Chandra Crowe (mandolin) and Laura Carleton (vocals) adding greatly to the warm textures of the song arrangements.  

Previous releases were UPDRAFT (2014) and FINE LINE (2016), recorded with the Wild Sundays, and both received great praise among the folk/roots and bluegrass music community. She has also been a long-time member of the award-winning Balkan Babes, in addition to joining Jack Connolly as the performing duo, Heartland. As if all this activity was not enough, Charbonneau also holds a Bachelor of Fine Arts degree in Theatre and is a trained dancer and choreographer, together with her involvement in a movement linking volunteers with organic farmers and growers, to promote cultural and educational experiences, based on trust and non-monetary exchange – all helping to build a sustainable, global community.

Here is a wonderful story of self-sufficiency and having travelled throughout the USA and Mexico in younger years, then joining a crew on a yacht to complete a world circumnavigation, Charbonneau channelled her energies in to building a home on 10 acres purchased with some like-minded souls and beginning an adventure, while integrating with the local community. Sounds like that original hippie dream that so many wanted to embrace but never had the courage, or fortitude, to follow through upon.

Review by Paul McGee

Emily Duff Hallelujah Hello Self Release

Born in New York city and the survivor of a tough childhood, this artist has been described by Rolling Stone Magazine as, “One Part Patti Smith, One Part Muscle Shoals.” Interesting then, that Emily decided to record her second album at Muscle Shoals in 2017, titled MAYBE IN THE MORNING. 

On this, her third release, she again returned to the legendary FAME studios in Muscle Shoals, Alabama. Featuring an All-Star Band of veteran Muscle Shoals musicians, including members of the original Fame Gang, Emily Duff comes tearing out of the traps on the opener, Hallelujah Hello, with a blues-rock groove that lays down a firm marker for the rest of the album. It is reminiscent of Tina Turner with the powerful arrangement, backing horn section and singers, giving a full sound. 

She then switches to a country/gospel sound with Get In The Water and the feeling of redemption is present in the warm organ sound, handclaps, harmony vocals and addictive beat. The next track, You, You, You, has a blues-based sound with a laid-back beat and plenty to admire in the horn playing of Brad Guin on tenor sax solo and also Ken Watters on trumpet with Billy Bargetzi on trombone.

You Better Believe is another blues track with plenty of soul in the vocal from Duff. Backing singers Marie Lewey, Cindy Walker and James LeBlanc really excel on this number and the production across all twelve tracks by John Gifford III is just full of bright separation and big sound attack. Many of the tracks have a big choral sound and a full horn backing that adds to the dynamic.

Eggs All Day is back to a Country sound with understated playing by the band, which highlights Duff and her vocal skills in adding authenticity to the words which speak of resting in the arms of the Lord when he calls you home. Pedal Steel and dobro from Wayne Bridge are particularly strong on this track. Jesus Love This Tired Woman could be autobiographical in the words about a life lived on the edge of breaking down, yet holding on for the sake of your sanity and for others. It’s one of the highlights on the album and the slow tempo really shows off the restrained quality in the playing. 

The Day He Walked has a Stones groove with a great rhythm and blues arrangement and soulful singing from Duff to compliment the guitar lines of Will MacFarlane/Kelvin Holley. She has a powerful vocal, full of colour and character, especially on the superb Loved Blues, with another acoustic beginning, relaxed front porch playing and gentle melody. 

We All Need Savin’ Sometime is a rockabilly sound with great piano from Clayton Ivey who also provides the Hammond B3 organ sound throughout the project. The rhythm section of Bob Wray and Justin Holder really anchor the songs with some stellar playing and they can be heard in all their glory on this track as it drives along. Trust The Lord is another blues workout with a vocal that reminds me of Janis Joplin and some fine guitar work to build the dynamic. Heaven Is Where I’m Bound is a traditional Bluegrass/Gospel sound with an acoustic guitar, fiddle, dobro accompaniment from the band. The final track, The Fall, has a slow blues arrangement that eases the body and soul.

Duff has clearly found a spiritual home at Muscle Shoals and the quality of her writing and singing, together with the quality of the studio musicians, is what lifts this album far beyond the ordinary. It is a joy from start to finish and comes highly recommended.

Review by Paul McGee

Mara Levine Facets Of Folk Self Release

On her website, Mara describes herself as a “New Jersey based singer, recording artist, jewellery designer and interpreter of fine and contemporary Folk songs.” This perfectly highlights the creative muse of this artist who releases her third album, co-produced with both Bob Harris and John Guth.

Bob Harris also plays guitar on six songs while John Guth contributes various guitars, bass and string arrangements across five tracks. Other notable contributions are from Caroline Cutroneo, vocals and rhythm guitar (two tracks) and Terry Kitchen, on his own song, A Perfect Rose. It is the rich vocal harmonies that stand above everything else in the song arrangements however. The melodies are beautifully constructed and delivered with Gathering Time (Hillary Foxsong/ Stuart Markus/ Gerry McKeveny) contributing on five songs.

Josh Joffin duets on Child Of Mine, with Jan Alba on subtle flute and Harris/Juth combining on guitar accompaniment. Some of the songs are chosen for the times in which we live and the message of Daughters and Sons (Tommy Sands), Be The Change (Arlon Bennett) and By My Silence (Ellen Bukstel and Nick Annis) cannot be overstated. 

There are songs of love, Song For The Asking (Paul Simon), Hey, That’s No Way To Say Goodbye (Leonard Cohen) and Bitter Green (Gordon Lightfoot); chances missed (The Moment Slipped Away); protecting Salmon spawning ground (Upstream) and being true to yourself (You Reap What You Sow). 

Other musicians who appear on various songs are; Kim and Reggie Harris, Robin Greenstein, Michael G. Ronstadt, Ed Trickett, Harold Morton, Sean McComiskey, Barbara Novick, Cheryl Prashker, Tilman Reitzle, Akiva Wharton and Patrice Avsharian Wiseman.

This is a celebration of what makes contemporary Folk music a compelling genre; steeped in fine melody, harmony singing to excite and arrangements to keep the listener engaged at every turn. 

Review by Paul McGee

Alice Howe Visions Know Howe

This is the debut album from a singer songwriter who delivers ten tracks, four of which are co-writes with producer Freebo, who also contributes on fretless bass and harmony vocals. It’s quite a coup to secure a high-profile name like Freebo to produce your debut album and it says something of the talent that Alice Howe displays. She met Freebo at the Northeast Regional Folk Alliance Conference in 2016 and he ended up inviting her to record at Aum studios, Bakersfield, Southern California. 

Having played with Bonnie Raitt for a decade and collaborated/performed with artists like Crosby, Stills, & Nash, Loudon Wainwright III, Neil Young, Dr. John, Ringo Starr and more, Freebo was in the perfect place to influence the songs that Howe brought to these recording sessions. Of the four co-writes, Getaway Car stands out with its textured arrangement and horn section, provided by Lee Thornburg (trumpet, trombone) and Paul Perez (tenor and baritone saxophones). The one song that Howe wrote herself, What We Got Is Gold, is another highlight and shows off her clear vocals with some nice accompaniment on accordion from John Thomas (JT).

Other players on the album are John Molo (drums), Fuzzbee Morse (electric guitar), Jeff Felder (dobro/electric slide guitar), Al Keith (congas), Augie Howe (harmony vocals), Geoff Goodhue (mandolin) and JT also contributes on Hammond b-3 organ and electric piano. The players are all quite superb and colour the songs with just the right amount of gentle tones and rounded rhythm.

Somewhat surprised by the number of covers on this debut album, five in total. While Howe does each song justice, I have to wonder whether we could have had perhaps another two of her own compositions to limit the impression of relying on a safe and secure cover to fill out the project. She sings and plays acoustic guitar on Honey Bee (Muddy Waters), Bring It On Home To Me (Sam Cooke), Lovin’ In My Baby’s Eyes (Taj Mahal), Too Long at the Fair (Joel Zoss) and Don’t Think Twice, It’s Alright (Bob Dylan) and while they all sound very pleasing in the listening, I would have liked more insight into the writing of Howe. Twilight and Still On My Mind are two songs that use the imagery of nature and the ocean, one looking towards the future and the challenges ahead; the other, a look back to an old flame that still lingers on her mind. 

Review by Paul McGee

The Heart Of Heartland I Loved Her First Permian

Back in 2006, Heartland, a band from Huntsville, Alabama released a debut album, I Loved Her First. The title song went to the top of the Billboard Country music charts and a big future looked on the cards for this 6-piece group.

Sadly, their career never took off and failure to land any hits with their next 5 singles, together with a change of record label, signalled a death knell for the original band. By 2012, the only members left were Jason Albert and Chuck Crawford. In that same year they released a new single on Permian Records, a label they had joined in 2009 but since that time there has been no real media news about the band.

So, it was something of a surprise to receive this 2019 release, again on Permian Records, with two of the ten tracks featured having first appeared on the original and only studio album that the band released. Thirteen years later there is still involvement from Albert and Crawford, both of whom perform on the new record and there is also mention of another original member, Keith West, as playing a part. Unfortunately, there is no other information to assist regarding who plays on these new songs and whether the band are planning to support the release with a tour.

Featuring guest appearances from Tracy Lawrence and Samantha Crawford, this release was co-produced by Walt Aldridge (who produced the original album) and James Stroud (who produced the 2012 single, The Sound a Dream Makes), both of whom continue their involvement with the band.

The tracks are rooted in traditional country values and are very radio-friendly in sound. Solid country songs performed with a sincerity and a belief that small town families still take pride in an honest day’s work. Songs like Thank God For The Hard Times, My Daddy Did and Judge A Man By The Woman all display the beliefs of the American heartland.

There are love songs too, with Let Go, I Know Enough To Know and Sideways looking at different sides to relationships. Angel deals with drug addiction and is written by Crawford, while Slow Down is a look back to younger days and being a new parent juxtaposed with the challenges faced with a daughter, now a teenager. Final track, When Love Comes Around, is a duet with Albert and Samantha Crawford singing sweetly about a special love and not letting go.  

Review by Paul McGee

Latest Lonesome Album Reviews

Warren Storm Taking The World By Storm APO

Thanks to Karen Leipziger at KL Productions, Nashville for sending this album my way. As the year winds down, the opportunity to properly listen to music with a late release date gets quite constrained and the instinct is to review all that has gone before in 2019 as the ‘Best Of’ lists begin to take shape… That said, the search for real quality never ceases for a music reviewer and this project is a case to prove the point.

Swamp Pop grew out of the Acadiana region of south Louisiana and parts of Texas. One of the founding fathers was Warren Storm, a drummer and singer, who influenced the genre in the 1950’s. It is a combination of Cajun, Rhythm and Blues, Country, Zydeco and Creole music, which was the foundation for what became Swamp Rock during the 1960’s with artists such as Creedence Clearwater Revival, Ronnie Hawkins, Little Feat, The Band, Leon Russell, Delaney & Bonnie and Tony Joe White taking up the baton and running with a modern sound.

Warren Storm has always kept a very strong work ethic and with a career that has spanned over seventy years, now, at the age of eighty-two, he has recorded a career defining work that includes many of the legendary musicians that populated the Louisiana dance hall music scene. There are a number of famous guests that appear across the eleven tracks selected here and among them, Sonny Landreth, Marc Broussard, John Fogerty and producer Yvette Landry take vocal parts and a place at the table to celebrate this amazing artist and his career.

Indeed, this is a real labour of love for Landry, who not only produces the album and sings, but also wrote a biography of this musical icon who still sounds very able and strong when it comes to delivering his rich vocals. All tracks are well known and given quite a compelling airing by the musicians who brought their vast experience and talent to the studio. Joining Warren Storm for this live studio recording, which was done straight to two-track tape, are Eric Adcock (piano), Roddie Romero (guitar), Chris French (bass), Gary Usie (drums) and Derek Hudson (sax). This core band are joined on various tracks by Richard Comeaux (pedal steel), Beau Thomas (fiddle), Willie “Tee” Trahan (tenor sax) and Sonny Landreth (slide guitar).

Long As I Can See The Light (John Fogerty) sets the perfect pace for the rest of the album and the band excel with plenty of superb playing, including the pedal steel and piano on Tennessee Blues (Bobby Charles) and the drum shuffle and horns on Troubles, Troubles (JD Miller). Lonely Nights (Earl King/Melvin Howard Steals) has a refined Blues sound and some fine piano and guitar parts while My House Of Memories (Merle Haggard) has a slow groove with some superb sax playing. In My Moments Of Sorrow (Jerry West) has piano and horns to the fore and a great guest vocal from Landry and the closer, Raining In My Heart (James Moore/Jerry West) is a standard Blues delivery with guitar, piano and sax riffs that bring everything home in some style.  A terrific companion to the biography TAKING THE WORLDS BY STORM that contains many anecdotes and stories together with memorabilia and photographs.

Hannah Rose Platt Letters Under Floorboards Continental Song City

This talented singer songwriter originally learned her craft in Liverpool and over time, established herself on the London circuit. Her debut album, Portraits, appeared in 2015 and was recorded at Tree Top Studios, Nashville. It received quite a lot of positive media reaction and now we are given a second release, recorded in East Sussex.  Production is shared by Platt and Thomas Collison and the eleven tracks here are all superbly played, produced and written.

Josephine is an impressive song that celebrates the life of Josephine Baker, an American-born French entertainer, French Resistance agent, and civil rights activist. Her career was primarily in Europe and she was the first African-American to star in a major motion picture. She was also a famous dancer at the Folies Bergère in Paris during the Jazz Age and the 1920’s.

When Audrey Came To Call is a song about one of the strongest hurricanes to hit the USA and in 1957 it killed approx. 500 people, the majority of whom were in Cameron Parish, Louisiana. Platt’s ability to place herself into the lives of different characters is highlighted in the superbly crafted Brooklyn, New York which tells of an Irish emigrant who looks for a new beginning in America and the opportunity to bring his sweetheart out to join him, once he has established himself. It is a winsome look at failed dreams and the playing by Platt on acoustic, electric guitar, pennywhistle and fiddle conjures up the imagery of an Irish traditional tune in the arrangement, played in memory of many thousands of other emigrants who suffered similar fates in forlorn attempts to chase a dream. 

I Will Tell You When is a co-vocal with Sid Griffin that tells of rural farming and crops completely destroyed by a plague of swarming Locusts. It examines the reasons why a man would want to try and endure in the face of such a catastrophe and has a father sheltering his daughter from the darkening skies and trying to protect her against her suffocating fears; “My Daddy changer forever, The day the Locusts came.”

Chanel and Cigarettes is a sinister tale of a Ghost temptress seeking revenge on any who would try and cheat on their marriage vows. Again, the arrangement is very engaging and a fine example of Platt’s ability to spin a tale within a short song structure. However, it is the more personal songs that give a clue as to where this talented artist is currently laying her aim and her focus; songs like To Love You  and Sculptor look at doomed relationships from different angles – the former an unequal balance of strength and weakness where the lines “Here’s to the warning signs, And all that we’re leaving behind.” The latter, an abusive controlling partner who tries to manipulate another into what he desires, ignoring the real person involved. 

Illuminate speaks of self-awareness and growing from experience to never lose track of who you are. Your Way includes the lines that form the album title and the song appears to be a power struggle between friends for some common ground in their friendship. It could also be looked at from the viewpoint of someone who has passed on yet still retains an unhealthy control over another. “I’ll take your regrets, And flush them all away.” Equally, Checkmate and Black Smoke centre around relationships and the need for one to see through another and let go of an unhealthy situation. Thomas Collison contributes on bass, lap steel, acoustic and electric guitars, keys, drums, percussion, wurlitzer and sound effects – not a bad wing-man to have in the studio and as co-producer! Platt herself is an accomplished musician, also contributing on double bass, sound effects, percussion in addition to the instruments already mentioned above. Danny George Wilson appears on vocal duties together with a number of other studio musicians who all add to the confident sound and delivery of this engaging release. A confident and comprehensive move forward. 

Cave Flowers Self-Titled Self Release

This is a debut release from Los Angeles band, Cave Flowers, the new project of Andy McAllister who previously fronted a group called Vanish Valley. His song-writing on the eleven tracks included here is very much in the Alt Country/ Americana space and the guitar driven songs sound big and bright with a live kick that indicates a band having a real go and just having fun. 

McAllister is the creative centre of the band, also taking lead vocal duties and playing acoustic guitar. The band also includes Henry Derek Elis on electric guitar, Ben Coil on bass and Ryan Wykert on drums and backing vocals. They were joined in the studio for this project by Jon Niemann on piano and Wurlitzer, together with Frankie Palmer on pedal steel. 

There is a loose feel to the opening numbers with Best Lonesome Friend channelling a sound that reminds me of the Silos, that excellent late 90’s ensemble, and Renter’s Life including some righteous guitar playing from Elis. Country Fan follows and echoes the Band with a compelling groove and great interplay between the musicians. The country vibe of Midnight Movie, with fine pedal steel playing has an easy tempo with another excellent guitar break from Elis. 

McAllister’s voice has a hoarse quality and a hint of gravel in the delivery which suits these road-tested songs. The superb Upper Hand is the longest track here and the slow groove masks a message of confused frustration at the socially skewed communications and bigotry displayed by Political leaders, all mirrored again in the dynamic guitar solos of Elis. 

Trick Tears and The Stranger are further examples of Country flavoured tunes with Frankie Palmer again to the fore, while Friendly Reminders has an easy melody line with Jon Niemann providing a warm keyboard sound. The roots rock ofGreat Hits is again proof of this band’s superb interplay and the closing Little Worries really sees the players hit another home run with a message of living for today and stripping it all back.

Recorded at Heritage Recording Company in Downtown Burbank, the engineering by Chris Rondinella (Levon Helm, Shelby Lynne) is very clean and polished with great separation on all the instruments, all adding to the listening pleasure. The eleven tracks were recorded live over two days and the immediacy of the arrangements and the sweetly tight playing by the ensemble makes for an excellent debut release.   

The Lost Brothers After The Fire After the Rain Bird Dog

It has been quite a journey since Oisin Leech and Mark McCausland first released their fledgling music to the market back in 2008. The brothers have been anything but lost along the way, delivering real quality on a regular basis across a number of previous albums, collaborative projects, EP’s and singles included in an impressive back catalogue. This sixth album was produced by Tony Garnier (Bob Dylan’s long-time bassist) and Daniel Schlett in New York. 

The sound is delicately paced and relaxed, as strummed guitars merge with pedal steel and harmonica to deliver a stripped-down, chilled listen. Their voices harmonise beautifully and give the feeling of late-night parlour sessions by an open fire. Equally the timeless quality of the gentle arrangements leaves a lingering sense of reflection, which is never far away in songs like Eight Hundred Miles, Medicine Wine and Fugitive Moon. 

The musicians play with an understated grace that compliments these tender songs so well and with a line-up that includes such talented players as M Ward, Howe Gelb, Jolie Holland, Dave Murphy, Steve Wickham, together with co-producers Garnier and Schlett, then this band of Brothers just can’t go wrong. Snugly reflective and nostalgic yearning are conjured up by the sweet arrangements and the playing that has all the time in the world to set the right tone.

French horn, trombone, trumpet and whistle all add to the ambience of the songs that take us on a trip that resonates with the senses. Ash Wednesday is an instrumental that has images of the desert on a hot night with a lonesome whistler sitting around a camp fire playing an acoustic guitar. Glens Of Gortin closes the album and is another instrumental with lovely haunting vocals and pedal steel echoing into the distance. A superbly crafted release and perhaps their most cohesive work yet.

Oh Susanna Johnstown (20th Anniversary) Stella

Susie Ungerleider first appeared back in 1997 with an EP under her performance name of Oh Susanna. This Toronto-based singer-songwriter soon developed a reputation for her live shows and her passionate, vocal delivery. Her first full-length album, JOHNSTOWN, appeared in 1999 and she went on to release a further six albums in a career that has seen her continue to achieve widespread recognition and admiration for her songcraft and performance skills.

This remastered and extended look-back at that debut album comes at a very timely interval as Oh Susanna takes a well-earned look back to where it all started. Always looking to inhabit the worlds of characters she either learned about through conversations or imagination, Oh Susanna has an easy sense of observation when it comes to the human condition and this transfers into her tales of quiet suffering and enduring nobility in overcoming adversity. Her sound has been described as folk-noir and her resonant vocal across the twelve original tracks really does point to how overlooked the debut release was, when such fully formed songs should have received much greater plaudits.

These are tales of dark deeds, hard roads and the need to keep a fighting spirit alive to overcome troubled times. All songs were written by Susie Ungerleider, with the exception of one co-write, the closing track, Tangled And Wild, which was written with Basil Donovan of Blue Rodeo fame. It’s a song about running away to begin a new life with a true love and closes out the album on a note of optimism, something that is in short supply across the previous 48 minutes of the album. Back Dirt Road looks back at younger days of innocence and feeling free while Home Soon (The Cherry Song) deals with seasonal fruit pickers and the need to leave in order to earn enough to pay for a wedding.  

The title track is a murder song where the killer escapes into the night and awaits his fate further down the line.  Similarly, You’ll Always Be, is a tale of revenge where the woman holds the power to decide the fate of her returning lover who has committed a crime and seeks her safe harbour. The loneliness of lost love on Old Kate is very real with the lines “Well, I’ll make your picture last ‘cause I could not make you stay.”

The Bridgeis about a woman who wants to get free of an abusive relationship and contemplates suicide as the only way out of her dilemma. Oh My Good Ol’ Gal is a song about a woman who turns down a marriage proposal in order to remain independent while Parallel Rail looks at land grab and the power of the railroads to overrun the lives of rural farmers.

There are five bonus tracks included which are taken from an acoustic session in 1998 and all songs are included on the JOHNSTOWN track listing also. This is an essential purchase for anyone who never picked up on the original and who wants to discover this terrific artist for the first time. For the rest of the converted it’s just proof of what we knew all along; true talent will always surface and find a way into the light. 

Ralph Molina Love And Inspiration Vapor

Best known as the drummer in Crazy Horse, Ralph Molina releases his first solo album in a career that started in the 1960’s and has seen him play on all their albums as an original member. The eleven songs included here are all written by Molina and he has surrounded himself with many seasoned musicians to bring colour and life to the sweet melodies. 

He has a soft vocal delivery that suits the arrangements and his use of gentle tempos add to the overall sense of being back in earlier times when harmonies and smooth sounds were hugely popular. It is certainly a sound that is very much away from the Crazy Horse signature and perhaps this is where the true heart of Molina lies. 

Molina has invited a host of musicians from a range of genres, including Steve Crimmel, Kelly Clarkson, Barry Goldberg, Dave West, Tom Lackner, Phil Lee, Ian McNabb, Kent Agee, Josh Sklar, Mark Pont, Anthony Crawford, Victor Goodman, George Friedenthal, Greg Morrow, Bob Thiele, and John Philip Shenale.

Titles such as Your Life Is My Life Too, You Wear Angels Wings, I Don’t Care and Hopelessly In Love With You are steeped in sentimental messages to a significant other and in celebration of the power of love. There is a touch of the Beach Boys in the smooth strings and choruses and the unpretentious emotion displayed is certainly from the heart. Wonderlandhas a more up-tempo beat to it and is a nostalgic look back at days gone by, as is the innocence of Too Young To Know, a love song that recognises the passage of time. Last track It’s Gonna Be Alright speaks of having faith and trusting that things work out in the end. The title of the project says it all really – a sense of surrounding yourself with what is important and enduring in life.

Adam Hill Water In The Draw Self Release

What a refreshing release from an artist that comes with plenty to recommend his singular vision. This is an eight-track project that is both organic and fluid, spontaneous and soulful, in both feel and spirit. Coming in at just over 30-minutes, the songs were created in a one roomed cabin in Wyoming, on a 10,000-acre cattle ranch. It was a solitary existence as the winter snows melted and the mountain winds whistled through the cabin door. 

The instruments used by Hill are double bass, guitar and piano, all of which were his constant companions over a month spent practicing and writing. There are atmospheric ‘found sounds’ also, like the coyote wail and the sound of a boulder falling into a creek as percussion on Magnetic North. Or the recorded snippets of conversation and laughter that appear on both Dance All Nightand Sally Ann Johnson.

The three largely-instrumental pieces included, Dance All Night, Libertyand Sally Ann Johnson; all are old time tunes and Hill’s arrangements are very reminiscent of their roots in traditional fiddle music, with echoes of Irish influences in the arrangements. All this music came from the same rural sources originally, before emigration blended the indigenous sounds, so the inevitable recognition and crossover comparisons are always going to appear. 

Ghost is a look at happy isolation and not needing to be in the company of others for the sake of idle conversation. There is the sound of wind and water at the track end that adds an eerie quality. The ramshackle, loose rhythm of Oh Me Oh My is an off-beat Tom Waits-like dyin’ song that sounds both clunky and inspired. Libertyalso includes a spoken dissertation on human nature, freedom and the need to break the chains of suffering. Airplane Man speaks of giving up and going home when big city alienation looms large. 

As the website hints, “this is a musician who dislikes boundaries, qualifiers, limitations, or absolutes.” The entire project is just filled with great fun and surprise. This is the fifth release from Adam Hill and I cannot recommend it highly enough. 

I See Hawks In L.A. and The Good Intentions Hawks With Good Intentions Western Seeds

This is a collaboration between California band, I See Hawks In L.A. and The Good Intentions, who are a husband and wife duo from Liverpool. The musicians originally met at a house concert in 2012 and, over time, they began to collaborate on writing songs. 

The current members of I See Hawks In L.A. are Rob Waller (vocals, guitar), Paul Lacques (guitars, vocals, dobro), Paul Marshall (bass, vocals) and Victoria Jacobs (drums, vocals). They originally formed back in 1999 and have eight prior releases. Their Alt Country sound has earned them a large fan base over the years and on this album their talents have been merged with the more Folk leanings of Peter Davies, who along with Gabrielle Monk, makes up The Good Intentions. They have four releases to their name and are well respected on the UK Country scene. 

There are ten songs on this release and eight are co-writes between the two bands. On the last album, LIVE AND NEVER LEARN, the Hawks had two co-writes with The Good Intentions, so it would appear that the musical relationship is going to continue to grow into the future. They certainly compliment each other on these acoustic based tunes with close harmonies and lots of sweet melodies. There are drums on only one track, which tells its own story, with Davies taking lead vocal on five songs, while Waller takes up the challenge on another four tracks – all very equitable. The exception is the sweetly soulful Hills On Fire which is sung by Victoria Jacobs.

The playing of Paul Lacques is a delight throughout with his skills on guitar, lap steel, dobro and slide guitars very evident on all the songs. Paul Marshall provides sensitive bass lines to augment the gentle arrangements and there are guest slots from Richie Lawrence (accordion) and Gabe Witcher (fiddle). The songs are all very pleasant on repeated listening and standout tracks are Things Like This, Rolling The Boxcars, Flying Now andWill You Watch Over Me From Above. Very engaging and worthy of further investigation.   

Buford Pope The Waiting Game Unchained

Buford Pope, (a.k.a. Mikael Liljeborg) was born in 1971 on Gotland, a Swedish limestone island in the Baltic Sea. This is his eight release and it is co-produced by Pope and Alexander Härnlöv at Vall recording studio in Sweden. Härnlöv contributes bass, keyboards, organ, electric guitar and vocal harmonies; essential contributions across the twelve tracks included here. There are many more studio musicians who contribute on these songs and the array of instruments range from Mandolin, Piano, Violin, Viola, Pedal Steel and Dobro.

Pope contributes on lead vocal, acoustic guitar, piano and banjo with all songs written from his creative muse. The lyrics revolve around themes of feeling lost in the World (Tell Me What I Am / Five Minutes To Midnight/ Stoned) to feeling misunderstood (Hard Life/ First Blood). Repenting for past mistakes (Wanna Say I’m Sorry Before I Die/ Can I Be There For You) to a hedonistic lifestyle (A Hundred), there is always a price to be paid.

The opening song, America, is one that takes a bit of digestion as Pope seems to be penning a love letter to the great Gods of fortune and fame – surely not? Better by far is the stripped back In My Hometown and a memory of reckless youth in a small town with sweet harmony vocals from Anna Liljeborg and the final song, Ninety-Nine, channels a blues version of a previous song, A Hundred, where the need to move on and leave the past behind is the ultimate goal to learning life lessons and growing up. The song arrangements are very expansive and the ensemble playing has plenty to offer. If you have purchased this artist’s music previously, then you will not be disappointed. 

ALL REVIEWS BY PAUL MCGEE

Latest Album Reviews

Karen Black Dreaming Of You 1971-1976 Anthology

Another look back down the rope of time and a compilation of songs recorded by Karen Black. She died in 2013 and was a beacon for creative female energy and well ahead of her time. In turn, an actress, screenwriter, singer, and songwriter, Black often championed the lives of eccentric and offbeat characters. She is best known for her work in various independent films in the 1970s, including Five Easy Pieces (with Jack Nicholson), Nashville (Robert Altman film), Easy Rider (Dennis Hopper, Peter Fonda), Day Of The Locust (John Schlesinger) and The Great Gatsby. She also acted on Broadway, notably in Robert Altman’s Broadway debut of Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean.  

Black always wrote poetry and composed songs although she never pursued a career as a full-time musician. A chance meeting with Cass McCombs in 2008 led to an enduring friendship and the pair were collaborating on a solo release in the years leading up to her death. 

Two of those songs feature here and the 17 tracks stand as a real testament to the friendship she shared with McCombs and his labour of love in restoring these simple acoustic recordings into something approaching a presentable state. Her vocal recalls Joan Baez and Judy Collins with a clarity and range that is impressive. Her cover of the Moody Blues hit, Question, is a fine example of her ability to strip something back to its original form and infuse it with a new interpretation and meaning in her delivery. That’s Me, The Wind Doesn’t Speak To Me Anymore, Passing Through and Thank God You’re Mine are all interesting insights into Black’s talent and the final two songs are the McCombs collaborations, Royal Jelly and I Wish I Knew the Man I Thought You Were. 

Frequently poignant and always capable of surprising the listener, this is a peek through the keyhole to a time when talent was not always given the channels of media distribution that perhaps it merited.  

Review by Paul McGee

Josh Johnston Moon Landing Shandon

Dublin singer-songwriter Josh Johnson has been keeping busy over the last few months. Apart from playing gigs around the city, he continues to create thoughtful music and this 4-track EP is a follow-up to his album, THE ART OF SAVING LIVES, which was released last year.

Two of these songs have been previously released and are included here as reworked arrangements. Moon Landing is taken from last year’s album and is a tuneful melody with a chorus that remains in the mind. Swimming On The Moon is taken from a 2008 release, ASYLUM HARBOUR and is a strong work-out with the musicians building to a fine climax. 

In between, we are given a cover of UK Folk artist Chris Wood’s song, Come Down Jehovah, that asks God to reveal himself and agree that heaven is indeed to be found all around us on Earth. The other song, In My World (She Said), is a swipe at older sugar daddies who blindly think that they still ‘have it’ and can attract the ladies, irrespective of age. 

The musicians are Josh Johnston (piano, Wurlitzer and vocal), Paj Groenland (electric and acoustic guitar), Scott Flanagan (Hammond organ), Rory Pierce (cello), Bill Blackmore (trumpet), Marco Francescangeli (clarinet andsax), Brian Hogan (bass) and Dave Hingerty (drums and percussion). Fine ensemble playing from all concerned and a very enjoyable listen.

Review by Paul McGee

Carter Sampson Trio CRS

With a growing fanbase in Europe, Carter Sampson - christened The Queen of Oklahoma by her fans and peers - has been a regular visitor to Europe, since making a breakthrough with her 2016 release WILDER SIDE. Her previous visits have found her hooking up with some musicians from this side of the pond, whereas on her recent tour she was accompanied by two members of her Oklahoma band. This five-track mini album TRIO coincided with the tour and features those two musicians that travelled with her this time around. With Jason Scott providing guitar and mandolin alongside Kyle Reid’s guitar, pedal steel and drums, the album features four tracks selected from Sampson’s back catalogue, but performed in a more stripped back manner. A cover of Woodrow Buddy Johnson’s Since I Fell For You is also included.

The original songs that feature include her crowd favourite Rattlesnake Kate, from her 2018 recording LUCKY and two selections from WILDER SIDE, the title track and Highway Rider. Her signature tune Queen of Oklahoma also gets a reconstruction.

There’s never been any doubt about the unique quality of Sampson’s crystalline vocals and these less crowded versions are very much a reflection of what she excels at in the live setting. Recorded at The Blue Door Studio in Oklahoma TRIO is the perfect stopgap, while we await the next recording from this talented and much-loved artist.

Review by Declan Culliton

Signe Marie Rustad When Words Flew Freely Die With Your Boots On

Norway has been particularly well represented by female singer songwriters in 2019. Impressive releases earning recognition in the International market from Malin Petterson and  Louien are joined by this latest offering from Signe Marie Rustad. Without occupying the same musical space, all three artists qualify for the ever-widening Americana genre.

Die With Your Boots On Records, the label that signed Rustad, can also boast having Malin Petterson on board and are part of The Jansen Records family who represent the aforementioned Louien, another rising star who is establishing herself outside her native Norway. 

Having recovered from a writing block coupled with distressing personal issues, Rustad returned to the studio to record WHEN WORDS FLEW FREELY. Her previous albums include the Spellemann (Norwegian Grammy) nominated HEARING COLOURS SEEING NOISES (2016) and her 2012 debut album GOLDEN TOWN.

Born and raised on a farm in rural Norway, there is a peacefulness and placidity about the album, possibly fuelled by that unhurried upbringing. The material often seems to question if a comparable calmness could be rediscovered in adult life.  The album’s title is also both the opening and closing tracks on the album. The former is a spoken word prelude that dances across the speakers and the latter is a fleshed-out version, which opens with Rustad’s vocal accompanied by piano and gradually builds climatically over the following six minutes. We Belong Somewhere is a charming ballad, reminiscing the difficult matters of detachment and growing apart. It features Rustad’s vocals caressed by simple piano and strings. Both Something Easier and Hands Across Her Back are stand out tracks for me, ebbing and flowing in a style perfected by Tori Amos at the top of her game.

The composure and mood of the album demands a precise listening environment. A late-night listen, alone and delivered by headphones will reward the listener to maximum effect.

I’d have little complaints If I were to be condemned to listen only to music by Norwegian artists for a period of time. WHEN WORDS FLEW FREELY is a strikingly impressive alt-folk experience, that would be top of the pile. Simply gorgeous.

Review by Declan Culliton

Torgeir Waldemar Love Jansen 

LOVE is the third full length album recorded by Norwegian singer songwriter Torgier Waldemar. His sound has been hailed as trademark Laural Canyon 1970’s revisited, but for readers more familiar with more recent and rockier Americana outputs, Israel Nash is probably a more accurate yardstick.

Bursting on to the local scene with his self-titled debut album in 2014, Waldemar earned two Spellemann (Norwegian Grammy) nominations for best country album and best newcomer. Signed to Jansen Records in 2017, his sophomore album NO OFFENDING BORDERS (2017) contained a more aggressive and pumped up sound than its predecessor, gaining him a Spellemann nomination in the rock category.  The new album follows in a similar vein, layers upon layers of vocals and instruments combining to generate a quite riveting listen.

The album includes eight tracks, three of which are short intros. However, there’s nothing short about the other tracks with the epic Leaf In The Wind and Truncated Souls running for eight minutes and the hefty closing track Black Ocean breaking the fourteen minute mark.

With only a promotional copy of the album and without the benefit of any information regarding the players on the album, I’m unaware of Waldemar’s musical input or who else features on the album. However, what is beyond doubt is the quality of the playing including some killer saxophone on Contagious Smile. A most impressive introduction to Waldemar for me and an album to be played at maximum volume.

For fans of Rich Hopkins & The Luminarios, Crazy Horse and the previously referenced Israel Nash.

Review by Declan Culliton

Zoe & Cloyd I Am Your Neighbor Organic 

Considering their respective musical lineages, it’s not a surprise to discover a fine album from this  husband and wife duo based in Western North Carolina. Hailing from each end of the Appalachians, Natalya Zoe Weinstein and John Cloyd Miller make their home in Ashville, a hotbed of rootsy folk and bluegrass. Blending bluegrass, country, klezmer and Old Time American sounds, the album demonstrates why there’s quite a buzz about this band recently.

The albums title comes from the song Neighbour, a cowrite with Kari Sickenberg, which encourages a celebration of human similarities at a time when racist attitudes are again emerging - we may be different but after all we count the same stars. Looking Out For You And Me, the bluegrass opener written and sung by Cloyd, highlights the risks to the human race from ongoing environmental destruction. It allows him to showcase his chops on mandolin and guitar, while Zoe weaves her sweet fiddle in and out of the melody. Her Russian grandfather was a professional klezmer musician, hence the inclusion of a traditional klezmer instrumental here - Berditchever Cher. In addition they have written a beautiful new klezmer instrumental, Zisa Meydele, for their daughter.

Although Cloyd is the grandson of the famous fiddle player Jim Shumate (Bill Monroe’s Bluegrass Boys and Flatt & Scruggs) he leaves the expert fiddle playing to Zoe while he plays banjo, mandolin and guitar. Each can take lead vocals and contribute backing vocals, producer Jon Weisberger lends his usual magic and the sound is rounded out by two local hotshots, Bennett Sullivan (banjo) and Kevin Kehrberg (upright bass). Zoe’s rendition of the gospel staple Satan, Your Kingdom Must Come Down breathes new life into this well known tune, bolstered by stirring clawhammer banjo and guitar. 

A record to get to know and savour.

Review by Eilís Boland

Issam Hajali. Mouasalat Ila Jacad El Ard. Habibi Funk.

I received a copy of this 1977 release from In House Press, a very fine music PR company based in Manchester, who are promoting the re-release of this lost recording. The music blends Arabic, Jazz & Folk sounds with influences from Brazil and Iran woven into the seven tracks featured. It is a very eclectic sound mix of diverse influences and the vocals of Issam Hajali take some getting used to as all songs are sung in his native Lebanese Arabic tongue.

There are hints of the feeling behind the songs in his delivery and his back story is certainly fascinating; from his days in a politically motivated band, Ferkat Al Ard, to his exile in France and latterly, back running a small shop in Beirut. This was his debut solo album and recorded in just one day in a studio in Paris; it subsequently disappeared due to no funding for a proper label release.

However, one copy of the original tapes made was kept by Issam Hajali and it became the source for this release. Not for everyone admittedly but if you enjoy Folk based music from around the World and the freedom to stretch the sounds into other musical idioms, then this should interest you.

Review by Paul McGee

Jack Klatt It Ain’t The Same Yep Roc.

This is a varied bag of delights, from the traditional Country sound of Ramblin’ Kind to the slow blues of Caught In The Middle. The rockabilly of Prove My Love is perfectly balanced by the Roy Orbison influenced sound and groove of Tinted In Blue. The folk sound of Love Me Lonely is another example of the ability that Klatt has to write in any one of a number of musical styles.

Joined in the studio by stalwarts, John James Tourville (The Deslondes) on electric guitar and pedal steel; Casey McDonough (NRBQ) on bass; Alex Hall (JD McPherson, The Cactus Blossoms, Robbie Fulks) on drums, percussion and keyboards – the playing is superb throughout with Klatt leading on acoustic, electric guitars and vocals. Klatt wrote all of the songs with the exception of the title song that was penned by John James Tourville and his vocal style is rich and warm in the mix.

In 2013, Klatt released his first album, LOVE ME LONLEY, and he followed this up with SHADOWS IN THE SUNSET, recorded in 2016. This release shows a great diversity in the performance and the sound of these eleven tracks. A very enjoyable listen.

Review by Paul McGee

The Gothic Cowboy and Mando Dan Between The Wars Self Release

Straight off from the get go, you know what you’re getting here, a gruff/lived-in voice backed by guitar and mandolin. There’s stand up bass and harmonica in the mix too. Melvin Litton (the Gothic Cowboy), Dan Hermreck (Mando Dan) with Til Willis (harmonica) and Jeff Jackson (bass) are the components on this double album. 26 songs which, according to Litton, are about the trials of life and the temptations of heart and soul.The songs seems to come from several sources of inspiration, including stories of murder and arcane publications.

The quartet perform these songs in a similar style, so this is not going to be something that everyone may take to the heart, but if you embrace the likes of Malcolm Holcombe, then this may be an album that will entertain you. In the way that in previous times folk music was a means of spreading folk tales and stories, you listen to these stories of the darker characters who inhabit the songs. As well as murder there are the misuse and casting aside of soldiers returning from war, set amid the telling of the lives of gamblers, grifters and the graduates of life’s hard lessons.

However with both discs clocking in at over an hour each it is a listen for ardent fans, those acquainted with the duo’s music locally or for the more casual listener an opportunity to dip in and sample the delights of these hard, rough-hewn, stripped-back lessons in life.

Review by Stephen Rapid

John Salaway Americana Dreams Self Release

With a Curriculum Vitae that boasts playing shows with Denny Laine of Paul Mc Cartney & Wings fame, Peter Frampton and Ben Folds, there was little chance that the playing on multi-instrumentalist John Salaway’s latest album would be anything but top drawer. Equally satisfying, is that the quality of the writing and production matches the instrumentation. Self-produced in his home studio in Murfreesboro Tennessee, the album offers ten tracks written or co-written by Salaway.

Heavily influenced by The Beatles and Crosby Stills Nash & Young, Salaway creates a sound that lands midway between the two, the perfect blend of roots and pop. Unlike his 2013 recording THE SONG IN THE AIR, where he performed every instrument, he doesn’t attempt to entirely hog the limelight this time around and engages some Nashville big hitters and emerging artists to contribute. Particularly impressive are Joey Fletcher, whose slide guitar on the catchy Take The High Road is killer and indeed the fiddle playing compliments of Nashville neighbour Bri Murphy on the cool ballad It’s All In Your Mind. Comparisons could be drawn from the latter to Simon & Garfunkel but possibly more accurately a Paul Mc Cartney sound rings aloud for me. Another Nashville talent Kelsey Steele, sings harmonies vocals on the bluesy You Better Believe and the stomping I Just Wish The Best For You. The single A Little Bit Broken is a co-write with another accomplished local singer songwriter India Ramey and hit the No.1 spot on the Independent Radio Charts Worldwidw. Inspire You is a stripped back ballad in the style of Hayes Carll, with another welcomed appearance from Bri Murphy.

 In keeping with so much great music coming out of underground Nashville, AMERICANA DREAMS is a body of work loaded with impressive hooks, that hit the spot a couple of listens in. An album well worth your attention.

Review by Declan Culliton

Zachary Lucky Midwestern Wroxton

Saskatoon in Canada is the birthplace of Americana darlings Kacy & Clayton, alongside Colter Wall, who is currently one of the most promising young country artists to emerge in recent years. It’s also where Zachary Lucky was born and spent his childhood. The title of his latest recording pays homage to that landscape and its residents, both past and present. The track titles also reinforce his bond to Midwestern Canada with No Shame In Working Hard, Rock And Roll Dad, Sunday Morning At The Dragstrip and Back To The Country all proudly celebrating fond memories, both bygone and more recent.

I’m reminded of Texan songwriters on much of the material and the stylish writing, two equally impressive albums of late from Chuck Hawthorne and Terry Klein spring to mind. Indeed, the track Moment Of Time, could have been plucked from Mary Gauthier’s songbook. It’s a beautiful stripped back ballad, delivered semi spoken by Lucky with acoustic guitar and haunting pedal steel wrapped around it like a blanket. The opener There Was A Time When I Used To Run sets the album’s theme of reflection and appreciation of the important things in life, often close to home.

Didn’t Know That You’d Come Along is a co-write with fellow countryman Del Barber. Revelation Blues is a modern day country song, honing in on topical issues of the day, including environmental, increasing cell phone dependency and obscene wealth.

The material is delivered with a gravelly and lived in baritone vocal that is laid back and gloriously loose throughout. MIDWESTERN is confirmation that Lucky’s nomination as artist of the year in the Canadian Folk Music Awards in 2017 was recognition of another rising star from that most fertile musical landscape. He’s due to tour the U.K. in 2020 so let’s hope he includes some dates in Ireland on his travels.

Review by Declan Culliton

Mike and The Moonpies Cheap Silver And Solid Country Gold Prairie Rose

When reviewing STEAK NIGHT AT THE PRAIRIE ROSE, the crack album released last year by Austin’s Mike and The Moonpies, I posed the question as to whether it might be the breakthrough album for the band. A well-earned reward for their annual two hundred plus live performance perhaps, affording them the opportunity to establish a firm foothold outside their native Texas.

STEAK NIGHT and its predecessor MOCKINGBIRD (2015), firmly cemented them as the premier honky tonk dancehall band in Texas, where they have toured relentlessly since their formation, over a decade ago. Their latest album is a departure from their signature sound and it is, to say the very least, a courageous sidestep.  They’ve put their hearts and souls - and most likely their life savings - into the album. With festival dates booked in Italy and France, they took advantage of their time in Europe to prearrange three days at the legendary Abbey Road Studios in London to record the album.  Rather than replicate the successful formula of STEAK NIGHT, frontman Mike Harmeier and his bandmates chose to work on a somewhat alternative sound this time around, in particular introducing more instrumentation and visiting a more Countrypolitan vibe, recalling the Nashville sound of the 60’s and 70’s. To achieve their goal, they also hired The London Symphony Orchestra to add the orchestration and it’s fair to say that the end result is an album to match any other released this year under the country banner. They haven’t abandoned their core sound entirely, the Texas twang, pedal steel and telecaster still feature throughout, although not quite as dominant as on previous recordings.

It’s not a particularly long album, timing in at just over 31 minutes across eight tracks, but it oozes quality on each and every track.  A few well selected covers feature, the closing track is a melodic low-key treatment of Gary P. Nunn’s London Homesick Blues. They also include a dreamy version of If You Want A Fool Around, a song Harmeier had always intended recording and finally found the ideal home for. However, it’s their original material that takes pride of place. Both the opening title track and You Look Good In Neon are lessons in how to write and deliver first rate classic Countrypolitan songs, without dumbing them down. It’s not all strings and lushness either, in sharp contrast Danger is high octane upbeat outlaw fare and Fast As Lightning is equally pacey and toe tapping. With the finishing touches to the recording taking place at Yellow Dog Studios in Wimberly Texas, they roped in Nikki Lane - who was in town at the time - to add vocals to Miss Fortune. The musicianship, as you would expect, is top notch throughout and Harmeier vocals are splendid, unveiling his expertise as a crooner, alongside his customary outlaw vocal deliveries.

 With this album Mike and The Moonpies have managed to create a sound that is classic, sophisticated and acceptably commercial, yet never crosses over into pop/country. Their core following will no doubt buy into the sound and with exposure, the album has the potential to reach a far wider audience. If only the market, record labels and radio stations would take a listen and accept that this is a quality, radio friendly and commercial sound, that would shift truckloads of products, if it were supported. It’s without doubt the best ‘country’ album I’ve heard this year and with Jason James, Tyler Childers and Ags Connolly also recording old school country albums, the tide may finally be turning. Let’s hope so.

Review by Declan Culliton

New Album Reviews

StevieRay Latham Surburbia N.O.I.S. 

Five tracks on this E.P. from an artist who has been slowly building a support base in England and beyond. He released his debut, MODERN ATTITUDES, in 2014 and followed this with the impressive WINTER IN LONDON in 2016. More recently he has been travelling across the four continents and exploring a greater sonic palette by experimenting with synth sounds and field recordings. 

A stand out track is News and the refrain “Is This Living, Is This Living Now…?” Questioning the need to stay stuck in a routine job in order to support the financial commitments of surviving life in a city. Stay Young is an acoustic arrangement with soft vocal layering and a plea to keep a sense of spirit alive, instead of getting weighed down by the daily commitments and stresses that can become larger than life. 

Eastern Fountain is an instrumental track which sets a reflective mood among the various sounds that merge together – traffic and a waterfall blend with wind chimes and layers of synths. Suburbs is a look at our lives in expanding urban populations and is wrapped in a superb guitar melody line that echoes throughout. Sweetest Thing has a restrained rhythm and dreamy vocal that reminds me of long days spent in Summer sun. Some hints of Bombay Bicycle Club and Peter Bruntnell but this artist has retained a unique sound, all his own; always interesting and not afraid to move in this latest direction. 

Review by Paul McGee

Wildwood Kin Self-Titled Sony Music

This represents the second release from this trio of family members who grew up in Devon and released their first EP in 2015. Since then they were signed to Sony Music on the strength of their live performance and the release of their debut album, TURNING TIDES (2017), saw them gaining widespread critical and media acclaim. 

Subsequent singles followed, plus a second EP of cover songs, before this new release found its way into the light. The sound is very full, with plenty of positive affirmations across the ten songs that speak of empowerment in living, spirituality, dealing with love and loss, all delivered with soaring, uplifting harmonies and melodies. Most of the tracks are co-writes, which is a departure for the group as they previously wrote their material solely as a trio. Ed Harcourt lends his talents to Never Alone and Gabrielle Aplin worked on Wake Up Sleeper with the band.

The message of love and support on All On Me is also repeated on Never Alone, a very personal song that was written in honour of a sibling who suffered from depression and sadly ended in taking his own life. Out of such crippling sadness comes a hope that others will never feel on their own and will reach out for help. 

Wake Up Sleeper and Breathe are songs that urge taking stock, starting over and staying open to change, but it is the superb Beauty In Your Brokenness and its message of believing in yourself that leaves the greatest impression of healing and looking forward. A call to empowerment is the theme of Time Has Come and wanting change is the message in Headed For The Water and How I Feel.

The production by Ian Grimble (Travis, Manic Street Preachers, Texas, Daughter, Seth Lukeman) is very bright with plenty of space, a sound that the band wanted to highlight. The three-part vocal harmonies are a real strong point and the big drum sound of cousin Meghann Loney is matched by the talents of the Key sisters, Emillie (acoustic, electric guitars) and Bethany (bouzouki, synthesiser, piano, shaker, pump organ). It’s all delivered in a rousing style that stirs up a range of different sounds and given the gap in the market for a female trio delivering strong contemporary music, a clear path of continued growth lies ahead for these ladies of high energy and a positive, healing message in the music.

Review by Paul McGee

The Equatorial Group Falling Sands Self Release

Delicate soundscapes delivered with restrained panache by the Equatorial Group, an ensemble of five musicians who come from Eastbourne in Essex and make magical music on their second self-release. Featuring Helen Weeks (vocals, acoustic guitar and pedal steel), Dave Davies (guitar and vocals), Andy Tourle (bass and vocals), Mike Tourle (drums) and Teresa Fox (keyboards and vocals), The Equatorial Group paint a gentle landscape of subtle harmonies and beautifully crafted tunes that linger long in the memory. 

In 2018 they released APRICITY, their debut, and the songs here are every bit as good. It all washes by in such reverie that you tend to forget that this is a relatively unknown band from a seaside town who have captured a special sound – the perfect example being the sweetly seductive Rancho with warm keyboards, subtle pedal steel and jangling guitar wrapped around a lovely melody. 

The restrained vocal delivery of Helen Weeks has a reflective tone and her ability on pedal steel helps to wrap these songs in a seminal moment of time standing still. This is a fully realised sound all their own, sophisticated and loosely perfect. Freight Train sums all this up so beautifully with a slow melody and the plaintive vocal of Helen adding just enough solace to offer hope, “I’ve seen a lot of world, mistook a lot of love, Wound back the clock on some fights I’ve won.” 

Big Mouth is a song that deals with a broken relationship and the moral cowardice of not committing fully. Only One has a similar theme of not continuing in a relationship where one side is selfish and uncaring. There is a great flow to Catch Your Ride with guitar and keyboards sounding in perfect unison. Cups is a typical example of the wistful atmosphere that hangs over these sad songs of love and regret; a song about separation.

The song-writing is shared between Helen and Dave with the ten tracks coming in just shy of the 40-minute mark. Dave Davies really adds great nuance to the arrangements with his incisive playing and the band really are tight in their performance. Relationships again surface on Don’t Let This Lie where the simple communication desired between two people is blurred beyond any real sense of recognition. The longest track is Prague and it sets a conundrum of “What came first, the leaving or the losing, I think this could be the great unravelling.” Again, terrific guitar breaks that lift the dynamic. 

Last song, Oh Smile, seems something of a wry observation on life where the broken relationships are summed up in the lines “Oh smile where do you hide, Only see you now in sadness, But where you were there’s lines.”

 All songs by Davies and/or Weeks, arranged by The Equatorial Group.

An essential purchase.

Review by Paul McGee

Terry Allen and the Panhandle Mystery Band Just Like Moby Dick Paradise Of Bachelors

Legendary Texas artist Terry Allen makes a welcome return on this, his tenth release in a career that first saw him emerge in the mid-1970’s. He has always been comfortable with different artistic endeavours over his celebrated career and at various times has explored writing for theatre and creating exhibitions of his work in both sculpture and painting. He has also placed many of his visual media creations in galleries and museums and his creative muse has always been fuelled by a curiosity to explore and take chances.

This is his first release since 2013 and what is clear from the outset is the continuing eclectic range of subjects that populate his songs and inhabit his writing. Pirate Jenny is a well-known song from The Threepenny Opera by Kurt Weill, with lyrics by Bertolt Brecht. On this album, Allen imagines her deeds on the open seas and her visits to harbour towns to take revenge on the landlubbers. Her root cause for having such dark actions and urges is surmised as being sexual frustrations and an envy of pretty girls.

There is also an Anti-War trilogy titled American Childhood which tackles the reality of youth enlisting for some blinkered cause they think is noble. In Bad Kiss, the young boy questions his girlfriend’s motives in joining up for war as being fuelled by his poor kissing technique while Civil Defence has all the signs of indoctrination of schoolkids and joining the weekend army, an organized non-military effort to prepare Americans for military attack.  Little Puppet Thing has the metaphor of Pinocchio dancing for the master, just as young soldiers do the bidding of the Generals who never fight in the front lines.

We also have a circus coming to town but being attacked by vampires (City of the Vampires) and a tale of the great Houdini’s obsession with his Mother (Houdini Didn’t Like the Spiritualists); after her death he was still lying down next to his mother’s grave and speaking into the earth a year later.

More pertinent to the times in which we live are the songs Abandonitis and Death of the Last Stripper; both looking at the pain of isolation in modern society and how we are fragile souls as unknowing victims of circumstance, bad luck and accidents of birth. 

Allen enlists his family with his wife, Jo Harvey Allen co-writing two songs and penning one original herself. Allen has two sons playing on the record, Bukka on accordion, piano and keyboard, while Bale plays djembe on one song. Grandson Kru Allen also has a co-write and gets to sing on the song, City of the Vampires with Shannon McNally. She provides lead vocals on Harmony Two, written by Jo Harvey Allen and also sings on a number of the tracks, either harmony or backing vocals. 

The playing is superb throughout with a light touch from Lloyd Maines (acoustic slide guitar, dobro), Charlie Sexton (acoustic and electric guitars), Brian Standefer (cello), Davis McLarty (drums), Richard Bowden (fiddle, mandolin, vocals) and Glen Fukunaga (stand up and bowed bass). Production is deftly handled and delivered by Terry Allen and Charlie Sexton. 

Quirky, wry and whimsical, the songs of Terry Allen are never simply layered, but on two of the songs here we get an insight into his current thinking, concerning this issue of mortality and just how long we are given on this earth. Both All That’s Left Is Fare-Thee-Well and the closer, Sailin’ On Through, give insight into the mind-set that looks for meaning in it all, especially as nothing is meant to last…” Half the World is screwed, Other half’s insane”.

This is a record of both darkness and light, frivolity and seriousness but just don’t take any of it too literally or you might just end up like the subject in All These Blues Go Walkin’ By, “Reflections seem to live or die, Just can’t find the reason why”. Well worth your time.

Review by Paul McGee

Meena & The Chris Fillmore Band Elevations CRS

The possessor of a bluesy and soulful voice that recalls both Bonnie Raitt and Samantha Fish, Austrian born Meena Cryle was hooked on American blues and soul music from an early age. A compilation audio tape of 70’s music, given to her by her brother before she entered her teens, was the light switch that energised her and resulted in her forming her first band while still only in her mid-teens. More recent times have found her teaming up with Austria’s guitar virtuoso Chris Fillmore and this ten-track album sounds like it has been in cold storage since 1972.

 The seven original songs and three covers feature a blend of country soul, blues and gospel, all impressively delivered by Cryle’s rugged vocal and by outstanding playing. I Got You has a Stonesy vibe - a feature that repeats elsewhere on the album. Way Down is less pacey but equally soulful, more Dusty than Janis. Sweet Loving Mama is a rocking bluesy delight, complete with ripping piano and guitar breaks either side of Cryle’s quivering vocals. Lord Have Mercy is raw blues from the John Lee Hooker songbook and the album closes with a cover of the Bob Dylan/Danny O’Keefe song Well, Well, Well. A song written about the human abuse of the earth back in the mid 80’s, the topic is every bit as much if not more topical at the present time. At over seven minutes long, it gives Fillmore space to include some killer guitar breaks alongside impressive moog synthesizer and of course, the throaty, rasping vocals effortlessly delivered by Cryle.

A potent fusion of blues and soul by two fiercely passionate artists. I can only imagine how splendid their live shows must be.

Review by Declan Culliton

Jason Barie  Pieces  Billy Blue

A recent visitor to Irish shores as a member of Joe Mullins Radio Ramblers, bluegrass fiddle player Jason Barie has released his first solo record, and a rather splendid one it is. Rather than a predictable collection of the usual bluegrass fiddle standards, Jason treats us to a bunch of his own compositions, and injects new life into some well known songs along with the help of some of the stars of the genre. The fact that he can get Del McCoury and the now retired Paul Williams into the studio to record a duet for the first time is a hint as to how well regarded Jason is in the fraternity. Their version of Hank’s I’m So Lonesome I Could Cry really might make you cry. He also calls in friends from his days with Doyle Lawson:- Darrin Vincent (vocals) and Jason Davis (banjo) on Beyond The Sunset For Me, while Doyle himself contributes mandolin to two instrumentals. However, it’s the seven original instrumentals that really cement this as a masterpiece recording. The Rapido Kid is an uptempo fiddle and banjo duet that he and Joe Mullins also perform in the band’s live set, while the sassy swinging Sassafras features Kristin Scott Benson (banjo), husband Wayne Benson (mandolin) and Josh Swift (Doyle Lawson) on dobro. Becky Buller and Corrina Rose Logston join Jason on the absolutely joyous triple fiddle tune Sarah Jo. Space prevents me from detailing every track and every guest - you will have the pleasure of discovering them for yourself!

The album is loosely based on the story of the family heirloom fiddle that Jason inherited, and the superheroes that helped him along his musical journey, a concept that is amusingly illustrated for the album by his brother, Eric. 

Review by Eilís Boland

Catherine MacLellan Coyote Self Release

The seventh album from MacLellan is a mature exploration of the ups and downs that are a part of every journey in life. She does this with a clear voice that is filled with a mixture of hope, sadness and experience. It is a captivating mix of folk influences from home and abroad that enhance the songs’ deeper context. She produced the album in her home studio with a select crew of local musicians who add cello, fiddle, bouzouki, bodhran and accordion to the guitars, bass and drums which underpin the music in subtle but effective ways that bring variety and purpose to the recordings.

MacLellan recorded this album after a period if time paying tribute to her father Gene MacLellan, a noted Canadian songwriter who may be best know for his Anne Murray song and international hit Snowbird. She released an album titled If It’s Alright With You as well as a stage show of the same name. Now she has returned with an album that moves her story along in a way that opens up these subjects to a wide audience who will understand the nature of the messages inherent in the songs. Equally if you just listen without getting too involved lyrically you hear some music that feels good at that level.

To accompany a number of these tracks MacLellan has produced some videos to accompany two tracks - Roll With The Wind and Out Of Time are both online. Both are largely about person and place with the focus on MacLellan herself, something that is at the core of these songs. The former was, she wrote, about visiting men who disturbed her quiet life but how she would still welcome them back. The latter was about change and realising the need for that when one gets stuck in some kind of rut that is not beneficial to growth and that the realisation of how time is precious.

There are fourteen sings featured with a running time of over 50 minuets but it is time well spent in MacLellan’s company if you are inclined towards her take on her the music, her location (Prince Edward Island) and her underlying vision. Her voice throughout is resonate and radiates her personality making it something to be savoured.

Review by Stephen Rapid

The Good Graces Prose and Consciousness Self Release

The album opens with a heavy drum beat, harmonica and some ambient sound that features a sample of seagulls blended with wind sounds. This is the introduction to the latest release from The Good Graces, which is essentially a vehicle for Kim Ware, the writer and vocalist for the band. They are essentially a quartet with Jonny Daly on guitar and pedal steel, Lee Kennedy on bass, Pete McDade on drums and Nancy Kaye Hill on backing vocals. There are a number of additional guest players who add harmonica, keyboards, fiddle, banjo, guitar and cello to various tracks. The sound is essentially a rocking blend cutting edge Americana. It was recorded in Atlanta with producer Aaron Hill bringing some additional focus to the project and allowing Ware to concentrate on her material. All but one of the songs, Snow Angels, are penned by Ware who is front and centre throughout.

This, their fourth album, finds Ware writing about relationships in the main. Sit On Your Hands is offered as a means to avoid wandering hands among other means to remain strong. While even getting to a place to meet with a partner is thwarted by the elements for Snow Angels. Her relationship with her father is the subject of His Name Was The Colour I Loved. A uptempo and rigorous remembrance of a much loved person. Spider Lilly highlights Ware’s voice traits in a stripped back acoustic and steel guitar ballad. There is a confessional nature to some of the lyrics but they are often delivered with a touch of insight and humour. Overall the music drives along in a way that keeps things aesthetically alluring and varied.

The album covers some musical options which add to the basic guitars, bass and drums sound to offer a more diverse range - such as the use of synth and pedal steel on Story To Tell as well as the, again ambient electronic washes on the closing Blood Orange Moon Shot. PROSE AND CONSCIOUSNESS has the right approach to taking The Good Graces sound forward into a contemporary space that has the possibility of a broader appeal in a wider consciousness. Ware is a singer and writer to watch as she develops her music for the future.

Review by Stephen Rapid

New Album Reviews

Itasca Spring Paradise of Bachelors

When you follow your muse and move to a New Mexico adobe in the desert to hide out and create some space for new music, then you set yourself on a course where outside agencies anticipate an album with hidden depths on your return. Gone are the days where big record labels would fund such a venture into what many could see as self-indulgence, but there is no doubt that the solitude afforded creates an environment where inspiration can visit and the music can flow through.

Whether this equates to a warmly invited weekend guest, or something more enduring, is up to the listener to decide. This is what used to be termed a ‘grower’ and repeated listening unearths a reserved gem, a slice of quiet ambience that attempts to slow the world down on its axis. 

Itasca is the musical persona of Kayla Cohen. She grew up in New York and moved to Los Angeles in 2011 where she began experimenting with noise and drone sounds. Her gentle guitar and voice soundscapes as Itasca reference Folk leanings and textures that reveal many diverse colours to her own personal rainbow.

My review copy does not include a lyric sheet and it can be hard to catch the vocal phrasings of  Cohen but with three previous releases, GRACE RIDES ON THE ROAD (2012), UNMOORED BY THE WIND (2015) and OPEN TO CHANCE (2016), under the banner of Itacsa, the gentle soothing balm of strummed guitars, minimal keyboard and bass lines, hint at a less is more philosophy which runs through the creative career of this artist.

Hypnotic mood essays might just about describe the soft, slow focus of the songs. The pace of the project never changes and the dream like quality endures throughout. Her voice is monotone in delivery, somewhere between Nico and Hope Sandoval in enunciation. There is a sense of personal rumination in the songs and also one of being influenced by the time stands still magnetism of her surroundings, inspired by the landscape and history of the Four Corners region.

There are ten tracks and titles like Golden Fields, Blue Spring, Only a Traveller and Plains hint at the sense of space and timelessness that develops throughout. The contributions from Daniel Swire (drums & percussion), Marc Riordan (piano) and Dave McPeters (pedal steel) creates the magic, with strings arranged by both Jean Cook and James Elkington - the production is sparse and minimalist, but hypnotic and compelling.

Review by Paul McGee

Will Bennett & The Tells All Your Favourite Songs Jewel Box

This is the second release from an Iowa band who come out of the traps with all guns blazing. Opener, Rabbit’s, is very reminiscent of early Wilco and the jangling guitars of Will Bennett and Wilson Brehmer are blended with the superb pedal steel of Brandon Bankes. There are plenty more examples of this driving sound and songs like Charades and the Cow-Punk energy of Caroline are like a breath of fresh air. The production is bright and immediate with Stephen Shirk at the controls in his Chicago studios. 

There is a strong leaning towards Alt Country across the eleven tracks included and the solid rhythmic base laid down by Daniel Martinson (drums, vocals) and Ethan Kenvarg (bass) gives the other players free reign to colour the arrangements with plenty of deft touches.

The slow strum of Just Looking, beautifully augmented by Brandon Bankes on pedal steel, is a fine example of the craft and musicality that exists within the band. All songs are by Will Bennett and the stand out, In Nashville, is a real slice of inspiration in tearing down the myth behind the music machine that drives Music City USA…

“Everyone’s an artist working part-time jobs like martyrs in Nashville, Praying for a break that’ll take them one step towards making it in Nashville, They’re digging up the bones of the Cashes and the Joneses, For the shred of credibility that remains, But the one thing that’s for certain is there ain’t nothing worse than watching talent spiral down the drain.”   Right on, Will Bennett – perfectly captured and right on the money!! 

Tumblin’ Down has a really great drive and rhythm with Erik Jarvis (Organ) and guest players Sean Jones (bass, vocals) and Alan Gabrenya (guitar, vocals) pulling out all the stops. The title track is a return to his hometown for Bennett after a family emergency and his look at what has changed while he’s been away; both in the town itself and in the relationships of those who live there; “And we talk and we laugh, Like nothing ever happened ‘cause it happened so fast, So we’ll wait and we’ll see, Picking up the pieces as you get on your feet.”

A very enjoyable album and one that is full of great songs that deserve a wider audience.

Review by Paul McGee

Bruce Cockburn Crowing Ignites True North

Eleven instrumental tunes that run for a total playing time of 55 minutes and the time spent listening never feels forced or overly long. A tribute to the dextrous playing indeed, as listening to purely instrumental, reflective pieces can run the risk of sounding very repetitive across such a protracted period. The fact that so much variety is brought to these instrumental ruminations is proof of the technique and highly skilled gift that resides within the multi-layered talents of Bruce Cockburn.

Produced by Colin Linden at the Firehouse in San Francisco earlier this year, there is an instantly appealing groove to opening track Bardo Rush and to the superbly crafted Blind Willie, while Easter and April In Memphis are more gentle tracks with just Bruce playing, as are Sweetness & Light and Angels In The Half Light. These solo guitar pieces are contemplative and evocative of a motorcycle trip where the meanderings of the vehicle across a landscape conjure images of wide-open spaces, desert plains and the horizon of mountain ranges framed against a bright skyline.

The addition of Linden (dobro, baritone guitar, mandolin) on three tracks, Bo Carper (shakers) on two tracks, Janice Powers (keyboards) on two tracks, plus Ron Miles (cornet), Gary Craig (drums) and Roberto Occhipinti (bass) on one track (the jazz infused exploration of The Mt Lefroy Waltz), just adds to the colour palette already laid down by Bruce Cockburn. 

He plays a range of instruments, from guitars to charango (a small Andean stringed instrument of the lute family), dulcimer, chimes, bells, kalimba (an African thumb piano), sansula (from the kalimba family), gong, Tibetan cymbals and singing bowls – proof positive, if needed, of his musical versatility and the range of his interest and dedication to his creative muse.  

The Groan has a blues influence, aided by the slow-paced handclaps of six background assistants to the overall groove. The Bells Of Gethsemane is the longest tract and closes the album with over seven minutes of atmospheric playing against an array of cymbals, chimes and singing bowls, reminiscent of a dawn chorus! Eclectic and inclusive of many diverse elements and influences, this is music for the spirit and the soul. 

Review by Paul McGee

Dean Maywood Self-Titled Self Release

Born in Drogheda Co. Louth but raised in wind-swept Donegal, Dean Maywood’s five track EP is a taster of the talents this emerging singer songwriter possesses. An artist whose profile has been growing steadily, he has appeared at local festivals and earned opening slots for acts such as Jason Wilber and Phil Coulter. An invitation to showcase at the Americana UK in January 2020 is further validation that his star is on the rise.

With influences that include John Prine and Neil Young, it’s no surprise that his songs place emphasis on the lyrical content and are quite stripped back. The album opens with Jane, which is quite poppy and radio friendly.  Louisiana is a reflective and dreamy affair, recalling Tom Russell. The Silver Dollar, the standout track, is a slow barroom country burner, featuring slick guitar playing by producer Darren Doherty and wailing pedal steel by Patsy Gallagher, both contributing to flesh the song out impressively. Knowing and Lying is a fairly traditional folky affair, acoustic guitar and harmonica accompanying Maywood’s vocals, with nods to early Neil Young.

There has been a surprisingly noticeable lack of Irish artists travelling down the Americana path and establishing themselves in bigger markets. Maywood certainly has the songs, vocals and the potential to be noticed. He may have to choose between the singer songwriter or country path going forward. Either way this recording is the perfect kick off to what hopefully will be a rewarding career.

Review by Declan Culliton

The 40 Acre Mule Goodnight & Good Luck State Fair

For a band that has been performing endlessly since their formation in 2015, GOODNIGHT & GOOD LUCK  is the culmination of their growth from a dive bar band to performing in clubs and eventually getting booked for festivals.  They describe their output simply as rock and roll, which possibly understates their talents. A more accurate definition would make reference to artists like Nathaniel Rateliff, J.D. McPherson and St. Paul & The Broken Bones, all who (of whom?) have earned their reputation as killer live acts, mixing blues, soul, country and rockabilly with maximum attitude. 

Based in Dallas Texas, the band’s main man is vocalist and guitarist J. Isaiah Evans, whose raspy lungs belt out the ten tracks on the album, complimented by bass, drums, saxophone, organ, piano and support vocals.

Thumping bass lines alongside bluesy saxophone emerge seconds into opener You Better Run and the foot is still firmly on the accelerator ten tracks later on the rockabilly closer, Josephine. Pride of place goes to Bathroom Walls as the album’s deepest cut, a raunchy bar room rocker which sums up exactly where The 40 Acre Mule are coming from. They do come up for air momentarily on the laid-back ballad, Be With Me, signalling that Evans has the wherewithal to pen ballads alongside the high tempo rockers.  

The 40 Acre Mule’s signature powerful and riotous sound is captured flawlessly on this album. I can only imagine how well the tracks would transfer to a live setting.

Review by Declan Culliton

Harvey Russell Liquid Damage Self Release 

Former member of alt-rock Harvey Swagger Band and country folk duo Peasant Moon, this Sydney, Australia-based artist’s debut solo album is a self-written collection of songs, very much in the classic country tradition. Supported by his backing band, The Widowmakers, (great name!) they collectively achieve exactly what Russell planned to do, simply record a hands down country album in the true sense. The band, whose playing is top drawer throughout, feature Aaron Langman on pedal steel and electric guitar, Jonathan Kelly on bass and Rich Burrows on drums. 

‘Although country songs can sound simple, writing country songs is far from easy’ notes Russell. He recorded the album in fits and starts over a fifteen-month period at Sydney’s Love Hz Studios. Home truths aplenty include the obvious country fall backs of loving, leaving, drinking and addiction, which all feature across the nine tracks, with titles Rollin’ Into Town, Liquid Damage, Gave You Flowers and Please Don’t Pretend. However, Russell is at pains to emphasise and caution about living the life of the country song, rather than glorifying it.

It remains to be seen whether LIQUID DAMAGE is a one-off venture by Russell, or his reinvention as an Australian country music traditionalist. In the meantime, there’s lots to enjoy about the album from the outright honky tonker, Gave You Flowers, the rocking title track and the bluesy album book ender My Blood Is Thinning And Weak.

Review by Declan Culliton

John Surge and the Haymakers Your Wonderful Life Trouble Doll

The album from this Californian based artist opens with some encouraging twang. Ricochet is an up-tempo rocking’ song with a simple chorus that hits home. The same can be said of the title song, which follows. Both feature the guitar of Randy Volin behind Surge purposeful vocals, which don’t quite have a distinctive uniqueness, but are more than capable of delivering these songs with solid intent. All but one of the songs are written or co-written by Surge. 

He has a penchant for that 80s early cowpunk, power pop punctuated roots rock sound (with a touch of Tom Petty too). That approach allows for some short, sharp hook infused material, that is epitomised by the track You’re Really Good (At Making Me Feel Bad). He can also handle a country ballad as he proves with Studio Apartment Blues. The one cover is their version of The Beat Farmers song Gun Sale At The Church. The Beat Farmers would be an influence in approach and style and this take fits well with Surge’s own songs. Some of the additional contributors include KP Hawthorn of the HawtThorns, bassist Ted Russell Kamp and stalwart go-to steel player Marty Rifkin.

Prior to this solo debut Surge was a member of the similarly named Haymaker. Two of their albums reside in my collection. The first was called MUSIC FROM ED’S HOUSE and the other from 2013 was titled NOW NOW NOW which also featured Mike Jacoby and another songwriter David Serby, who didn’t contribute songs but played bass on the album. Those particular line-ups may not have worked, so Surge took the lead role this time out, but decided to keep the name as a general moniker for his band. Either way, Surge brings previous experience to this new iteration and these set of new compositions. All make for a sound that both has a freshness as well as a certain familiarity for both the past and the future.

Review by Stephen Rapid

Rachel Harrington Hush The Wild Horses Skinny Dennis

After a break from recording and performing Harrington recovered from some health issues and reflected on what life offered her and how it reflected on her and of those close to her. It is not a pretty or passive album but rather faces death and some dark issues face on. She attended one of Mary Gauthier’s songwriting camp which gave her further impetus to write new material. Two of the songs deal with war veterans and how war has a ripple effect for those around it. The Barn takes regard of the loss of a loved one in war and was written for her mother while the more obvious Mekong Delta is about the suicide of her uncle who had been in Vietnam. The military is also central to Drop Zone in tone and lyric, being based around some of the phrases that soldiers use in training.

And melancholy is also at the heart of Drinking About You which features some fine pedal steel guitar from Lloyd Maines. Other demons, those of addiction, run through the veins of the song I Meant To Go To Memphis. While the title song deals with trying to find and finding love in some less than ideal times, something that is so often a reality. The metaphor of the horse rears its head again with the closing song If Wishes Were Horses - if wishes were horses we’d be riding away. There is a tribute to Susanna Clark and husband Guy (Susanna), it is a heartfelt nod of songwriting heroes that she co-wrote with her son. Save Yourself puts the listener in the position of a homeless person (in this case Harrington’s own brother). All of these things may not be apparent on first listen but reveal themselves with slider listening.

The album was produced by Casey Neill in Portland, Oregon. It includes the aforementioned Maines as well as fiddle player par excellence Eamon McLoughlin, banjoist Danny Barnes also guested. Neill handled the main guitar duties while they had a solid rhythm section throughout. The standout though is Harrington who delivers impassioned vocals and a set of self-written songs (others than the one noted) that are of these times. That means thane are edgy and engrossing in their depiction of one person take on what she has been through and where she is going. Rachel Harrington has made several acclaimed albums in the past and the future may hold. Ride along with her.

Review by Stephen Rapid

Amanda Anne Platt & The Honeycutters Christmas On A Greyhound Bus Organic

A five track EP of Christmas songs from Platt and her band. It feels just about right as often albums on such a singular subject end up with fillers, or a reliance on over used material. Platt is an accomplished singer and equally impressive songwriter. Here she has written two particularly fine songs in Christmas On A Greyhound Bus and in One For The Ages. They are placed alongside versions of Willie Nelson’s Pretty Paper and Santa Looked A Lot Like Daddy co-written by Buck Owens and Don Rich. Also included is a version of Nick Lowe’s perennial (What’s So Funny ‘Bout) Peace Love and Understanding?  which fits snuggly with the overall mood. All are given lively, country-esque readings that are enjoyable and accomplished without eclipsing the originals. 

The two new songs are both worthy additions to the Christmas song collective that may end up being covered themselves especially the John Prine-like title track. Platt produced the tracks and her tight band are right behind her throughout. So, kudos to Matthew Smith, Evan Martin and Rick Cooper but the Christmas cracker goes to Platt for her clear crystal vocals and her instincts with the songs. Happy Christmas y’all.

Review by Stephen Rapid

Derek Senn How Could A Man Self Release

Another contender for my Album of The Year from an under the radar Californian musician, Derek Senn. Here at Lonesome Highway we like to bring quality unknown work to your attention when we are lucky enough to discover it, but it really is quite shocking that this artist is not widely acclaimed.

Recorded in a variety of musical styles, this album is really all about the songs. Senn has a way with words and on many occasions on my first listen I found myself laughing out loud as he chronicles the trials and tribulations of his ordinary life.

The title track is a good example, being a paean to Senn’s goddess wife Melanie. Managing to rhyme ‘perfect skin’ with ‘Fallopian’, he leaves the listener in no doubt that he is married to Superwoman, and that he is not worthy - how could a man not fall completely in love? Another clearly autobiographical song, Babysitter introduces his two boys (two under two) and hilariously chronicles the frantic giddiness of a rare night out. Be Careful What You Wish For is a languorous account of another child free episode that didn’t evolve quite as expected - how can we miss them if they don’t go away, but they’ll soon be gone for ever, at least they better. Some Chase A Girl chronicles his courtship of the aforementioned Melanie, with more self deprecating humour. Many of the songs take a wry look at life in general - Botox, Have A Nice Day and The Nuclear Family could apply to anywhere in the privileged world. However, there are welcome contrasts to the funny, confessional and occasionally shocking lyrics - Pretty Things is a poignant and touching homage to the circle of life, and The Song Mine is a clever use of metaphor within metaphor, about the struggle to write songs. 

Senn plays guitars throughout and is ably supported by Nashville drummer Paul Griffith (John Prine, Todd Snider), co-producer Damon Castillo on guitars and the very impressive keyboard skills of Kristian Ducharme.

Review by Eilís Boland

Catfish Keith Catfish Crawl Fish Tail 

Catfish Keith is an absolute powerhouse of a guitar picker in the country blues and Delta blues style and this album (his seventeenth!) shows off his instrumental prowess in that genre to great effect. Not just for blues fans, this is a very accessible collection, comprising five original tunes along with covers of a large selection of songs by artists he admires. There’s a lovely version of The Carter Family’s Dixie Darlin’ and Big Bill Broonzy’s Willie Mae.

The dynamism of his incredible playing comes across here very well in the recording, due to the excellent production. Unusually, it is co-produced by his wife and manager and sound engineer Penny Cahill. Catfish has a rich depth to his voice, which is perfect for the genre.

The cd is accompanied by extensive liner notes and information, including details of all the nine guitars he used on the recording, so the guitar fans out there won’t be disappointed.

On the evidence here, it would be well worth catching Keith live when he comes to your town.

Review by Eilís Boland

Mean Mary Cold Woodrock

Although not yet 40, contemporary folkster Mary James’ biography to date reads like an adventure novel. She may well end up writing that tome herself, because she is already a published author as well as being a multi-instrumentalist, a songwriter, a horsewoman, an actor and a videographer.

Her excellent self-produced fifth album finds her in a sombre mood, leaving the listener in no doubt that she has been through the wars in her emotional life. This is epitomised on the title track Cold (House by the Sea), coming in at over 8 minutes, wherein Mary chronicles the slow death of a relationship, appropriately beside the chilly Baltic Sea in October. It reads like a series of diary entries, and with just her voice, her guitar, David Larsen’s bass and Nomad’s piano she evokes a bleak beautiful scenario. This gothic evocation is predominant across almost all of the songs, all of which are written by Mary alone, or with her guitarist brother Frank, who also contributes guitars on some tracks. Snow Falling and Sad November Breeze are also standouts, where Mary plays all of the instruments, banjo and guitar to the fore.

Her voice is distinctive and powerful too - think Cher’s dark smoky contralto, without any electronic wizardry. Although she plays eleven instruments, her banjo playing is particularly memorable and she is endorsed by top banjo makers, Deering. And if you’re feeling inadequate already, dare I mention that she produced this record also? Not surprising given her life experiences to date, she has managed to infuse the songs with a strong earthiness (she spent five of her childhood years in survival mode in remotest Minnesota with her family). The ethereal April in December and the beautiful Sparrow - just Mary and Frank’s voices and guitars melding in sibling harmony - leave the listener on a hopeful note, despite the predominant earlier darkness. I’m already looking forward to the biopic.

Review by Eilís Boland

New Album Reviews

Western States From The Centre Out Self Release

Hailing from St Louis, the Western States release their debut album and deliver ten songs of great atmospheric Americana. From the opener, Fire and Rage, with the “abstract mind & concrete heart” of the main character, driven by demons and inner frustrations, to the superbly delivered Give This Town Away, with dual violin parts playing off each other and the sense of never really owning the land that was taken by genocide and in settlement deals of the past – “homesteaders planted my family tree”. 

All songs are written by Tim Lloyd, who also contributes on lead vocal and guitar, while the rhythm section of Joe Winze (drums, percussion, vocals) and Bryan Maness (bass) provides a really tight foundation that allows the songs to take flight. Sean Canan plays lead guitar and showcases his talents with lots of great runs and solos across the album. There are guest appearances on various tracks from Dave Grelle (Hammond B3, piano, synths), Mark Hochberg (violin & string arrangements), Paul Niehaus IV (piano, B3) and Brent Maness (backing vocal). The production of Jason McEntire (Son Volt, Bottle Rockets) is crisp and sharp with plenty of room for the players to let loose.  

The drive of Gun Feels Heavy captures a local dealer trying to navigate a drop while another car blocks his progress on the backroads. It channels a Steve Earle workout and features some fine guitar breaks by Sean Canan. The Duke is a story of a boxer and his refusal to take a dive. It’s reminiscent of early John Mellencamp and really rocks out, while the song Catch You Turning Around is a slow tempo reflection of the past and an old girlfriend. Living with regret and missed chances.

I Can Get Down is an addictive rocker and deals with riverboat gambling and taking chances to change present circumstances, from being laid off to trying to get ahead when everything in life seems rigged “the game you see and the game you don’t”. 

The excellent Rivers To Cross, is an advice song to a child to always believe in yourself, “Know where you stand, You’ll be just fine, When a trouble comes your way”. This has a great melody with powerful vocals and restrained guitar playing across the arrangement.

Details is another stand out track and is a story song about home-evictions. It cleverly introduces various characters, from a new tenant to a decorating contractor; a judge to a down-at-luck injured worker who is trying to make sense of his financial fall and eviction; “I ain’t livin’ my life like a detail that got missed.” 

Sparks In The Wind is a great Roots Rock track that builds with hints of Springsteen in the image of oil workers in Tulsa and generations bleeding the land for industrial gain. 

The final track, Fever, brings everything to a climax with a great band workout, guitars front and centre, organ swells and a powerful beat, while the memory of youthful passion comes back to haunt the now-adult, who asks: “Who am I now? Where did you go? I disappeared inside of another man’s clothes.”. 

A terrific debut from a new band that really deliver a statement of intent.

Review by Paul McGee

Will Johnson Wire Mountain Keeled Scales

Based in Austin, Texas, this is Will Johnson’s 6th solo album and it was recorded at Ramble Creek Recording in Austin, Texas by Britton Beisenherz. Just shy of 40 minutes, the ten tracks have a hypnotic quality, partly due to the hushed vocal delivery of Johnson and partly because of the superbly restrained playing.

The lyrics can be somewhat obscure in their meaning and abstract thoughts arise when listening to these gently delivered soundscapes. The musicians are Will Johnson (acoustic & electric guitar, piano, percussion, vocals), Britton Beisenherz (electric bass, percussion), Thor Harris (drums, percussion), Lindsey Verrill (cello banjo, upright bass, vocals).

The album begins with a song about Fred Merkle, an American baseball player, who in 1908 committed a base-running error which led to the New York Giants losing the National League pennant that year. It’s title, Necessitarianism (Fred Merkle’s Blues), has a brooding melody and rhythm and the title refers to a person who believes that human conduct is dictated by force of circumstance (as opposed to free will) - a necessitarian.

A Carousel Victor continues in atmospheric alienation and the questions of a faint-hearted lover “A lost one longing to be, Somehow pardoned by thee.” There is a guest appearance from Jon Dee Graham who plays lap steel and electric guitar on Cornelius which is a more robust arrangement with heavy drum beat and distorted guitar setting the mood. Gasconade is a song that leaves a sense of unease with the ghostly cello and stark banjo set against a tale of possible forgiveness and redemption.

Between 1999 and 2008 Johnson released twelve albums under different names, from Centro-matic to South San Gabriel, or as a solo artist. His sparse sound and gentle way with a melody reminds me of Mick Flannery, especially on the haunting love song, A Solitary Slip, with banjo, piano and acoustic guitar setting a sombre tone. 

The instrumental, Chimera, has a menace that the title conjures up in the imagination and the sweetly sombre, Need of Trust and Thunder, together with the equally rueful tone of To the Shepard, To the Lion, blend together into a sense of prolonged satisfaction.  It all ends with another superbly conceived instrumental piece (You Were) Just Barely You, the perfect close to the album, with reflective piano and spectral background sounds.

Johnson also co-wrote with the late Jason Molina (Songs: Ohia and Magnolia Electric Co.) and he also had a side project with Pedro The Lion’s David Bazan when they formed Overseas with the Kadane brothers. Jim James (My Morning Jacket) also recruited him to play drums with his Monsters of Folk project, but mostly it is the music he creates as a solo artist, the moods he creates and his sad, almost resigned vocal delivery, that gives Johnson his otherworldly status among Lo-Fi Americana aficionados. His catalogue of releases is well worth investigation and carries many sublime moments, many of which are captured here on this superbly crafted album. 

Review by Paul McGee

Meghan Hayes Seen Enough Leavers Self Release

So, how do you react to the reality of a marriage breakdown after 20 years? The shock of such an unexpected event can send you under for sure, but what if you use the gift of music and words as a healing balm? Therapy in the release of these tunes and ruminations that both purge and pick at the remains of what once was…

It is good to have Meghan Hayes return to the creative space that has missed her song craft.  Her debut release was back in 2000 (SNOW ON THE WAVES) and was followed by a second in 2005 (GIVE THE GUARD A BREAK), but for the last number of years, Hayes concentrated on her career as a nurse while still keeping herself involved with the fringes of the Nashville music scene. The musicians who play and sing on the latest record — Audley Freed (electric guitar), Goff Moore (acoustic guitar), Tommi Rautiainen (drums), Dexter Green (bass, mellotron, piano, Wurlitzer, B3, guitar), Thayer Sarrano (pedal steel), Derry DeBorja (accordion), Jamie Rubin (electric guitar) and Mando Saenz (vocals), all turn in superbly crafted and understated performances in interpreting the ten songs featured.

From the slow, reflective opener, Georgette, with its glimpse of a poor girl trapped by circumstance, Hayes introduces the title track and the lines “Time’s the fastest thing I know, It’s run away with everything I’ve had to show, With all the months and years spent dodging your blows...” It doesn’t get more honest than this. 

Burley sings about workers plight at a Kentucky tobacco harvest but could also be taken at a personal level with lines like “They tell you that you’re bleeding, But they can’t say where from…”

Potholes deals with self-doubt and relationship regret while Cora looks at the lives of a broken couple who seek a way back “Abandon all hope but keep some pride, so I might bridge that divide”. 

One standout is A Birthday In The Pawnshop (Morristown), a story song that looks at family troubles that cannot be outrun and which ends in a suicide, “Rex lost it all at the greyhound track, I couldn’t have held a job if it was strapped to my back, The night before Lila reached the age of nine, I threw myself a farewell party of meth and wine…” Dark times indeed.

Second to Last Stand speaks of the fragile confidence to reinvent yourself and look to new beginnings. Next Time Around is a very personal look at marriage, the leaving and the resignation that failure brings; “Heard you’re calling this amicable to your mother, Some things just weren’t meant to be, But I don’t recall anyone serving that sentence but me”.

Her vocal is both strong and sweet with plenty of nuance and echoes of Emmylou in her delivery. Hayes also plays acoustic guitar and her overall musicality pours out through these tracks, with production by Dex Green keeping everything immediate and vibrant.

The final song, Story Of My Life, sees the need to go forward with reasons to endure and leaves a positive note to all who struggle to make sense of this crazy world we inhabit.

The writing is superb throughout and this artist has really come back into her own. I was fortunate to catch her live set at the 5-spot in Nashville as part of the recent Americana Fest and her performance was every bit as good as this album suggests. One to keep!! 

Review by Paul McGee

Sofia Talvik Paws Of A Bear Makaki

Nordic Roots and Americana music is particularly well represented currently, with a growing number of artists creating waves outside their home countries. Forerunners First Aid Kit have firmly established themselves as the leading light over the past few years but other female artists such as Malin Peterson, Signe Marie Rustad, Louien (Live Mirnada Solberg) and Sofia Talvik are also producing quality material.

Sofia Talvik (pronounced tull - week) is no newcomer to recording, she has over a dozen recordings between full albums and EP’s in her back catalogue. She has also been a regular visitor to the US, having performed at Lollapalooza, SXSW and The Folk Alliance International Conference. Her 2012 tour visited 37 states over a sixteen-month period, performing over 250 concerts.

Probably best labelled 'alt-folk’, PAWS OF A BEAR is a ten-song collective of her inner thoughts and reflections.  Essentially acoustic, the majority of the tracks benefit from flawless pedal steel guitar by Tim Fleming, beautifully punctuating Talvik’s crystal clear vocal deliveries. Reminiscences are the drivers behind many of the songs as Talvik revisits memories clearly deeply engrained in her memory bank.  Take Me Home recalls her childhood on the island of Orust and California Snow recollects her touring exploits in the United States with husband Jonas in their camper van. Similarly Reflections reflects on ageing and the challenges it offers. I Liked You Better is possibly tongue in cheek, a reconsideration on past romances. The striking title track features vocals, acoustic guitar and dobro recorded live in one take. A gorgeous song contemplating life choices and freedom versus commitment, not surprisingly it was released as the first single from the album.

Review by Declan Culliton

Malin Pettersen Alonesome Die With Your Boots On 

The lead singer with Lucky Lips, Norwegian Malin Pettersen has been hailed as possessing the greatest country voice to emerge from Europe in recent years. She is one of a number of exciting Norwegian female artists, alongside Signe Marie Rustad and Louien, that are getting deserved attention outside their homeland. ALONESOME, her debut solo album, confirms her vocal ability and dexterity across its six tracks. Anyone expecting wailing pedal steel guitar and fiddle may be a bit taken back. What is somewhat surprising is the fact that the tracks contain only Pettersen’s vocals and accompanying acoustic guitar. 

She appeared with Lucky Lips at AmericanaFest in 2018 with a showcase at The Station Inn, appearing directly before Colter Wall. The appearance was not without incident as her suitcase had gone missing en route to Nashville and she had to perform in tracksuit bottoms, which was most unfortunate. Her return to the same festival earlier this year included an invitation by J.P. Harris to perform with him as part of his Why Don’t We Duet In The Road. Her appearance was hugely impressive, turning many heads at the event.

What the album does reinforce is the beauty of her vocals, no more so than on the beautiful Lonely With You and Get You Back Again. These songs and the title track also display her talents as a songwriter.

All in all, an engaging and moody introduction to an artist with endless potential. I do wonder how these tracks would benefit by the introduction of fuller instrumentation and expect that they may reappear on further releases by Petterson.  In the meantime, she has an album already recorded in Nashville and scheduled for release in 2020. Watch this space.

Review by Declan Culliton

Cary Morin When I Rise Continental Song City 

A member of The Crow tribe, Native Americans living primarily in Montana, Cary Morin’s musical career dates back to 1989 when he formed The Atoll. Since then he has been a member of The Pura Fe Trio and has recorded six albums including his latest release WHEN I RISE. Although predominately renowned as a fingerstyle blues guitar picker, his talents extend beyond that category and his music crosses into jazz, traditional folk and old timey country.

He latest album is a collection of twelves songs featuring two covers. The Jerry Garcia and Robert Hunter song Dire Wolf and a remodelled instrumental version of Duane Allman’s Little Martha are both included. Raw traditional blues feature on the title track and Jug In The Water - which is presented twice on the album with both a fuller and stripped back versions included. Both Carmela Marie and We Used To Be are excursions into more conventional rock. 

Together with vocals, Morin plays guitars and pedal steel and is surrounded by a cast of quality players that includes Paul Benjaman on guitar, Steve Amedee on percussion and Kim Stone on bass. The album represents simple music of yesteryear, transported into the present day, by a fiercely devoted artist that wears his heart on his sleeve.

Review by Declan Culliton 

Jimbo Pap It Can Always Get Worse Fiesta Red

As the first song on the album name-checks Gram Parsons, you get an indication of where this California band are coming from. That song, Submission (Nice Pants), contains the tongue-in-cheek admission that “we put our pants on one leg at a time like every other fucker who wants to be Gram Parsons in Los Angeles.” It features male/female harmony vocals, pedal steel and guitar. It also sets the tone for what follows. The band started out, it seems, as something of a side project that grew into something more serious. The principles here are Jim Bowers - the band’s chief songwriter, vocalist, guitarist and pedal steel player - Pap Shiprock on vocals and piano and guitarist Bo Brannen. There is an obvious affection to the country scene in LA, which continues to thrive.  

The self produced album was recorded in California with a line-up that included Glen Campbell’s son Cal on drums and vocals. He subsequently moved to Nashville and the band are working with Pete Thomas (not Elvis Costello drummer) as well as bassist Kip Boardman. In the studio they invited a baker’s dozen of additional players to help out. All of which gives the album a diverse but cohesive sound that works on both the originals and covers included here. The latter includes a great take with Shirock on lead vocals of the Vic McAlpin written and Wanda Jackson recorded Queen Of My Lonely Little World. Bobby Darin wrote the Long Time Movin’ which is a song that fits with the other material here. Yard Sale is a fun if somewhat slight, up-tempo song with a massed chorus that feels it might have originated from some old TV show in the 60s. Better overall are the heartbreak of Long Kiss Goodbye and Another Ticket On The Windshield why is a wry observation at the things that get overlooked in life, with its many distractions. 

The title song is an instrumental that displays a subtle yet appealing mood. As a first step this is entertaining and has its heart firmly rooted in a time of classic Southern California country with breezy pop overtones that feel right. Jimpo Pap feel like they had fun recording this and that’s something that translates across on these 11 songs that underline that while it can always get worse, it can, on the other hand, as here, head in the opposite direction.

Review by Stephen Rapid

Allison Moorer Blood Autotelic

The back story to this album is fairly well known and has been touched on before by Allison Moorer. It is therefore an album touched with sadness, regret and melancholy. But it is also redemptive and a testament to the vocal and writing talent that Moorer has shown throughout her career. It is a murder/suicide story that has left an indelible mark on the singer’s psyche. As it also did on her older sister Shelby Lynne, who were both present at the traumatic event. Moorer has also written book Blood - A Memoir to be published to accompany this album.

She worked with producer Kenny Greenberg to realise the songs in a way that would make them memorable and meaningful. They had worked together on previous albums and Mooorer felt that he had the understanding that was necessary to the project work as intended by her. The end result is that and more, a series of songs that avoid sensationalism in favour of a certain understanding. Bad Weather opens the album and its tone is one of heartbreak and impending darkness. That darkness is further realised in the following track Cold,Cold Earth, a song that was first released as an unlisted track on her album THE HARDEST PART. Here the rerecording adds some sense of understanding that has come with time. Elsewhere there are different moods, an example being the blues of The Rock And The Hill where she takes the viewpoint of her mother who is of trying to keep things together and “tired of pushing this rock up the hill”. The vocal here’s is as emotive as it is upfront. 

Throughout the album the tempos and deliveries change from bare bones to bared soul. I’m The One The Blame takes the lyrics of her father Frankiln Moorer, who had ambitions of being a songwriter but never made it work. It is set to music by her sister Shelby Lynne Moore, who is another strong presence overall on the album. She also adds vocal harmony on a number of the songs, strengthening the bond the sisters have shared throughout their lives.

The album closes in the only way that makes sense of the story in the redemptive prayer Heal, a song Moorer co-wrote with Mary Gauthier - who in the circumstances is an ideal choice. It concludes an album that is not only an artistic high point for Moorer and her songwriting, but one that in its writing has helped her to heal. It is also a body of work that the listener can learn from on many different levels.  

Review by Stephen Rapid

Karen & The Sorrows Guaranteed Broken Heart Self Release

Another act based in Brooklyn, New York with a love for the sounds and stories that they discovered listening to traditional country music. The band is led by Karen Pittlemen, an openly gay singer/songwriter, who is releasing her fourth album with the Sorrows. Pittman has a country voice that has shades of Dolly Parton, amongst others, in its twang and tone. It is a testament to her talent that she has written all the twelve songs as well as producing the album. It’s therefore the perfect representation of where she is with her music and band at the present time.

The sound is a mix of electric country and acoustic balladry that should have a wide appeal. The album lists some 16 players, an indication that Pittman pulled in a seasoned set of players to record the material. The title song is full of twanging guitar and pedal steel guitar and an insistent rhythm.There You Are which follows is a dobro led acoustic set tune that highlights Pittelman’s vocal dexterity. Third Times the Charm combines the two modes together in a satisfactory way. It demonstrates why there are sixteen players involved, covering the different aspects of her writing which touches on heartbreak, always with a human condition yet not one viewed without some humour.

Queen Of Denial sees the subject listening to George Jones in sympathy with his pain, while trying to deny her own. There is again that sense of hurt in the title and message of Why Won’t You Come Back To Me. It has a sound of edginess in its yearning vocal that is matched with the sound of the dobro and fiddle. It ends in a chorus that asks why she is being send “back to hell by her little angel”.

These kinds of estranged relationships and losses are universal and therefore relevant to a range of different stories, sexualities and situations. That sense of discovering new directions for Pittleman is apparent throughout the album. An album that is about suffering through but not one that subjects the listener to that, unless in sympathy. It has the residence of the human condition at its core, resulting in a fine album of contemporary country music that sounds fitting in these stressed but hopeful times.

Review by Stephen Rapid

Latest Album Reviews

Amy Speace Me and the Ghost of Charlemagne Windbone

When she first arrived on the scene, back in the late 1990’s, Amy Speace was forging an independent career for herself and making a name around the New York circuit where she originally performed. As her body of work grew, the plaudits started to gather a momentum that propelled her onto greater recognition and now, seven records later, the last three produced by Neilson Hubbard in Nashville, she stands as an artist of great insight, maturity and talent. 

The writing on this album is quite superb and sees Amy deliver what is very close to her most compelling, complete and resonant work to date. There is a depth that was always evident in her writing but that has now been complimented by the insights of motherhood and the creation of new life, while her Father recently passed away after illness, giving her the perspective that grief and loss bring.

Speace has always been fiercely independent and willing to walk her own path, with a look back at the journey taken and the weight of choices made, so beautifully captured on the title track of this new release “Although tonight out there I felt close to the flame, By morning I'll be hauling luggage through the rain”. It’s a wonderful opener to what proves a series of superbly crafted songs, some of which appear to address personal issues (Grace of God) and seeking to find safe harbour (Both Feet on the Ground), reflections that can surely bring resolution to any restless soul.

There are character songs, like the girl in Ginger Ale & Lorna Doones, which dissects the lonely decision that abortion brings “They take you to a separate room, To ask you if you're really sure”. Another song, Pretty Girls, may recall memories of the Janis Ian song At Seventeen but the comparison of beauty as a yardstick for success in life is tempered by the lines “ But I wonder if it's true, That maybe they are looking at me too, Wondering what the pretty girls do”.

The Dakota Access Pipeline protests of 2016 are tackled in Standing Rock Standing Here, a song that addresses the concerns of many in the Standing Rock tribe that the pipeline and its crossing of the Missouri River posed a real threat to the region's clean water and to ancient burial grounds.

The Icicle King looks at domestic violence from the innocent eyes of a child who retreats into a fantasy world of safety as “She'd hide in the bedroom since he broke the plate on the table, Porcelain pie smeared the blood on my mother's left cheek”. The sense of lost innocence is both stark and unnerving.

Back in Abilene is so poignant and sad; a slice of memory & growing up in 1960’s USA, in a small town, with innocent dreams and the price that war brings. Also, the crushing boredom of lives lived in grim frustration. Freedom beckoned with lines such as “I couldn't wait until I'd turn 18, I'd fill my car with maps and gasoline”. This theme is also the subject of Some Dreams Do which longs to roll back time to when hopes and wishes were everything “When the world was ours with just one wish, That could come true”. This And My Heart Beside channels Emily Dickenson and her poetry, quoting a verse in what is a simple love song perhaps to her Father or Husband?

The album is produced by Neilson Hubbard who also provides drums, percussion and vocals. There are guest vocal appearances from Ben Glover and Beth Nielsen Chapman and studio players are Will Kimbrough (guitars), Eamon McLoughlin (violin, viola), Dean Marold (upright bass), Danny Mitchell (piano, keyboards, horn), David Henry (cello) and support vocals from Kira Small, Lo Carter, Marcia Wilder and Natalie Schlabs across various tracks. Amy plays acoustic guitar, piano and sings like an angel throughout.

The final song is a cover of Ben Glover’s song Kindness and is directed not only to her new-born child but to all of us, in the way we negotiate our days in this divided world. Amy Speace has delivered a work of some substance and one that will endure.

Review by Paul McGee

Amy LaVere Painting Blue Nine Mile

This artist has been creating superbly honed music since her debut release in 2006. A well-respected upright bass player (and actress) who leans towards a slow Jazz-like groove, coupled with an ability to fashion great lyrics and allow her fellow musicians to fill in the spaces with intuitive playing. This is album number six and it starts with a song for our times, a cover of the John Martyn classic, I Don’t Wanna Know, which is given a slow soulful treatment with minimal guitar parts from Will Sexton and sweetly seductive bass & vocal from Amy. 

No Battle Hymn follows in what is an honest look at a relationship that has run its course and where “We’re tripping on memories where nothing remains”. Girlfriends gives advice to a friend concerning a current boyfriend and to not listen to the opinions of others - to just see the real inner person, rather seeking a superficial, shiny image; “I don’t believe that he’s ever lied to you, Or meant you any blues”.

Not In Memphis is a blues-tinged song that speaks of separation and the temptation to kill the boredom with a night on the town, the achilles heel of many a relationship where absence doesn’t always make the heart grow fonder. Love I’ve Missed is a song that doubts personal feelings in a relationship where one party is holding back from being fully engaged in the whole thing. 

No Room For Baby reflects on a path not taken and the regret at opportunities missed. It is a stark song with violin and cello adding to the pathos; “Maybe it was money or love I couldn’t find, Maybe I was waiting to run out of wine”.

Two more cover versions, Stick Horse Kid (David Halley) and Shipbuilding (Elvis Costello) follow; the first is a gentle sway with fine accordion playing by Rick Steff and a message to not make any plans in life and just go with the cards that you have been dealt; while the latter is a stripped back, bluesy, slow tempo rendition with Will Sexton playing so sensitively around the accordion of Steff and Amy’s resigned vocal. An anti-war song that reflects on the irony of short-term gain for long term pain.

The final track, Painting Blue On Everything, is a more up-tempo arrangement but a look at separation in a relationship and the depression suffered by one of the couple; “You’ve been sleeping with the lights on, Far from our bed and way past dawn, I sleep alone”.

The production by Will Sexton is very clean and the playing by the ensemble of musicians is nicely restrained to fit within the overall feel of this record. Amy delivers a sweetly tired vocal that suggests a knowing acceptance of the jagged edges thrown up by this world, but yet a quiet steel to always move beyond the current constraints by what lies in her path. Always interesting and so unique in her spin on life and everything after, Amy La Vere is a quiet treasure that you should discover.

Review by Paul McGee

Shawn Colvin Steady On SLC

This is the 30th anniversary of Shawn Colvin’s debut release, which won her a Grammy for the best Contemporary Folk Album of that year. Produced by John Leventhal, who also co-wrote six of the original tracks, the album hosted an array of guest artists, including Bruce Hornsby, Rick Marotta and T-Bone Wolk, with Luck Kaplansky and Suzanne Vega on backing vocals. It launched a career that, eleven albums later, has come full circle with this revisited acoustic version of the same ten songs.

No frills or extra tracks, just stripped-down guitar and voice in what is a brave reinterpretation of those times and one that inspires rather than disappoints. Her voice is as vibrant as ever, clear and strong, in support of some excellent guitar work in portraying these relationship songs of hope and regret. From being a fledgling artist finding her way to the mature & worldly-wise woman that is looking back on the years gone by, these songs have a nakedness and a resonance that still holds true. 

Her career could be summed up by the song, Ricochet In Time and the lines “Ricochet in time to the music, You just pick a day and I'm in a new destination”. But perhaps when she looks back at her younger self, Shawn can contemplate the distance and the journey travelled, as Diamond In The Rough observes; “You're shining I can see you, You're smiling that's enough, I'm holding on to you, Like a diamond in the rough”. For those who have yet to discover this artist’s music there is no better place to start ironically – a 30-year look back through the rear-view mirror to her debut work.

Review by Paul McGee

Monica Rizzio Sunshine Is Free Washashore 

Former member of folk/pop duo Tripping Lilly, East Texan Monica Rizzio’s second album is a return to those East Texas roots with an album that’s very much in keeping with the musical output emerging from East Nashville in recent times. This is not a surprise as Rizzio recorded the album at Nashville’s Skinny Elephant Studios and engaged Michael Rinne as producer. Rinne is very much the go to man in Nashville for artists hitting the Americana buttons, having worked with Kelsey Waldon, Erin Rae and Caroline Spence of late. Rizzio was a Nashville resident in the early 2000’s around the time that Elizabeth Cook, Hillary Lindsey and Mindy Smith were leading the charge as dominant writers in the non-commercial country scene. Smith adds backing vocals on the album and the musicians that feature are an impressive bunch of Nashville big hitters including Will Kimbrough (guitar), Evan Hutchings (drums), Spencer Collum (pedal steel) and Eamon Mc Loughlin (fiddle). Producer Rinne also plays bass on the recording.

As the title would suggest the album is about appreciating the simple things in life and this simplicity is also at the core of the album. ‘Why is it so hard to do nothin’, why do we always have to be running?’, she asks on the opening track Nothin’ and that sentiment carries right through the album. Rizzio possesses a lived in, wine and cigarettes voice, very much in keeping with the style and direction of the album. You could be forgiven for thinking the title track was a John Prine cover, it’s a happy song and catchy as hell.  Story Of My New Year is a rich up-tempo rocker, Don’t Keep Me Waiting and The Real Mc Coy are Texas country barroom delights. With You, a co-write with Mindy Smith, is a gorgeous ballad.

Review by Declan Culliton

Jake La Botz They’re Coming For You Hi-Style

 Actor, songwriter, blues singer and meditation teacher are a few of the strings to the bow of Chicago born Jake La Botz. His acting career has seen him perform musical parts in Animal Factory, Rambo and On The Road. He also played the part of Conway Twitty in season two of the TV series True Detective. His career in theatre found him touring the stage musical Ghost Brothers of Darkland County, written by Stephen King and John Mellencamp under the musical direction of T Bone Burnett. Alongside this heavy workload, La Botz has also recorded nine studio albums including his latest release THEY’RE COMING FOR YOU.

With a background firmly inspired by the pre - war bluesmen of Chicago, his core sound has seldom strayed too far from those influences, and in particular his time living in New Orleans. Rarely predictable or conventional, his touring profile includes his infamous Tattoo Across America Tour, performing in tattoo parlours across the US. His 2017 album SUNNYSIDE won two International Music Awards and he sticks closely to that winning formula this time around, working once again with producer Jimmy Sutton (JD McPherson, Pokey LaFarge). His sound is quite individualistic, a raw and rhythmic bluesy trawl across a collection of tales, often bizarre and often recalling the work of The Night Tripper, Dr. John. They are delivered in a vocal style that suggests a life lived to the full and very often on the wrong side of the rails.

The opener and title track is as likely to be referring to law enforcement officers as it is to underworld heavies whom the author may have fallen foul of. Music City gets a hammering on the witty Nashville Nashville ("You’re not country, you’re not rock and roll, Too arty for the blues and too dark for folk, And your pop songs are really a joke’’) and the witty Bankrobber’s Lament is a dark tale of lawlessness and guilt. Hey Bigfoot echoes Frank Zappa in both delivery and content and bonus track This Comb is a traditional Chicago blues rant.

Like chapters in a book of short stories, Jake La Botz has the ammunition to keep you turning the pages to revel in the absurd, fanciful and often comical tales.

Review by Declan Culliton

Jeremy Nail Ghost Of Love CRS

‘’Got my second wind down the open road, Carrying you with me wherever I go’’. The closing lines from the last track on the Texan’s latest album articulate his state of mind as he continues on his musical journey.

Like slipping on a comfortable pair of shoes, there’s something calmative for me about Nail’s music, which evokes images of cloudless skies, calm seas and breezeless summer days. It only seems like yesterday that we posted a review of LIVE OAK, the last album released by Jeremy Nail. The prolific songwriter, inspired by personal tragedy and subsequent recovery from cancer which resulted in amputation of one of his legs, has a lot to say and is not intent on wasting any time spreading his gospel.

A former member of Alejandro Escovedo’s band, Nail's critically acclaimed 2016 album MY MOUNTAIN dealt with the trauma of his ill health and the subsequent struggle with acceptance and recovery. GHOST OF LOVE continues where LIVE OAK left off with the ever-observant Nail creating songs inspired by simple landscapes, most probably seen in a different light since his return to full health.  Like its predecessor, the album was recorded at The Zone in Dripping Springs Texas with Nail and Pat Manske co-producing. It also follows a similar path - relaxed, meditative and observational. A full moon inspired Clarksville, a dreamlike ballad that features Betty Soo on backing vocals. Equally beautiful are Windmill and the shimmering Nothing But A Song. Paradise is similarly paced and equally melodic with echoes of early Josh Rouse coming to mind.

Impressively packaged with an attractive booklet / lyric sheet, GHOST OF LOVE is another standout offering to add to your collection of 'under the radar' treasures, from an artist that you really need to get to know.  Late night listening with dimmed lights and a night cap in hand.

Review by Declan Culliton

Bill Scorzari Now I’m Free Self-Release

Continuing his exploration and observations of the human condition and where it finds him now, Bill Scorzari’s new album is a testament to the stories and tales he tells here, in an often non-linear but encompassing way. Scorzari’s picture on the cover is a reflection of the age-worn voice he has. One that has all the wisdom and fragility of living with the passing of time. Added to that, his voice acts as a focal point to the understated and subtle arrangements which sit behind it. 

Producer Neilson Hubbard has gathered a set of players who add a sense of objectivity to the way they play that best enhances the songs. Foremost among these musicians is Will Kimbrough on guitars and mandolin, who is joined in that role by Juan Solorzano playing alternate tracks. Hubbard plays drums alongside bassist Michael Rinne and Megan McCormick adds lap steel and (with others) harmony vocals. Many of these players are artists in their own right and so understand the nature of delivering a song.

Scorzari’s lyrics feature in a prose style in the booklet and are well worth reading. A song like Yes I Will is over ten minutes long and is a lyrical word poem that is both open and introspective. It, along with the other lyrics of the fifteen songs, do not always seem straight forward yet offer some outside observation alongside inner reflections.

That the album clocks in over 73 minutes will be a deterrent to some, or at least, too much to take in at one go. So, when you add the fact that Scorzari’s voice may be considered a little, off the beaten tracks shall we say, it means that Now I’m Free will not appeal to everyone, even those who consider themselves Americana fans. However, for those who are taken by such individual sounding voices such as Malcolm Holcombe, Sam Baker or perhaps Tom Waits then this will likely be something you will rightly savour. Something that will resonate after repeated listens that manages to draw all the creative fragmented elements into a constructive and moving whole. Remarkable even more so that the album was reportedly recorded live. An album to savour anytime it’s given the time and space for listening. 

Review by Stephen Rapid 

Dime Box Band Happy Avebury

One time bass player with David Gray and prior to that a member of 80s pop group Wednesday Week, Kristi Callan is continuing to make music from her home base of LA. Currently she fronts up and is the main songwriter in Dime Box Band and HAPPY is their second album. 

Essentially a rootsy rock ‘n’ roll album, the sound is softened by the presence of Lyn Bertles’ inventive fiddle and mandolin playing. It’s a bit of a family affair, with Bertles’ husband Nick Vincent (Frank Black, John Fogerty) on drums and keyboards and their son, Alex Vincent, on bass. The family connection is completed by the presence of Callan’s son, James Nolte, on guitar. HAPPY explores and celebrates life’s ups and downs, with Callan’s pop credentials evident in much of the songwriting and production. There are country overtones throughout also, particularly on the upbeat opener All of Nothing, on the catchy road song As the Crow Flies and on What Went Wrong, which features lovely pedal steel from guest Matthew Davis. 

Hints at a social conscience peek through on Close Your Eyes, a song for our times which describes how most people turn away from and ignore daily examples of injustice. This turns dramatically, though, to anger on Keystone which explores the thorny issue of eminent domain (compulsory purchase) which Callan’s own family have experienced in her native East Texas. It allows James to let rip on an angry electric guitar solo, leaving one in no doubt as to the depth of feeling contained therein, and unapologetically references Woody Guthrie in its refrain of “this land is your land, let’s take it back”.

Worth checking out.

Review by Eilís Boland

Robert Connely Farr & The Rebeltone Boys Dirty South Blues Self Release

Grabbing my attention from the very first track, this album will be among my picks of the year, without doubt. There’s an interesting back story behind the development of the unique and compelling sound created by Robert Connely Farr here. Now living in Vancouver, Canada he hails originally from the Deep South - Mississippi, to be exact. On a trip back home only a couple of years back, he discovered and struck up a friendship with Jimmy ‘Duck’ Holmes, who is one of the last surviving exponents of a little known style of blues called Bentonia, named after the town in which Duck still lives. Skip James is the best known of the Bentonia style players, which is dominated by more minor keys and a droning style. Farr, with Duck’s encouragement has taken the style and made it his own. He gathered a bunch of truly stellar Canadian musicians around him and, with producer Leeroy Stagger at the helm in his Rebeltone Ranch studio in Alberta, they  have created a work of brooding greatness. 

The title track is a fine example of that greatness- heavy electric guitar riffs (Evan Uschenko) echo Farr’s dirty deep vocals, all the while soaked in the swirling Hammond organ of Michael Ayotte. The heavy sound is matched by the lyrical content - though a Southerner by birth, Farr is not afraid to call out the murkier side of Southern culture. Magnolia (the state flower of Mississippi) is equally menacing and brooding instrumentally and lyrically- at times stark and unsettling, it starts with Farr’s acoustic guitar and builds to a crescendo with the help of inventive percussion from Kyle Harmon and Uschenko’s spiky guitar riffs - “devil in a dress with a pretty  mouth, she’ll chew ya up and spit ya out”. Blue Front Cafe is a good example of the sparseness of the Bentonia sound and is a tribute to the self same oldest surviving juke joint in Mississippi, which was opened by Duck’s parents in 1948 and which is still run by him.

There’s a country flavour running throughout the material here - often recalling the Drive By Truckers or The Band. Cypress Tree Blues, Yes Ma’am and Ode To the Lonesome are good examples, demonstrating how Robert Connely Farr enriches the usually sparseness of the sound with his Southern rock sensibility.

Highly recommended for all Americana fans.

Review by Eilís Boland

Latest Album Reviews

Various Artists Too Late To Pray - Defiant Chicago Roots Bloodshot

The latest compilation from the Bloodshot label in Chicago isa reaffirmation of their roots which were sown back in 1994 with the debut release of FOR THE LIFE OF SIN a similar compilation of some rough, rowdy and relevant renegades who chose to play country music of one stripe or another. It was often a personal take on the traditional country music that they had often discover on old vinyl albums in thrift stores. Many of those bands may no longer exist for some reason or another (The New Duncan Imperials, Milly and The Sequins, Iggy Yoakam and his Famous Pogo Ponies). While others who also featured on that album continue to make music (Jon Langford’s Hillbilly Lovechild, Robbie Fulks, Freakwater and The Handsome Family). Some continue ri define and refine their original ethic were others such as The Handsome Family sound very different on the new album with their electronic take on Leonard Cohen’s Tower of Song compared to Moving Furniture Around from the original compilation.

For this listener those Bloodshot compilations were a breath of fresh air. They were often post punk takes on country and old time music. They delivered the songs with the rough edges intact and did so with an enthusiasm for the genre that was infectious and immediate. Then, and even more so now, they were a million miles away from the majority of releases that were coming out of the mainstream labels in Nashville’s Music Row. It all made sense to a person invigorated by punk rock sitting in his kitchen in Dublin, Ireland. It was the welcome equivalent to those Nuggets style collections of garage band recordings from the 60s. 

There are 22 tracks here. I pretty much liked them all but quite obviously some hit home harder than others. The opening Wild Earp and the Free For Alls sing about The Last Honkey Tonk In Chicago with piano and steel to the fore. The Mekons’ Jon Langford is pretty much true to form with I Am A Big Town a song he recorded with Steve Albini on guitar. Vocalist and writer Izzy Olive takes things a little slower with Half Gringa’s Wearing White. As distinctive vocally as ever is Robbie Fulks with his acoustic bluegrass styled take on his own Lonely Ain’t Hardly Alive, which features Ron Spears on tenor vocal. Equally sparse with just banjo and vocals is Freakwater’s version of the Jagger/Richards song Sway. Back to the honky tonks with David Quinn and Long Time Gone with some more pedal steel and twanging guitar. The Hoyle Brothers’ with the referencing song of influencing country stars that is A Little Bit Of Buck. Kelly Hogan reminds of a more sultry soulful time with cover of Gotta Have My Baby Back. The song, however that really reminds me of the time that twanging country connected in the way that punk did, is funnily enough Chicago Tex-Mex band Los Gallos whose song Yeah, Yeah, Yeah sounds less related to their cultural origins and more London 1977 - but works a treat. The Weston Elstons’ Toast That Lie is another bar room ballad that seems right out of the Texas ballrooms.

But as mentioned there’s nothing here that I would skip over. It is a tribute to the label that they have been able to bring some otherwise unknown names into the limelight. Many may not be around in years to come but for now that hardly matters in this worthwhile tribute to the sound of those inner city honky tonks and small venues that continue to host and feature these bands. The blood runs strong in Bloodshot. Their output may not be to everyone’s tastes but it is true to the origin and intent and that is to be applauded with any long time independent label. It is also appropriate consider that in there 1930s Chicago hosted the premier country music show in America via WLS with The National Barn Dance. That spirit of adventure of that time still lives on here.

Review by Stephen Rapid

Ags Connolly Wrong Again Finstock

This is the work of a man who believes in his music and one of the best artists that has emerged from the UK. Not that that in itself is the significant factor as I think I would feel the same about this release if Connolly was from his spiritual home of Austin. Connolly has produced the album with a clear update of his sound from the previous album in mind. He recorded in a studio in Oxfordshire working with a set of musicians to help him create the sound he wanted. Rob Updegraff on guitars, Anna Robinson on bass and vocals, Robert Pokorny and the pedal steel of Joe Harvey-White. These fine players were joined by special guests accordion player Michael Guerra (noted for this role as a part of The Mavericks team) and ace all round fiddle player Eamon McLoughlin. These guys get the job done as well as pretty much anyone could.

Finally, the two ingredients needed to make this complete are the lead vocals and a set of decent songs. Connolly has an utterly distinctive vocal and nine new songs to add to his already strong catalogue. These are songs of heartbreak, of a man always looking but not always finding (or keeping) the love he seeks, of sitting in barrooms and of thinking on life. 

It is also an album that needs to be heard as a complete album in a single sitting to give the best result. Having said that, try the title track’s take on the gameshow of life, the self-explanatory Lonely Nights In Austin or the closing Sad Songs Of Life. There is one other track that actually fits in with the overall mood of the album and that is his take on Gordon Lightfoot’s Early Morning Rain – a song he makes his own.

As perhaps the only country album cover where you might see of a man nursing a pint and musing on life in an English pub, there is something of Connolly home country buried in the roots of these songs whose roots crossed the ocean having been transported there centuries ago to become part of the bed rock of the foundations of the genre.

 His artistry is among the best contemporary exponents of a purer country music, that regardless of location, shows him to be a crafted writer. Though like any independent artist he may find it a struggle to get noticed outside of specialist publications and radio shows. The “country music” that is gaining traction this side of the ocean is a long way in spirit and truth from what is on offer here. That may be the current situation but Ags Connolly remains a worthy talent whose music is always welcome. 

Review by Stephen Rapid

Daniel Meade Rust ButtonUp 

Daniel Meade’s second album this year is quite different from the live album he released with his band The Flying Mules. Immediately noticeable is the fact that he sings in a much broader Glasgow accent. The opening song finds him sitting at the piano singing Anyway, Anywhere, Anyhow in an immediately catchy attack on the sometimes superficiality of aspects of the current outlaw movement.  It’s delivered in a singalong style that will be something of a winner live too. By way of contrast These Things Happen which follows, has more of a rockin’ group setting although the only player featured on the album is Meade himself. He has said that this album brings together all his life and musical influences he has encountered over the years - both good and bad. So, in the same way, you hear several different songs where a part of the song, chorus or riff, reminds you of some 60s rock, some folk (Celtic and otherwise) as well as roots and Americana although that latter label hardly fit this distinctly UK infused album.

What it does underline however is the undisputed talent of Meade as a musician and song writer. There are several songs which make their mark immediately, including the swearing in the chorus of Anyway, Anywhere, Anyhow (as in “I don’t give a f**k  anyway, …”). Deams Grow On Trees or the song about a song, the folkish Workin’ On An Old Song - which at this stage is my favourite. To these ears there’s an almost “Faces-feel” about the approach to the looseness and groove to some of the material though it doesn’t exactly sound like that particular band. What the songs do is to evoke the way that Daniel Meade is exploring his musical muse. 

There is a lot to like on this latest release from Meade who has really made up his mind about the way he wants to build his career - one that doesn’t include compromise or necessarily reaching for the golden ring. What he does, he does because it feels right (at that time) and he deserves to be recognised for pursuing an individual vision - and making some great music along the way.

Review by Stephen Rapid

Vetiver Up On High Loose

Since their formation in San Francisco seventeen years ago, Indie folkies Vetiver have been sharing stages and collaborating with household names such as Wilco, Devendra, Fleet Foxes, Joanna Newsom, Yashti Bunyan and former Vetiver band member Devendra Banhart.  What is somewhat surprising, is the fact that their profile is not as high as it might be, given the consistent quality of their recorded output, which amounts to six full albums and three EP’s prior to this release.

Vetiver are fronted by Andy Cabic, a long-time collaborator with the aforementioned Banhart, having co-written songs and produced his CRIPPLE CROW album. Cabic’s musical  influences range across a broad spectrum including Michigan psychedelic rocker Kelley Stoltz, the legendary Randy Newman, traditional American folk group The Carter Family, The Replacements and REM. Diverse as these acts may seem Up On High does reflect elements of them all, yet managing to create a quite unique sound that blends folk, power pop and indie in equal measures.

It’s difficult to identify the stand out tracks given the cohesiveness throughout. The Living End, To Who Knows Where and Swaying, which make up the first three tracks on the album, are all terrific. Filigree and the title and closing track Up On High are laid back delights. It may seem over simplistic but what comes to mind describing the album is an Unplugged blend of Squeeze and REM.   

Written exclusively on acoustic guitar, where UP ON HIGH wins hands down is Cabic and engineer/collaborator Thom Monahan knowing when to hit the pause button. Much of the material sounds as if it’s heading to the mixing desk to be beefed up. Fortunately, this did not occur, rendering the songs beautiful in their simplicity and with Cabic’s vocals out in front. Highly recommended.  An acoustic jingle jangly, folky power poppy delight!

Review by Declan Culliton

Orphan Brigade To The Edge Of The World  Self Release

Ben Glover, Neilson Hubbard and Joshua Britt continue to find inspiration in local history, folklore and rugged landscapes on their latest project TO THE EDGE OF THE WORLD. Orphan Brigade is a side project for the three artists whose previous recordings include SOUNDTRACK TO A GHOST STORY (2015), a ghost story set to music recorded in a haunted house in Franklin Kentucky and HEART OF THE CAVE (2017), inspired by an invitation to explore the 2500 year old caves under the streets of Osimo in Italy.

Glover left his hometown of Glenarm in County Antrim in 2009 to further his career in Nashville and in particular to challenge himself artistically within that city’s creative community. The journey has resulted in a number of collaborations and co-writes with three of Nashville’s finest songwriters - Mary Gauthier, Gretchen Peters and Kim Richey. TO THE EDGE OF THE WORLD finds Glover acting as tour guide to his fellow band members in Orphan Brigade, as he introduces them to the craggy and windswept coastline of his youth and the history embedded within its environs. The journey proved to be most fruitful, the guiding light and motivation behind the fourteen tracks that make up the album. These compositions were developed and recorded over a seven-day period at the one-time Franciscan Friary, St. Patrick’s Church of Ireland in Glenarm. The album effectively combines traditional, blues and folk music with a Celtic thread as the common link.

 The uilleann pipes intro by Barry Kerr that introduces the album creates the perfect atmosphere for what follows. Madman’s Window tells the tale of the distraught young man who loses his sanity after the drowning of his lover while swimming in Glenarm Bay. Its chunky intro recalls P.J.Harvey before it merges into an eerie bluesy stomp. A similarly organic atmosphere is captured throughout the album.  We’re offered songs written in a forest at midnight (Banshee), a graveyard (Under The Chestnut Tree), a mountain slope (St. Patrick On Slemish Mountain) and a headland cave (Fairhead’s Daughter). Captain’s Song, which features John Prine on vocals, recalls Sorley Boy MacDonnell, the local chieftain of the 1500’s. The title track also introduces the children’s choir at Glover’s old primary school. The album’s closer Mind The Road is a fitting reminder of both the beauty and perilous past contained in the history of this Ulster coastline.

All of this could easily have amounted to a self-indulgent project by Glover, nostalgically revisiting his former life. On the contrary, a passionate trio of musicians and historians, Orphan Brigade once again succeed in collectively creating strikingly evocative songs on their elected subjects. Powerful, chilling and charming in equal parts and well worth your attention.

Review by Declan Culliton

Jason Hawk Harris Love & The Dark Bloodshot

The title of this album from Los Angeles based singer songwriter Jason Hawk Harris is a road sign to the two key elements that embody the nine tracks contained within.

Prior to embarking on a solo career, Harris played in Show Ponies, a band that blended edgy folk and bluegrass. His solo career was launched with the release of an EP entitled FORMALDEHYDE, TOBACCO AND TULIPS in 2017. LOVE & THE DARK followed after disaster visited Harris and his family, sending his personal life into freefall. His mother passed away from alcohol related issues, his father’s company went bankrupt and his sister gave birth prematurely to a son with cerebral palsy after she had been diagnosed with multiple sclerosis. At the same time Harris developed substance abuse problems and found himself at rock bottom. With a background which touched on country, punk and indeed classical music, it’s no surprise that LOVE & THE DARK does not restrict itself to one particular classification. Instead, it transports the listener through dark and painful landscapes, crisscrossing between hard boiled country and rock. 

The songs point to a catalogue of emotions, stimulated by personal disarray, often confused and conflicted, from an artist attempting to rationalise a world crumbling around him. Harris has drawn on those emotions to survive and rehabilitate. Phantom Limb, the most striking track on the album, reads like an open wound, as Harris recollects his mother’s body on open display at her funeral wake. The odours, sights and sounds remained ingrained in his subconscious. I’m Afraid is equally disturbing, describing the religious guilt often conflicting the young boy, with nightmares of devils and demons as he lies terrified in his bed at night. Givin’ In, which takes off like a freight train, is a tale of a guilt-ridden addict unable to resist another hit.

Harris’ introduction to music as a young boy came via his grandfather and the closing track is a tribute to him. Grandfather also gives thought to an afterlife where the ageing process is reversed and troubled people are at peace. The alcoholic’s plight is depicted on Cussing At The Light, the inevitable daytime drinking to kill the pain, killing the time before darkness arrives. ("If I drink enough at least I’ll sleep’’). Similar to the opening track The Smoke And The Stars it falls very much into the territory occupied by Jason Isbell on his solo albums.

The album was produced by Andy Freeman and includes a host of quality players notably Philip Glenn on piano, Kevin Brown on drums and Mark Lavengood on pedal steel. Rachel Baiman and Natalie Nicoles contribute backing vocals.

Harris occupies a similar space to his label mate Sarah Shook, delivering hard nosed country infused rock. Bloodshot Records have been at the forefront of cowpunk, alt-country and Americana for the best part of two and a half decades and when they sign an artist, you’d be rash not to investigate. Another great discovery and signing on their behalf.

Review by Declan Culliton

Jude Johnstone Living Room BoJak 

Sometimes music reveals itself as a fragile thing that needs to be cherished and nurtured until it can be fully brought out into the light. The 10 songs included here were performed and recorded in Jude’s LIVING ROOM (the title) and could easily be retitled Songs From the Heart. The beauty in the melodies and words is matched by the honesty and wistful sorrow revealed by Jude Johnstone, an artist that has been producing music of the highest quality for many years, often sadly unrecognised by the greater media. 

However, her stock is held very highly by many artists who circle around her burning flame, Bonnie Raitt, Trisha Yearwood, Jackson Browne, are just some of the artists who keep her close to their circle. There is aching beauty in the arrangements here, the penny whistle and cello on My Heart Belongs To You, (Bob Liepman and David Brewer) giving an Irish lilt to the melody. The male vocal perspective of That’s What You Don’t Know (Hunter Nelson) and the juxtaposition of media image against private fears. Jude writes so well that her songs can be viewed from either side of the great male/female divide... The pedal steel playing on this song (Rob van Duuren) is just so perfectly placed that you feel like you were right there in the room when it all was captured. 

All I Ever Do is a song that speaks of suicide and is tinged with both understanding and disbelief. It could have been written for her close friend Neal Casal (R.I.P.), with the winsome lines “Now you’re with a God I’ve never met, But I’m hoping he’ll be kind, And comfort you if you should regret what you left behind”; there is such beautiful acceptance... 

This could almost be a soundtrack to a Broadway Play as the principal actors go back and forth over a relationship that has ended - if any enduring love can ever really end. One Good Reason asks why leaving is such a better choice than honouring all the years that have gone before, I Guess It’s Gonna Be That Way is a grudging acceptance that unrequited love is all that remains, carrying a torch and hurting still. The combination of piano, accordion, cello and pedal steel is sublime! So Easy To Forget is a duet (with Tim Hockenberry) that looks at both sides to a fractured relationship, all angst and questioning while the piano plays minor keys behind the upright bass. The curtain comes down, exit stage left… 

Jude plays a Parlour Grand Piano made by Mason & Hamlin in the 1920’s. They were as big as Steinway in their day and while not as well known over time, many professional musicians consider they are the finest pianos ever made. You can hear the intimacy of the recording with the foot pedals being engaged in some songs and the silence between the notes is just so haunting. Serenita is a male vocal (Brandon Jesse) again, used to great effect, lamenting a promise to marry that was never kept. 

Boy meets girl, love blossoms, years go by and now man leaves woman; all the crossroads along the way can only be guessed at… The play of life? The curse of Love? As one lyric contemplates “why’d you have to leave me here, With nothing left to do, But drink and disappear”. 

This release is perfectly constructed and delivered with such beauty and grace. It is a work of great imagination, of sad reflection and of hope for the future. As Seasons of Time contemplates, “For the one thing unchanging, forever unwavering, Is I’ll love you for all of my days”. Again, piano, penny whistle, cello and violin just nail the accompaniment to a male vocal (Ben Glover) that conjures images of a couple that are elderly and still in love with each other, given all the miles travelled in their shared journey. The last song, Paradise, hopes “And you and I will search till dawn, For Paradise”; the dreams of youth made real by the trying. 

Mike Meadows on percussion, Matt Rollings on accordion, Nick Scott on upright bass, Olivia Korkola on violin, Liney Hamilton on trumpet, David Keary on baritone guitar, plus others already mentioned – all take a bow!!

Order this wonderful music direct from the artist’s site at www.judejohnstone.com and while you’re there, do yourself a big favour and pick up a few more of her superbly crafted releases.

Review by Paul McGee

Ordinary Elephant Honest Berkalin

The simple beauty of music, captured in the song. Just the quiet arrangement of acoustic guitar, banjo and voices harmonising around the melody. Such a joyful pleasure. Many of these songs hold echoes of the past, just over the last hill, now almost forgotten in the light mist that falls upon the fields. 

Ordinary Elephant are Crystal Hariu-Damore (guitar, vocals) and Pete Damore (banjo, octave mandolin, vocals). On this sophomore release they have taken great strides and are joined by Michael Rinne (bass), Nielson Hubbard (percussion, piano) and Will Kimbrough (acoustic & electric guitars, mandola, organ). Produced by Nielson Hubbard, the eleven tracks are beautifully realised with plenty to admire in the musicianship and the song arrangements.

Come From reflects on where we are born and grow up - the roots set down in learning the correct way to behave. Such rural experience has real substance and resonates in all that living a good life entails. 

Scars We Keep is a message against prejudice, bigotry, ignorance and blindness passed down through the generations. The War is a wonderfully crafted look at the enduring memory that violence and death leave upon its survivors who become the next victims within a society that is oblivious and uncaring. Is the war ever over inside the minds of those who endured the nightmare?

Crystal sings strongly with conviction and nuance. Pete sings behind the lead of Crystal more often than not and their harmonies are very accomplished, caught in a timeless union.

Shadow is a song about living on the margins, lost in days of struggling to cope on the fringe of life. Again, simple but compelling arrangements abound. Jenny & James is a song about race and class restrictions on relationships. It could be a religious divide also but the need to break the chain on restrictions is evident, with the same enduring message “Don’t forget what you come from”.

The days of the Pony Express and the risks taken to develop the towns of cities of the New West are captured in Harriet, horse and rider as one against the challenges of the day. I’m Alright is a look at parents getting old and trying to protect their child from the reality of what lies ahead. The frailty of the passing years, “I see both your faces face the truth, Of who you love becoming who you lose”. Powerful stuff…

Worth the Weight is a song about life lessons from an adult to a child, to charter a steady course despite the mistakes from which you grow. “Half your life spent figuring out, How to make the other half count”; you can’t but be impressed by the strength of these songs.

Rust Right Through tackles the urge to stay safe against the need to break free and try new experiences. Life only comes around once so dive into the moment.

If I Am Being Honest is a standout lyric of trying to make sense of child fears and parental worries; how to protect and yet strengthen and teach. How well observed. 

This couple are writing songs around subjects that are not always easy to articulate in just a few minutes, but they tend to pull it off with something to spare!! 

The final song is Hope To Be That Happy, which brings everything around full circle with a look at what matters most in family and roots put down – strength in aged wisdom, a life well lived, to enjoy the days; “I hope I will know, All that matters, Is right in front of me”.

This is what it’s all about, songs of real substance and tenacity. A wonderful album and one that builds upon their growing reputation.

Review by Paul McGee

Ever More Nest The Place That You call Home Parish Road

A debut release from Kelcy Mae, as Ever More Nest, that is a very pleasant surprise. It kicks off with Unravelling, a song that is an honest admission that life can be directionless and without guidance; somewhat overwhelming to a young life who carries the weight into adulthood. The chorus has a soaring vocal and a rich orchestral feel.

So Low is a song of relationship woes and a lover’s fight. The pedal steel, banjo and violin weave a fine melody and the slow pace is just perfect for the sentiment of regret. Similarly, North Mississippi, is a song about driving away from something that has now become a bad memory, leaving the storm encountered on the drive as a metaphor for an unsettled and restless spirit.

The song-writing is excellent and the ten tracks featured here highlight the superb musicality of the ensemble gathered in the studio. The playing is superb throughout, all topped off with the clear and resonant vocal of Kelcy Mae that colours the songs quite perfectly. Kelcy Wilburn (aka Kelcy Mae) co-produced the project with Neilson Hubbard, who also plays drums, percussion and sings. Kelcy is also very comfortable on guitar and piano as and is joined by the seasoned talents of Will Kimbrough (guitar, banjo, mandolin and piano) and Kenny Hutson (guitar, dobro, lap and pedal steel). Dean Marols plays bass and Eamon McLoughlin contributes violin & viola. Joshua Britt appears on one track and plays banjo. Clocking in at just shy of 40 minutes, it is the perfect listen for a night at home with your favourite tipple - all restrained playing and laid-back atmosphere , with Will Kimbrough taking the guitar lead part on eight tracks.

Broken Bones is about returning home but never being able to go back to the youthful innocence that been left so far behind. Gimme That is about wanting a bite out of life; both good and bad – city streets and their temptations versus the joys of nature; all joined in a breathless swirl of pleasure. Paper Dolls is a surgical look at a relationship gone awry. Once exposed, the dysfunctional nature of everything becomes clear. Major Tom and I Wish I, are two songs that deal with the feeling of being outside and alone in negotiating the rapids of relationship routines.

The last two tracks are a perfect way to bring everything nicely together with Fine Right Here (This Time Next Year) being an acceptance of differences in a relationship or perhaps an admission that things are changing and people grow apart. Town With One Horse follows through on a dream turned into something unreal, a skewed look at love – “I want babies and romance and plants on the porch, but you want whisky and women in a town with one horse”.

Kelcy’s website states that Ever More Nest is a new music project that was born out of a trip to Tennessee where she experienced totality, met her spirit guide, and ended up making this record. Well, whatever occurred, she made pretty fine use of her time… An excellent release that is worthy of your attention and which brings many rewards in the listening. 

Review by Paul McGee

New Album Reviews

Kelsey Waldon White Noise/White Lines OhBoy

WHITE NOISE/WHITE LINES is Kentucky native Kelsey Waldon’s third album, her first since signing to John Prine’s Oh Boy Record Label. The introduction to her Nashville neighbour Prine came about from an invitation to open shows for him in 2018. Fully deserving of the exposure she is currently enjoying, Waldon spent over ten years handling rejection and near poverty, while struggling to keep her head above water. Moving to Nashville with stars in her eyes as a nineteen-year-old was a hard lesson learned. She lasted less than twelve months before moving back home. Subsequently returning to Nashville, she enrolled in Belmont University to study songwriting, working behind bars to survive. The hard work and commitment paid off, resulting in two wonderful under the radar albums, THE GOLD MINE (2014) and I’VE GOT A WAY (2016). Invitations to perform at The Grande Ole Opry and support slots for Jamey Johnson, Tyler Childers and Prine followed.

Correctly praised in many quarters as the possessor of one of the most distinctive and unique country voices, on this recording Waldon has shifted somewhat from the traditional country template of her earlier work. WHITE NOISE/WHITE LINES is somewhat more experimental and certainly more personal, dipping into blues and folk along the way and channelling country in an altogether different direction. It also features a number of intimate interludes, including Chickasaw tribal chants recorded at her father’s hunting cabin and also a voicemail left by her father.

The title track is raw and bluesy, inspired by what was essentially a turning point in her career. A picturesque solar eclipse occurred over Nashville as she prepared to leave the city and visit her parents in Monkey’s Eyebrow in Kentucky. Having just reached the age of thirty and in a new relationship, everything seemed to be falling into place for her. The song is a reflection of this new beginning, hard earned but eventually realised. The strongest material, for me, kicks off mid album and features Waldon cemented into her comfort zone. Black Patch is the album standout track, pure honky tonk. Run Away and Very Old Barton are on the same page, the former possibly a two fingers salute to a former lover. Kentucky 1988 finds her in contemplative and proud mood, as she considers her DNA. Sunday’s Children questions organised religion and the prevailing self-righteous attitude that are the root causes of so much turmoil.

Weldon co-produced the album with Dan Knobler, who appears to be the favoured producer for emerging female artists in Nashville. Her co-residents Erin Rae and Caroline Spence both worked with him on their latest recordings.

WHITE NOISE/WHIOTE LINES may be the album that gets Waldon deserved recognition in the industry and opens doors for her. It’s certainly her most personal, the writing reflecting an artist considering her past at a pivotal stage in her career. I wonder whether her next venture will be as experimental or whether she will return fully to her early career traditional country roots. We’ll just have to wait and see.

Review by Declan Culliton

My Darling Clementine (with Steve Nieve) Country Darkness Vol. 1 Fretscore

My Darling Clementine, the husband and wife team of Michael Weston King and Lou Dalgleish, have been the pioneers of classic country music outside of The United States for near on a decade at this stage. Their debut album HOW DO YOU PLEAD? released in 2011, was deserving of the lavish praise it received. Country Music People hailed it ‘’the greatest British country record ever made ’’ and American Songwriter described it ‘’as authentic as anything coming out of Nashville or Austin.’’  THE RECONCILIATION followed in 2013, also receiving equally impressive industry accolades. They then took a more experimental approach with the release of the ‘story and song’ project THE OTHER HALF, a collaboration with crime writer and country music enthusiast Mark Billingham. Throughout this period, they toured endlessly in support of the various projects.

It should be of little surprise that their current venture explores the country music exploits undertaken by Elvis Costello. For many of today’s lovers of vintage country music residing in Europe, the introduction came by way of Elvis Costello’s sixth album ALMOST BLUE recorded in 1981. A country covers album was not what was expected from the angry young new waver at that time, and the album was greeted by mixed reviews at best. However, it introduced Michael Weston King and no doubt thousands more, to the icons of American country music and most probably shaped their listening preferences for decades to follow. George Jones, Hank Williams, Merle Haggard and Gram Parsons, all represented on that album, were artists hardly on the radar of Costello’s core audience back then. Even if Costello’s recordings were not always true to the original song versions, a light was switched on, sending many scampering for back catalogues. Weston King sums up ALMOST BLUE’s significance perfectly when he admits to being ‘’sent off along a country path to discover more about this form of music previously only viewed with suspicion.’’

COUNTRY DARKNESS VOL.1 is My Darling Clementine’s first, with hopefully more to follow, exploration of songs penned by Costello, which either had obvious country leanings or the potential to be guided in that direction.  The album title refers to one of Costello’s strongest country songs, which featured on his 2004 recording THE DELIVERY MAN. It’s not included this time around but hopefully will surface in a future recording. This four-song selection accurately reflects the ‘darkness’ theme, with tales of failed and doomed relationships, domestic violence and infidelity.

The added bonus with the project is the input of Steve Nieve, foot soldier and sideman from EC’s early days and valued member of both The Attractions and The Imposters.  The reinterpretation of the four songs on the album is a three-way collaboration King, his wife Lou Dalgleish and Nieve.  Dalglish, also a long-time fan of both Costello and Nieve, admits to being reduced to tears when she sat down beside Nieve, to rehearse the first song on the EP.

A gentle piano introduction by Nieve opens the first track Heart Shaped Bruise, which featured on EC’s 2004 album THE DELIVERY MAN. Soon to be joined by Dalgleish on lead vocal with Weston King following, it’s the perfect taster for what’s to follow. Next up is a remodelled Stranger In The House, a co-write and duet with George Jones recorded in 1978. It surfaced as a free single with the early copies of Costello’s THIS YEAR’S MODEL in 1978 and was the first inkling of Costello’s intentions to travel the country roads. This version is closer to Countrypolitan than the original’s more honky tonk leanings, with Nieve’s silky piano work substituting the pedal steel breaks of the earlier version, this time around. The song is tailored made for the male female country duet format and MDC give it a stylish Jones/Wynette makeover.

That Day Is Done was one of a number of co-writes by Costello with Paul McCartney which featured on the latter’s 1989 Album FLOWERS IN THE DIRT. Any country leanings may not have been apparent on that recording but it’s given a total refashioning this time around, with shades of Dusty Springfield emerging in Dalgleish’s vocal performance.  The albums fourth and final track is I Felt The Chill Before The Winter Came. It appeared on EC’s 2009 release SECRET, PROFANE AND SUGERCANE and was a co-write with Loretta Lynn. It’s a classic break up song, one of many authored by Costello over his career. We’re treated to a version faithful to the original, with Tom Wright on pedal steel guitar alongside the possessors of two voices that above all, always seem to love what they are singing. The remaining musicians that feature are Colin Elliot on bass, Stan Sheridan on guitar and Dean Beresford on drums.

I can’t think of any act more suited and appropriate to reappraise the extensive EC songbook and handpick material befitting reconstruction. Hopefully My Darling Clementine will be on the road, touring this and future volumes of the same. Fingers crossed that Steve Nieve and the cracking bunch of musicians that feature on this album will accompany them!

Review by Declan Culliton

Caroline Herring Verses Continental Song City

Singer, songwriter, teacher, lecturer, political activist and musical historian, Caroline Herring has been active over the past twenty years on all these fronts. She’s also the receiver of awards such as Best New Artist at SXSW in her early career and featured in Texas Music magazine as the writer of their selected Best Songs Of All Time. The acclaimed song was Mistress from her 2003 album WELLSPRING. The proud owner of such elevated awards, she could have been forgiven for aggressively pursuing her own commercial musical career. However, her art meant so much more to her, than the opportunity for personal financial gain and recognition. 

Her reluctance to follow a commercial path was typified by the release of VERSE BY VERSE in 2018, described by her as ‘’ A 22 song-meditation on the scripture.’’ Her current and 9th release, completes her collection of songs inspired by the bible. The subject matter may not be one that will win her new admirers, but will certainly be of interest to many followers of Herring. Her earlier albums, in particular Wellspring (2003) and Lantana (2008), are wonderful, reinforcing both her exceptional crystal-clear vocal delivery, combined with the ability to pen gorgeous songs. These albums did also contain Christian overtones, so it’s not surprising that she explored the ancient texts of the Psalms and Gospels for her recent projects. The common denominator between Verses and her earlier work is her striking vocal, showcased in a more stripped back environment this time around. The self-produced album contains thirteen tracks, the highlights being Let The Little Children Come To Me, You Are No Longer A Stranger and My Heart Is Not Proud.

VERSES is a reminder by Herring that comfort, solace and peace of mind are brought to many by the study of ancient texts. Beautifully delivered, it may not be the entry point for newcomers to Herring’s music, but anyone investigating and appreciating her impressive back catalogue will no doubt progress to this offering.

Review by Declan Culliton

Dallas Burrow Southern Wind Sublimal Hymnal

There’s no shortage of male artists whose writing is inspired by new found sobriety these days. Dallas Burrow is the latest to join the club and his solo album SOUTHERN WIND is a reflection of a life journey from childhood through a nomadic young adulthood, much of it spent travelling and performing in America and Europe.

Those travelling days were halted when he arrived in Nashville to translate his memoirs into the thirteen songs that feature on his solo album. His choice of producer was Eric Mc Connell, whose employers have included Loretta Lynn and another hell raiser, Todd Snider. Recorded in a mere two days, it features a collection of the finest players in Nashville including former Johnny Cash bass player Dave Roe, legendary guitarist Kenny Vaughan, Average White Band drummer Pete Abott. Other notaries that contribute are pedal steel player Chris Scruggs, fiddle player Billy Contreras and guitarist Frank Rische. The real ace in the pack however, is the inclusion of West Virginia singer songwriter Sierra Ferrell. Her harmonies and backing vocals on six of the tracks elevate them to an altogether different level, the perfect adornment to Burrow’s own gritty vocals.

As you might expect, those vocals articulate the partying and hell raising lifestyle he’s left behind and also the sometimes agitated childhood that proceeded it. The album’s highlight Rodeo is a proof of this, the tale of an outlaw on the run from Texas to New Mexico and his encounter with a cowgirl every bit the measure of him. It’s pure Texas country fare, dipping and soaring wonderfully, a true reflection of his own ‘highs and lows’ along the way. Grandma Joy’s Homemade Strawberry Jam recalls innocent childhood memories whereas the hard-hitting Guitar Man suggests more troubled times some years later. (‘’But you’re afraid to pull the trigger, you’re afraid you’re gonna miss the fun, so you pick up the guitar, and you put away the gun and you strum’’). Two cuts of the title track are included. The first is delivered in pacey Sothern Rock style and the second inclusion, titled Southern Wind (Nashville version), is somewhat less frenetic and more laid back. Ferrell’s harmonies and backing vocals adorn both. Leaving Colorado is a bluesy delight, Burrow’s semi spoken vocals nestling side by side with a succession of jazzy fiddle breaks by Contreras.

After a period spent in an emotional wilderness, Burrow has returned firmly to his Texas roots with these striking tales of innocence, waywardness and finally redemption. Having lived through trying times, let’s hope this wind of change continues to whirl him in the right direction. A most impressive listen from start to finish.

Review by Declan Culliton

Jared Deck Bully Pulpit CRS/Must Have

Originally from a family farm in Oklahoma, Jared Deck’s chequered career to date has involved working in a factory, standing for election to the Oklahoma State House of Representatives at the age of 28 and being employed to perform his music in a church. It’s fair to say that all three experiences did not exactly result in happy endings but did offer Deck some life experiences that he draws from in his latest release, BULLY PULPIT. His factory career came to an abrupt halt when his company decided to outsource, leaving him and many of his colleagues redundant. His political career involved unsuccessfully standing for election for The Oklahoma State House of Representatives (“I lost out by a little, instead of a lot!”) and being fired from his performing role at a church (“I had played in churches my entire life but that one was a doozy’’).

The title of his latest album may be inspired by that dismissal or by his numerous experiences playing gospel and blues music from the pulpit throughout his career. The winner of the annual Woody Guthrie Folk Festival song writing competition with American Dream from his 2016 self-titled debut album, Deck was earmarked by both Rolling Stone and American Songwriter as ‘one to watch’. Bully Pulpit taps into his gospel upbringing and the numerous contradictions lurking behind the American Dream.

It’s a fun listen by a collective of musicians that appear to be having a blast during the recording process. Tracks such as Great American Breakdown, There’s A Leak In This Old Building and Money Back are full on Gospel fuelled rock and rollers, with Deck’s powerful vocal leading the charge. He does also manage to take a temporary breather on the tear jerker Make Your Mama Proud.

Recorded at 115 Recording in Oklahoma and produced by Wes Shanon (John Fullbright, American Aquarium, Parker Milsap), the musicians featured on the album include fiddle player Byron Berline - who played with both The Rolling Stones and The Flying Burrito Brothers – and the Turnpike Troubadours’ duo Gabe Pearson and Hank Early.

Review by Declan Culliton

The Drunken Hearts Wheels Of The City LoHi

A five piece band who play some hard edge roots rock. They are based in Colorado and recorded the album there with producer Tim Carbone. The band are Andrew McConathy and Kory Montgomery on guitars and vocals, the rhythm section of Jon McCartan and Alex Johnson and Cody Russell on steel and dobro. They are a tight-knit combo who deliver some intense songs of love and its inevitable ups and downs. Though there are no credits on the album I assume that they are all original songs. The writing is as robust as the sound and can deliver the occasional lyric that sits outside of the overall themes, or at least a different perspective on it. Passchedaele is about a soldier returning from the First World War both changed and facing changes not least in the fact that his sweetheart has gone off with another man. It features a string section effectively. Elsewhere brass was used on the title track in a subtle textured way to add to the overall feel. Unrest has an element of psychedelia in the lap steel that also turns up at other moments adding a different flavour to their take on Americana. 

There are eleven songs here that show how the band play as a unit to bring the best from the songs and from each other. Wheels Of The City is a slow tempo lookat the way a city moves and who it leaves behind. The vocals are central and effective. The band also knows how to take it down a notch or two with the more acoustic opening to Two Hearts (On A Limb) before a level of chaos is introduced to the song. Dream Of Waiting is also more thoughtful in its consideration of relationships and trying to find out the person the other wants and needs. The Cave finishes out the album with a spoken into taken from Plato’s Allegory Of The Cave over some ambient noise before becominga riff heavy instrumental that finishes the album with a sense of authority. It has the feeling, at times, of some of the progressive rock sounds of the late 60s and early 70s.

Overall it is an album that stands itsground and offers a take on Americana that is, while not unique, strong enough to warrant listening too. It faces the problems that any regional act has in breaking out from that base to produce something that can stand in a wider space and gain attention against any number of other musical entities. Be that as it may The Drunken Hearts can raise a glass to what they have achieved here.

Review by Stephen Rapid

Del Reeves Hits On The Billboard 1965-1978 HumpHead

Although Del Reeves first recorded in 1957 and continued to do so with different labels in wasn’t until 1964 that he had abig hit and hisonly number with Girl On The Billboard. Previously his Be Quiet Mind had made the top ten however; perhaps though his best known material was that mix of trucking song, novelty number and Bakersfield sound. From then on, he had a lasting career with a catalogue of over 25 album releases while placing 50 singles in the Billboard charts.

One of the quirkiestaspects of his sound was to open many of his songs with a non verbal doodle-oo-doo-doo. There is also a touch of Roger Miller and of Buck Owens in his overall sound and style. Neither was he a writer on this 50-song compilation andhe only has one co-writing credit. He did favour the songs of Jerry Chestnut though, who has 8 credits. Overall this compilation is not essential but isnone-the-less an easy tolisten to collectionthat is very much of itstime. The running order is mainly consecutive from 1965 and the sound gets more commercial as the years progress. Not that Reeves wasn’t a capable singer whobrings an energy to the material he was recording. Songs that range from The Private (a tribute to the common soldier) to the cheesy and patriotic notions of Prayer From A Mobile Home. In recent times his presence was mostly found on compilations of trucking songs. Alongside Girl On The Billboard on this compilation there’s Trucker’s Paradise and Looking At The World Through A Windshield, although he did record a complete album with the latter title that was more related to the subject, this is a broader overview of his career.

He also recorded a number of duets, as that was a popular format back then, so there are tracks with Billie Jo Spears, a couple with Bobby Goldsboro and a version of the Carole King/Howard Greenfield classic Crying In The Rain with Penny DeHaven. The latter also duets on Land Mark Tavern. A handy compilation for anyone who remembers Del Reeves or who has a liking for the country music of that era. HumpHead have also released a compilation of country songs by Brenda Lee for those who might fancy that.

Review by Stephen Rapid

Micky & The Motorcars Long Time Comin’ Thirty Tigers

Family bands seem to have played a large part in the backstory for these guys. They featured with their father’s band Muzzie Braun and the Boys back in the day in Idaho. Since then Gary and Micky Braun moved to Austin to become Micky & The Motorcars while elder brothers Cody and Willy formed the renowned outfit Reckless Kelly. Both bands have fairly full-on touring schedules and each band have homed their sound in both the live and recording settings. 

For this new album, their fourth studio recording, the brothers worked with producer Keith Gattis and recorded in Nashville with a set of seasoned studio players. Both brothers contributed material to the album with Gary this time out penning six of the eleven songs either as co-writes or as solo contributions. The remainder came from Micky, again in a similar fashion, though with more co-writes, one including Gary. They both take the lead vocals in the songs they wrote. The recording itself is an extension of the sound that has been their trademark since their inception. Which is a robust, road-ready roots rock. The brothers however feel that this album is a step forward and a reinvigoration for them.

It certainly sounds that way with some very strong songs from the get-go. Road to You, Rodeo Girl and Alone Again Tonight are a opening salvo of catchy and complete songs. Mainly the subject overall is that of relationships and of romance. The forth song takes things a little deeper and darker with Gary Braun’s song Lions Of Kandahar which details a officer serving a tour in Afghanistan and the traumatising situation he and the men under his command encounter during that time. It manages to convey the way that the average soldier has to deal with such stress and fear on a daily basis. By its very nature it is a stand out song and its underlying middle-eastern theme compliments that.

There are many other songs here that are further evidence of the band’s worth and how they have consolidated their music to create the best album of their career and one that should be listed to from start to finish. The final song is the title track written by Micky and Bruce Robison. Long Time Comin’ has a more reflective nature and looks at where life has taken them on the path to where they are now. As with the other songs here there is a sense of looking inwards but in a way that reflects on the universal human condition. But in doing so they play some exciting music that has across the board appeal.

Review by Stephen Rapid

New Album Reviews

Ned LeDoux Next In Line Thirty Tigers

First off, I was big fan of Chris LeDoux Ned’s father. He was a rocking’, rodeo horse riding real cowboy who balanced a music career with running a ranch. LeDoux senior has been mentioned by Garth Brooks as a major influence; although one went on to mega success it is the other whose records remain in my collection. There was an outright honesty and energy to his music that seems to have carried over to his son’s work too. It’s the blowing off steam nature of a cowboy’s life that Saturday night was something of a highpoint of the week. Hence there are songs that reference that, with his versions of John Fogerty’s Almost Saturday Night and his father’s Homegrown Western Saturday Night - the latter opens with an introduction by Chris.

Produced by Mac McAnally the album has a up tempo energetic sign that falls on the rights side of being too hard rock for its own good. The songs are all based on LeDoux’s viewpoint on life with songs like Old Fashioned “that’s who I am, a little set in my ways.” Worth It which praises hard, simple work “It’s a tough job to do, but it gets done and it’s worth it.” Dance With Your Spurs On, a song co-written and sung with Corb Lund is equally a list of things you need to do to be able to dance with your spurs and make of life what you can. That essentially homespun philosophy is the core to the truth of these songs. Living a life close to the land and being the next in line to continue traditions (Next In Line). They songs are written by LeDoux solo or a number with McAnally and one with Mark Sissel (Great Plains). Sissel was the guitarist with Western Underground, Chris LeDoux’s band and partly responsible for their rockin’ sound. Ned LeDoux was the drummer for a time in that band too. Mac McAnally and Chris Stapleton wrote Just A Little Bit Better which is sung here by both McAnally and LeDoux.

While Ned LeDoux gets more miles under his music saddle he has matured into an artist who has carried on the family tradition (and sound) forward in way that would gain approval from those who recognise the sound as country music with more than a touch of western, but given an injection of pure energy that makes LeDoux’s music more than a tribute to his father. It is a living entity that is worthy of consideration in the same breath. He is (or should be) the next in line.

Review by Stephen Rapid

The Mavericks Play The Hits Mono Mundo

I have more than a little fondness for the Mavericks from the release of their debut album.  The band are currently on a 30th anniversary album which, to date have yet to a make a return visit to these shores. Something that is unlikely to happen this year at this stage however - but hopefully in the near future.

This is a shame as I think this album would have gone down a treat live. Described as country/latino/rock’n’roll - which is accurate for this brimming with personality set of superior musicians who bring a sense of joy to what they play. It this case the band have recorded the hits of others and throughout they equal or surpass the original versions of the songs, not least due to the vocal versatility of singer Raul Malo. The other key members of the band - the ace drummer Paul Deacon, guitarist Eddie Perez and keyboardist Jerry Dale McFadden - make a perfect foil for the singer in style, charisma and musicality.

Here they draw a little closer to the country sound they became known for in their early days. Though that hasn’t meant they have lost any their musical exploration. There are eleven songs that run from start to finish brimmed with entertaining qualities. But if one had to point to a couple of highlights then their version of Before The Next Teardrop Falls (a song written by Vivian Keith and Ben Peters and known for its version by Freddy Fender) is one. The uniqueness of what they do is further underlined by their version of Fred Rose’s Blue Eyes Crying In The Rain where they almost make you forget the take on it by Willie Nelson. They have made these songs Maverick in the way they have delivered them here.

The remaining tracks include Are You Sure Hank Done It This Way?, Hungry Heart, Don’t Be Cruel, Don’t You Ever Get Tired Of Hurting Me and Blame It On Your Heart. All are perfect choices that ring true and run from slow ballad to big swingers. This multi-cultural band have rarely been better and though this is an album of known and some not as well known covers it is at its heart a Mavericks album. Mention also for the additional players who record and tour with the band adding brass, accordion and percussion to bring depth and texture to the performances. That level of commitment is what makes this special.

Review by Stephen Rapid

Helene Cronin Old Ghosts & Lost Causes Self Release

I have to admit when I received this album the thing that initially attracted me to listen was the standard of players involved. I will listen to anything that Kenny Vaughan plays on. Add to that Chad Cromwell - drums, Byron House - bass, Bobby Terry - guitars, mandolin and steel, Heidi Newfield on harmonica and backing vocals. Then there is producer Matt King also adding backing vocal to the proceedings and you have the making of a great album.

The ingredient that is vital to it working is Helene Cronin, her voice and her songs, all of which prove to be well up to the job. Cronin has been compared to Lori McKenna and Mary Chapin Carpenter. There are also a number of lesser known contemporaries who she would  easily  fit alongside too.

 As a songwriter she has mostly written the songs on her own but some are co writes with the likes of Davis Corley, Scott Sean White and others. The first song that stood out was Humankind. This song brings together a young nurse and an old embittered man and the relationship they form. This song shows how she can weave into the story a bigger picture than the one written and how she uses small details to give the song some added reality. Riding The Gray Line details a bus journey and the selection of humanity that are, by necessity, traveling together on this together alone journey. So, first and foremost Cronin is a songwriter and a good one. She also has an expressive voice with which to deliver these tales.

On El Camino Fly the use of additional vocals that illuminates how this song could easily fit on something like a Pistol Annies album. With its powerful beat and hard guitars it speaks of “riding out here on the edge of crazy, outcast, outlaw, no cause, tearing up the night” setting the scene for a road movie scenario. There is darkness and there is some light, plus there are times that the Mary Chapin Carpenter comparison comes into focus vocally, to a degree, on In A Kiss. While there is a different mood to The Last Cowboy where her man is the last cowboy I’ll ever need. the last of a stubborn breed. It is clear she has an affection for this kind of rugged individualism. There are other songs here that also make the grade of memorable and meaningful and worth applauding, including God Doesn’t and the amusing we’re all equal sing along, Mongrels and Mutts.

Helene Cronin, after a couple of EPs has released this full length album and with her songwriting and vocal talent has made it one to note. She and producer King can feel the they have achieved something special here that is worthy of the talents of all involved.

Review by Stephen Rapid

Jerry Leger Time Out For Tomorrow Latent

Leger’s last recording Nonsense and Heartaches, released in 2018, was essentially two albums in one. It was divided between a side of full on electric rockers, paired with a side of laid-back acoustic ballads.  Time Out For Tomorrow, even though it does feature a mixture of both up-tempo and laid-back tracks, is less experimental and considerably more consistent. However, there are similarities as the album is once again produced by Michael Timmons of Cowboy Junkies fame and recorded on that bands own label, Latent Recordings. Leger’s long-time backing band The Situation again feature and collectively they contribute in no small measure to flesh out Leger’s vocals, guitar and piano. The band members are James Mc Kie (lap steel, guitars, fiddle), Dan Mock (bass) and Kyle Sullivan (drums)

The Canadian has speculated that the two albums that most influenced the direction of this recording were Lou Reed’s Coney Island Baby and Nick Lowe’s The Impossible Bird. The characteristic Nick Lowe melodies do surface on Burchell Lake. However, to my ears, there is a distinct early to mid-70’s feel to the album throughout. Opener Canvas Of Gold recalls the country soul vibe of Van Morrison’s Old Old Woodstock from his Tupelo Honey album. Ledger unleashes a convincing full force vocal delivery himself on Read Between The Lines, a Dylanesque styled song, reminiscent of the Rolling Thunder Revue era. Tell A Lie has a similar feel to it, with nods towards Tom Petty. It’s not all blood and guts though and ballads That Ain’t Here and I Would are both impressive inclusions.

Canada continues to provide quality singer songwriters, both male and female. Leger definitely qualifies with flying colours in this regard, but its possibly doing his band a disservice to label him as a solo artist rather than a band leader. Since 2005, he’s recorded over a dozen albums, either solo or with his side projects The Del-Fi’s and The Bob Fi’s. Firmly rooted in the classic and vintage sounds that dominated the output of many early 70’s bands in America, Time Out For Tomorrow is as impressive as anything in Leger’s back catalogue.

Review by Declan Culliton

Jeremy Ivey Dream and The Dreamer Epitaph

‘‘Who’s going to be the next pretender, who’s going to play that role?’’ asks Jeremy Ivey on the killer opening track Diamonds To Coal, from his equally impressive debut solo album Dream And The Dreamer. The quote instantly brings to mind the number of Neil Young influenced artists that have come and gone over the years, having released albums with the Grandfather of Americana’s stamp firmly on them. Ivey’s album also suggests a love of the Neil Young songbook, but like his peer Dylan LeBlanc’s latest offering Renegade, those influences have inspired a body of work that is also individualistic, having its foundations in both country and folk. Ivey’s workload in recent years has been fuelled by supporting, producing and managing his wife Margo Price’s career. Sometimes touring and appearing on stage with her and other times playing house father while she tours, he has been supportive and protective of her, allowing her profile to prosper.  Times have been hectic for the couple of late, what with the birth of their second child, constant touring demands on Price, Ivey being signed to the independent label ANTI- and now the release of Dream And The Dreamer. In a former life, the couple have written and performed as members of Buffalo Clover, a Music City local supergroup of sorts which included Kenny Vaughan and Sturgill Simpson at one stage.

 Falling Man could be an autobiographical reflection on Ivey’s own life journey. Beautifully melodic, you get the sense of Ivey as a deep thinker, who has probably always sought an outlet to express those considerations. Worry Doll is from bygone times, a route one folk tune, which finds the dreamer imploring his beau not to abandon him. Greyhound is a catchy duet with wife Margo, possibly recalling memories of low budget journeys undertaken by them in their former lives. It’s the type of song that graces Dave Rawling’s albums, a cheerful recollection of innocent times. Gino The Tramp is written in the style of Willy Vlautin, a sympathetic observation of the marginalised in society. It’s common a trait that comes to light in much of Ivey’s writing. A realist rather than a pessimist, Ivey considers life’s challenges of today and yesterday on Story Of A Fish and on the album’s title track, a stripped back ballad which closes the album.

A prolific writer, with the confidence of a record deal now behind him, Ivey is in a hurry to get things done. He has already written material for another two albums, together with co-writes with his wife for her next release. Dream And The Dreamer is a welcome introduction from an artist who is proving to be quite a late bloomer.

Review by Declan Culliton

Michaela Anne Desert Dove Yep Roc

 In an often unforgiving industry, it’s satisfying to witness an artist deservedly getting well-earned recognition and being signed to an established record label. This is particularly the case with Michaela Anne, an artist that has been very much on the Lonesome Highway radar since discovering her at Americana Fest in Nashville a number of years ago. She’s certainly put in the spade work, touring solo and with pick up bands and sharing stages with Sam Outlaw and J.P. Harris in recent years. The possessor of a crystal clear voice equal to any of her peers, Desert Dove finds her sticking with a similar formula to her impressive 2016 release Bright Lights And The Fame. Not just an accomplished vocalist, Anne’s songwriting skills have moved to an altogether different level on this album. The material is a reflection on how we live, love and communicate, in times where tweets and texts dominate normal communication avenues. It’s also noteworthy that her lyrics never attempt to be overly clever, simply coming from the heart, questioning, challenging and considering.

I’m Not The Fire and Run Away With Me recall a young Carlene Carter in her heyday. Anne may be slight in stature, but she’s no shrinking violet and her no-nonsense sassiness rings true in the somewhat tongue in cheek If I Wanted Your Opinion. The gorgeous opener By Our Design evaluates life choices, relationships and goal setting. Child Of The Wind is possibly a reflection on her nomadic childhood dictated by the demands on her military employed father. The reflective title track Desert Dove was no doubt stimulated by her choice to record in California, rather than her current hometown of Nashville. 

The production duties were handled by Sam Outlaw and Kelly Winrich of Delta Spirit fame. A host of top-notch players feature including guitarist Brian Whelan (Dwight Yoakam, Jim Lauderdale) and fiddler Kristin Weber (Kacey Musgraves, Margo Price).

To date Anne has, to her credit, avoided dumbing down her output and targeting the lucrative crossover country market that continues to churn out predictable pop music masquerading as country. Desert Dove is very much an album in the present but with its heart in the past.  Let’s hope she continues down this road and gets the industry support and recognition she richly deserves.  Don’t just take our word for it, Rolling Stone have compared Anne to both Linda Ronstadt and Emmylou Harris. Enough said!

Review by Declan Culliton

Jason James Seems Like Tears Ago Melodyville

Firstly, a word of caution. This is a COUNTRY album with pedal steel and fiddle on most tracks! There’s nothing crossover, nothing alt or nothing Americana about the album. Simply classic vintage country of the highest order. James released his self-titled debut album in 2015 on the New West Record label. Deemed to be a tad too ‘country’ for the label, they attempted to steer James in a slightly different musical direction. Without any intention of budging from his core sound, he appropriately delivered a cover of the Ernest Tubb song Let’s Say Goodbye As We Said Hello as his swansong to the record label.

Seems Like Tears Ago follows an identical template to his previous album. Covering the usual topics of loneliness, lost love and ‘tears in beer’ heartache with panache, it’s little surprise that titles such as I Miss You After All, Achin’ Takin’ Place, Ole Used To Be and Foolish Heart all feature. Weeping pedal steel guitar introduces the opening and title track followed by James’ velvety vocal delivery, leaving the listener in little doubt of what is to follow. It would be easy to brand James a modern-day George Jones pretender- that’s a compliment in itself - given his vocal style. He’s much more than that, with shades of Dwight Yoakam on Move A Little Closer and the previously noted Ole Used To Be, and echoing Jim Lauderdale when he dons a Nudie suit and goes full on country. The timeless We’re Gonna Honky Tonk Tonight, a two-step invite and classic Texan Dancehall fare, also hits the spot.

The album was recorded in just three days at Signal Hill Recordings in Dripping Springs just outside Austin, Texas. Remarkably, the majority of the songs were down in just two or three takes, testament to the quality of the players that producer John Evans (Hayes Carll, Corb Lund) assembled. Geoff Queen takes the credit for excellent guitar and steel pedal contributions and Reckless Kelly’s Cody Braun plays fiddle. Completing the line up were Rick Richards on drums, T Jarrod Bonta on piano, Jacob Marchese on bass and Chric C Cook on rubboard.

Ironically, James is a modern-day “country outlaw”, writing and recording on his own terms and not prepared to accept the interferences of a record label. Things have certainly come full circle. File under ‘they just don’t make them like this anymore’. Make no mistake, if this album was recorded in the early 70’s, James would be a household name!

Review by Declan Culliton

Suzie Vinnick Shake The Love Around Self Release

If you, like me, thought that the blues was predominantly a sad music then this excellent album by Canadian Suzie Vinnick will make you think again. It’s apparent from the opening chords of the opening song Happy As Hell that she is one contented person and that she’s determined to lift the listener up too. I’m embarrassed to admit that she has never crossed my radar, even though she has won multiple music awards in blues, jazz and folk genres in her native Canada.

The twelve songs here (all but three are self penned) allow her ample scope to show her impressive chops on guitars and bass. She only needs to call in an Ontario local for drum duties (Gary Craig) and her co-producer Mark Lalama adds Wurlitzer, Hammond organ and accordion.

Suzie has a powerful voice that she knows how to use, be that sweetly on a country blues acoustic like Drift Away (a co-write with the wonderful Matt Andersen) or on the bass heavy rocker Lean Into The Light.

Difficult to categorise, she dips in and out of folk, rock and jazz with total ease. There’s a truly sultry cover of John Fogerty’s A Hundred And Ten In The Shade, followed by her own Crying A River For You where she conveys the heartache with some gorgeous lap steel. Recommended.

Review by Eilís Boland

New Releases

Chris & Adam Carroll Good Farmer Gypsy Shuffler

This is the debut album from a folk husband and wife duo. Adan Carroll has several solo albums to his credit, including the recent I Walked In Them Shoes. They have been playing live shows together for the six years or so since marrying in 2013. Carroll is a noted and highly respected songwriter in the classic folk tradition. Here he contributes some songs written solo or with other partners, with the remaining six songs written by the duo. They both share lead and harmony vocals and Chris’s vocal makes a fine counterpoint to Adams more fundamental vocal delivery which is more often delivered in a semi-spoken style. Chris also plays guitar and mandolin while Adam adds his guitar and harmonica skills. On occasion there is also some fiddle played by Dennis Ludiker.

The album was produced by Lloyd Maines (who also worked on Carroll’s solo albums) and he also brings his multi-instrumental talents to bear on the songs when required, although many are recorded in a live setting. The album opens with Hi-Fi Love written by Adam and Scott Nolan which sounds like one of the recent John Prine duets. There is a deft touch to this album and enough variety in the instrumentation throughout to hold attention in a home-based, rather than live setting. Adam Carroll has been praised by such artists as Hayes Carll, Slaid Cleeves and Jon Dee Graham (who also provided the sleeve painting). And listening here you can see why his (and Chris’s songs) are worthy of such praise. They introduce characters with enough background detail to bring them to life. Ocean Of Peace, which is sung solely by Adam, is about a solider being shown some solace in a post-war world. Angel In God’s Country is likewise sung by Chris alone and offers that “you can’t judge a book by a cover, or a child by a mother” to make a case for a person being what they in their own right and not judged by association. It is likely that they each take the lead vocal in the songs that they composed, but either way their voices complement and add chemistry.

A good introduction to the two individual talents or perhaps a souvenir of their live show. In the end though Good Farmer offers a fruitful crop of well nurtured songs.

Review by Stephen Rapid

The Quebe Sisters Self-Titled Self Release

‘’ It’s an honour to live on the same planet as the Quebe Sisters. They represent everything that I love about pure American music and I’m probably their biggest fan.’’ So says Marty Stuart, articulating his admiration for The Quebe Sisters, a five-piece Western Swing band from Texas comprising of three fiddling playing sisters Grace, Sophia and Hulda Quebe, joined by Simon Stripp on guitars and Daniel on bass.

The self-titled album is their fifth release over a career that has spanned 15 years to date. Recorded at Texas Treefort Studio and self-produced by the band, it comprises three original songs and seven covers. Standards such as Willie Nelson’s Summer Of Roses and Gene Austin’s Lonesome Road are given make overs, as is the opening track Always Seem To Get Things Wrong, penned by Jesse Harris.

Review by Declan Culliton

Sess Grandeza Boiled

Well, the Lonesome Highway banner does include a reference to Roots Music. So, when a record arrives that contains a lyric sheet entirely in Portuguese, it does set a certain challenge! Sessa is a Brazilian artist who hails from Sao Paolo and this album is about the natural gesture of love and the softness of the human body. It’s also about his love for Brazilian music and its many shapes and colours. 

The beats and melodies are right out of what one would expect South American native music to be; plenty of salsa grooves expressing joy and lightness along with very danceable rhythm. There are jazzy elements scattered across the eleven tracks (especially Sangue Bom and Tanto), but a bilingual lyric sheet would have been a help in deciphering what is being sung about. The backing voices are all female and blend well into the overall groove with a simple production and light percussion augmenting the acoustic guitar and upright bass work. There is a hypnotic quality to the listening experience and definitely one for a hammock on a bright sunny morning.

Review by Paul McGee

Doug Kinch Songs From Last Year Shandon 

This 4-track EP was given to me recently and the title is very apt as the songs date back to 2018 and the Folk tinged sound is very gentle and pleasant. The production by Josh Johnston and Doug Kinch is very clean and the instruments are given plenty of space to fill the arrangements with a ‘less is more’ approach.

With Carol Keogh providing vocals on all tracks and Josh Johnston providing piano, electric piano and Hammond organ, the duo is joined by Patrick Groenland on electric and acoustic guitars and Cian Murphy on double bass. Kinch wrote the lyrics and co-wrote the music with Johnston and it turns out to be a very successful collaboration. Johnston is an experienced musician, producer and composer in his own right with a number of previous releases and he brings a guiding hand with a light touch to proceedings.

Hannah Jordan is an angry song that builds over the arrangement, speaking of lies and disillusioned trust. There is a wistful quality to September Day and the title track while the closing song, Sketching For Lydia, is focused on the process of painting and creating an image with colour. Good to see quality Irish musicians making a statement with their talents and hints at better things to come.

Review by Paul McGee

Ray Cerbone (Americana & More) How Much Time Self Release

This is Folk music and story songs that have been crafted over many years. The twelve tracks are self produced and apart from three covers, Cerbone wrote all the songs, in addition to playing acoustic guitar and providing vocals. The project has been a labour of love and the assembled musicians serve the songs very well with understated playing. 

Roy Schneider, who wrote Carriage, one of the songs included, plays an array of instruments from dobro and bongos, to melodica and mandolin. Gil Jusino provides a very mellow and rich upright bass throughout with both Kat Eppie (flute) and J Robert Houghtaling (fiddle) appearing on single tracks. Backing vocals are handled by Maria Valsi on six songs, with both Kim Mayfield and Christine Scholtus singing on one track each.

The spoken vocal style is very effective and adds authenticity to the laid- back acoustic arrangements. There are songs that deal with old memories (Next To You and Let The Bad Times Be), affectionate nods at old guitars bought (Steel On Wood), tributes to Guy Clark (Fondest Memory Of All and My Favourite Song) and  Richard Shindell contributes Next Best Western, a song for the weary, but unbowed. The honky tonk swing of Cowgirl With The Long Red Hair is an up-tempo slice of fun while closing song, How Much Time, asks the eternal question about enduring love. 

The whole project is a very enjoyable listening experience and this artist should not wait as long before focusing on his follow-up release. This has some depth and some very engaging playing and writing.

Review by Paul McGee

Various Artists The Time For Peace Is Now Luaka Bop

Luaka Bop is a record label that was founded by David Byrne of Talking Heads fame. It has a very eclectic mix of artists and this release is the second volume in their World Spirituality Classics series. Unearthed from obscure 45s found in attics, sheds and crates across the American south, the collection presents a sound that is built on gospel and soul leanings. Compiled by soul DJ, Greg Belson, with special essays from New York Times Best-selling author Jonathan Lethem, gospel expert Robert F. Darden and Pastor Keith L. Whitney of Sanctuary Fellowship Baptist Church in Detroit, Michigan.

There are fourteen tracks and the various artists are mainly unknown names in the wider media. However, the press release states that a number thrived on the gospel live circuit and some are still performing to this day.  

The messages are secular and based around trying to live for one another and striving to get along with our fellow man. In the post Martin Luther King USA, it was a heart-felt attempt to unite people into a loving awareness message. The songs were released on small labels and artists like The Little Shadows, The Religious Souls, The Soul Stirrers and The Floyd Family Singers, among others, give fine testament to the movement and sentiment of the time. 

Clocking in at over 45 minutes, it is a very enjoyable listen, even if the Gospel/Soul passions are some way apart from what Lonesome Highway usually concentrates on. The final song, Don’t Give Up, by the Williams Singers really sums up the central theme of believing in yourself and looking for the good in others.

Review by Paul McGee

Mrs. Henry The Last Waltz Blind Owl

Since 2012, Mrs. Henry has comprised of original band members; Dan Cervantes - guitar and vocals, Jody Bagley - keyboards and vocals, Blake Dean - bass and vocals and Chad Lee – drums. They hail from San Diego, California and their first two E.P. releases were followed by a couple of full-length albums, the latter split between a Vol. 1 with 6 tracks and Vol. 2. With a further 6 tracks…

These guys know a thing or two about exciting an audience with their loose boogie sound and they are perfectly suited to the project at hand; a tribute to the legendary Band concert, The Last Waltz. In November 2017, at the Belly Up Tavern in Solana Beach, San Diego, Mrs. Henry played their own gig to celebrate the original; a huge undertaking with the band members being joined by a total of 30 additional musicians and singers during its performance. Not all the original concert songs are included, which is understandable, but the entertainment across the 31 tracks that are performed, is superb and runs to over 2.5 hours of music on this double CD… 

The playing, overall groove and vibe on the evening is terrific and mostly all the great Band songs are there; Up On Cripple Creek, The Shape I’m In, The Weight, Evangeline, Arcadian Driftwood, The Night They Drove Old Dixie Down and the cathartic, I Shall Be Released.  For some reason Ophelia (a personal favourite) has been omitted but this is a small observation on a special occasion where everyone came together in order to recreate the original spirit of the 1970’s. Unfortunately, my review copy arrived with little information and a trawl of the web tells me that there were guest performances from many of San Diego’s most respected musicians, including Pat Beers of The Schizophonics, Brenden Dellar of Sacri Monti, Jesse Lee of The Paragraphs, Clinton Davis, Noah C. Lekas, Robby Gira, Brian Karscig, Roger Molina, Anna Zinova, Stephen El Rey, Nena Anderson and many, many more…

Although it has been praised as the greatest documentary concert film ever made, The Last Waltz was subsequently criticized for the disproportionate focus on Robbie Robertson and Band drummer, Levon Helm, stated that it was "the biggest f***in' rip-off that ever happened to the Band"; complaining they never received any money for the various home videos, DVDs and soundtracks released by Warner Bros. after the project.

Hats off to the Mrs. Henry band who carry off the mammoth task with great aplomb. Quite why they felt the urge to take this on in the first place is quite anyone’s guess – perhaps because it was just waiting there to be tackled? If you love the original Band sound then you will not be disappointed with the results.

Review by Paul McGee

Lisa Redford Edge Of Love Self Release

This 5 track EP arrived from a singer-songwriter who fits seamlessly into a contemporary Americana/Folk sound that is commercial & radio friendly. Lisa also extends her talents to music tutor, vocal coach, DJ and music columnist; an impressive CV that also includes four previous full-length albums, including a Live recording, an Acoustic Sessions release, two prior E.P.’S – together with a few singles thrown into the pot for good measure! 

Active since 2005, her output has been consistently praised for its quality and depth. The five tracks included here are beautifully arranged and played by an ensemble of studio players that include the multi-instrumental talents of José McGill, who not only produced, engineered and mixed, but also performed on an array of instruments (10 in total) and provided some backing vocals too! 

Lisa plays acoustic guitars and sings in a voice that has great resonance and timbre. The songs are all written by Lisa and revolve around matters of the heart; whether the difficulty in living together through the doubts (Anything But Easy), to the sense of jumping into something new and unknown (The Edge Of Love); the memory of new love, now lost (I Just Can’t Forget), to the disappointment of being let down by another (Let Go) – or the realisation that ultimately we are on our own (Alone Tonight).  

No questioning the talent of this artist and with plenty of industry experience, the time for Lisa Redford to reach a wider audience is well-nigh… Do check out this excellent music.

Review by Paul McGee

Matt Patershuk If Wishes Were Horses Black Hen

The latest album from Matt Patershuk should see his reputation cemented as not only one of Canada’s finest roots performers but also among the best,period. It is a high point of his career to date and a superb album to boot. Taking its title from an old Scottish proverb which reads “If wishes were horses, beggars would ride” which suggest that dreams and ambitions should be pursued, even if not realised. Patershuk has said that this is a mixed bag and that is true as the songs cover a lot of bases that includes country (and western), blues, rock ’n’ roll and folk. Patershuk’s baritone vocal has the versatility to cover all these avenues with conviction allied to long-time producer’s Steve Dawson deft production skills.

The new album has fifteen tracks that immediately showthe variety in themes with in subject matter in the open trio of songs which are The Blues Don’t Bother Me, Ernest Tubb Had Fuzzy Slippers and Horse 1 (For Bravery & Good Fortune). All are set in suitable musical arrangements, the first is a bluesy song, the second a tribute to the good nature and personality of Ernest Tubb - which recounts a night Tubb spent a night in jail for firing a gun! Slightly at odds with what the title might have you expect. It features Charlie McCoy on harmonica and Dawson on pedal steel. Then the third track is an instrumental that would fit a Tarantino-style B movie. It is one of four such instrumentals on the collection all called Horse (the others numbered 2,3 and 4 are all shorter pieces) and in keeping with the album title but all diverse in their content. 

There is a cover of a Grateful Dead song Sugaree co-written by the recently deceased Robert Hunter and the late Jerry Garcia. Apart from that it’s Patershuk all the way and the writing standard is high throughout. His writing is more in the straight forward story telling mode,rather than as an oblique wordsmith. The words are set against some memorable musical arrangements which are full of hooks and melodies that stick.

Aside from the tracks mentioned above another trio of the songs should be noted. The slow ballad of the Alberta Waltz which, to its credit sounds like a timeless song for the ages. Bear Chase is more up-tempo, telling of the hunt for a bear and features another strong vocal from Patershuk. Walkin’ is a slow ballad which uses the pedal steel and deeply solid rhythm section and vocal accompaniment to set it off in ’50s style. All in all, a thoroughly enjoyable outing that touches numerous different bases and which avoids sounding like a compilation album,rather one that compliments itself in its aims and realisation.

Review by Stephen Rapid

Ed McGinley Tangled Roots & Twisted Tales Sonic Justice

The debut solo album from former Dixons and The Winters guitarist Ed McGinley who delivers a soulful, understated album of original songs alongside three thoughtful covers of Tim Hardin, Hank Williams and Bill Fay. He has also produced the album with Les Keye in Arad Studio in Dublin. It’s a rich warm sound that utilises numerous players to good effect. While McGinley’s voice is limited in range it is used well to fit within the context of the songs and their overall mood. Highlands and For The Last Time This Year are both good examples of the overall nature of McGinley’s vision for this album.

The three covers also fit neatly into the context of the album. The arrangement for I’m So Lonesome I Could Cry with its brass intro brings the song to a different place, that does what a good cover should, by making you rethink the song and your memories of it. You reflect on its lyrics and what they might mean set in a different musical space to the one you know. Long Ago, Far Away has pedal steel master Percy Robinson add his layered textured sound to the track alongside the organ of James Delaney to evoke a restless journeying. That pedal steel sound is again used effectively on You’re Never Coming Back, something of the opposite theme to that of the previously mentioned song.

There is an emphasis on thoughtful and skilful playing from the fourteen additional listed players on the album (McGinley play guitars throughout). It has the overall feel of a labour of love and it has been realised as such from the well-designed cover through to the control that the producers have used to achieve the contextual sound and vision of the album; something which is difficult to pin down, with its numerous influences, that have blended into nearly 35 minutes of music that fits and feels like a warm glove in winter.

Review by Stephen Rapid

Osborne/Jones Twang CRS

This is a download only compilation from the English duo who have released four albums under their joint names. David Osborne plays guitar and David-Gwyn Jones is the lead vocalist. Their debut album Sometime Soon was released in 2014 but this new album takes tracks from their last two releases, Only Now and Even Closer. Now this compilation lives up to its title and features the guest guitar talents of some of the very best country players around, in Rick Shea (who has worked with the duo on previous albums), Albert Lee, Jerry Donahue, Kenny Vaughan, Will McFarlane and Peter Anderson. Telecaster exponents all. 

The question might be, do these guests overshadow Osborne and Jones who also wrote the songs? The answer is no. Jones is a good and versatile vocalist and while Osborne works with the other players to produce the best performances in the songs. The other players, who include such notables as drummers Shawn Nourse and Don Heffington, bring much to the relative simplicity of the songs, all of which fit the traditional themes in country music, such as lost and requited love. Titles like A Million Teardrops, Always Write In Blue and I Guess That You Will could easily be covered by some of the more traditional country singers of the past 50 years.

There are four songs from the recent albums Only Now (2016) and six from Even Closer (2018). The former album was produced in L.A. and Glendale, while the latter was produced by Teddy Thompson in New York (mainly). The duo were a part of the Los Angeles real country music scene in the past, playing such shows as Ronnie Mack’s Barn Dance, alongside such acts as James Intveld and I See Hawks In LA.

The album is very engaging and a good example of guitar-driven twang that is both listenable and danceable. I’m just surprised that I hadn’t heard of the two albums that these tracks came from. They certainly deserve to be given another outing and will hopefully put the band up among the very best of the current resurgence of real country music emerging from the UK.  One small point however - a better cover may have helped sales.

Review by Stephen Rapid

Jim Sullivan Self -Titled Light in the Attic

This release first saw the light of day back in 1972 and was a follow up to the debut U.F.O. that had started a media buzz about Sullivan, his big voice and 12-string guitar prowess. The production on this record is right up there with the best that studios could offer at the time. It is a completely different sound to the simple acoustic recordings of the other release, If Evening Were Dawn. The one track that appears on both records is Sandman and it’s interesting to compare the different production values given to each. This record is very assured and rounded in all the right ways by a studio production that gives the songs a finished feel…

There is a sense of Jim Croce or Gordon Lightfoot when hearing the content but then Sullivan had such a rich resonance to his voice that comparisons seem trite. There are eleven tracks here and the feel to the production is warm and full with the horn section and the rhythm of the back line quite compelling in the overall mix. 

There is a soulful direction to these songs that take them out of the simple Folk category and push them into a more rhythm and blues field. Clearly the talent of this artist was not fully realised, perhaps being on Hugh Hefner’s new Playboy label didn’t do Sullivan any favours? Who can tell? 

He never gained the rewards for all the hard work he put into his career over the years. Tom Cat and Show Me The Way To Go are pure soulful boogie and point to a direction that Sullivan could have blossomed in…. Biblical Boogie (True He’s Gone) is another track that could have originated in the Church influences of Gospel. Gone too soon but with these two revamped works, his memory is being kept alive.

Review by Paul McGee

Jim Sullivan If Evening Were Dawn Light in the Attic

The songs here date back to 1969 and this 2019 release is like a capsule hurled through space and time to reach out to a voice long since silenced. The back story to Jim Sullivan is just that – a back story. In 1975 he vanished without a trace on the way to Nashville to chase a career in the music business. These unreleased tracks were discovered and put into a posthumous release in order to celebrate a talent that never got to fulfil its true potential. 

All songs are simple acoustic guitar and voice accompaniment and have that sense of being trapped in time. The production is very basic, almost like home recordings, while the songs speak of broken relationships, (Roll Back The Time, Walls), looking for something more out there (Jerome), or just trying to make a relationship work out, (Sandman, What To Tell Her…).

So Natural is a quality song that deals with death in a manner that is somewhat different; “He looked so natural tonight, He had his hair all combed just right” – poignant and insightful…

It’s just like a faded photograph taken in the time when the World was a different place; there is an innocence and also a sense of wondering about why the dream never quite worked out.

Review by Paul McGee

David G Smith Who Cares Self Release

The title of this album gives a strong hint as to the content of the twelve songs included here. A message for our times? The opening track, Where Is The Medicine, leaves no doubt as the swamp rock sound of resonator guitars and the soulful backing vocal illustrate the personal anguish and pain suffered as a result of depression and suicide in our cities and towns. 

Second song, I Won’t Remember You, is a look at separation and whether a friendship can endure. The sweet guitar lines of Joe Robinson light up the arrangement with fluid jazz-based runs that you just want to keep going. He is a guitar virtuoso and his playing across these songs is of the highest quality.

Jesse James is a country tune with great fiddle playing from Larry Franklin as he weaves around the story of who the outlaw really was – the facts and the fiction that grew around his legend. The slow blues of Right Amount Of Wrong has the warm keyboard sound of Tony Harrell to the fore on Wurlitzer electric piano with understated guitar duelling along. 

David G Smith lives in Nashville and this is his seventh release over a career that has spanned over 20 years.  His producer, Blue Miller, died just after the completion of the project and the album is dedicated to his memory. Blue Miller produced a number of previous albums from Smith, in addition to working with artists such as Joss Stone, Bob Seger and India Arie. All songs are written by Smith, including 5 co-writes and the excellent musicianship displayed throughout is a pleasure to listen to…

Mary Alice is about a female long-distance trucker and the compromise & sacrifices made to earn a living, while Say Die, tells of a riverboat family who live close to the poverty line as shrimp farmers. The bayou accordion sound and soulful backing vocals give plenty of atmosphere to the arrangement. 

 There is a duet with Mary Gauthier on Shine, a soulful upgrade on the Curtis Mayfield classic, People Get Ready. Mary has also appeared on earlier albums by Smith and as always, she knocks her vocal out of the park. Also featured on the album are the voices of Alicia Michilli and Chante Caan, but without individual song credits it’s not clear who sings which part… suffice to say that both voices are full of soul and real nuance.  

The country sound of Straw Houses and Just To Feel The Wind sit well together; one about the relationship woes of not being strong enough and the other a tale of a dying man, victim of a hit & run and left to take his last breath in a ditch while looking at the sky and thinking of his loved one at home. The fiddle playing of Franklin is prominent again in both tracks.

Without Water is about water pollution and captured in the lines ‘what leaks into the water seeps into our souls and takes us down’. No legacy to leave our children and the frustration at the world and the ignorance displayed daily is tackled in the closing song and title track; also touched upon in the song, Mi Familia, were the futility and hopelessness of lives forced into emigration/immigration is handled  with great compassion, both including fine female vocal parts again. A very interesting release and one that comes recommended.

Review by Paul McGee

Simon George I Am The Wanderer - Tales From The Old West Self Release

A second release in as many years from an artist that was born in Dallas and moved to Nashville, where his musical development grew roots. He sent me this music, which arrived with the most comprehensive set of liner notes that I have ever received; what a welcome surprise to be given real insight into the bones of this project. The nine tracks clock in at 50 minutes and the mix of Americana, psyche rock and Soul, makes for an interesting listening experience. 

The title track, for example, is a funky workout with warm keys and trumpet making their mark in a driving arrangement, followed by the laid-back groove of We Used To Love Each Other Once, a tip of the hat to past romance and the nostalgia of something lost that can never be recovered. The opening tracks, The Mountains Calling and My Way Home, are guitar driven songs about love lost and getting a focus on what is important in following your dream and living free and true. 

The studio musicians are excellent in support of the songs and Robert Hudson on Bass and Rhythm guitar; Andrew Kahl on Drums & Percussion; Spencer Garland on Organ, Piano and Keys; Robert Gay on Trumpet and Maggie Reed on superb backing vocals all contribute greatly to the overall feel of the album. 

Robert Hudson also engineered and produced at his Kinda Warm Studio and with Simon George on Lead & Rhythm guitars and lead vocals, both turn in superb performance across the entire recording. The final three tracks really hit the mark as the project climaxes with Save Your Tears For Sunday, Bigger Than Dallas and Good Lord Willin’ all hitting the mark and highlighting the excellent ensemble playing. 

I also received a copy of the first album in my post and I have to say that The Way We Were is a terrific listen also, another nine tracks, clocking in at 55 minutes and well worth a listen. This artist is worthy of further investigation and you will not be disappointed in the time spent.

Review by Paul McGee

The Commonheart Pressure Jullian 

That very broad sweep known as Americana embraces quite a number of genres, spreading its tentacles far and wide. With its growing market it is inevitable that the music industry will become more and more influential in a direction it considers to be most likely to appeal to a wide audience. There appears to be a particular welcome approval from industry for crossover soul/country music presently, with acts such as War & Treaty, Yola, Shinyribs and Nathaniel Rateliff getting lots of positive and well-deserved press. Eight-piece Pittsburgh band The Commonheart are worthy of joining that list of acts most likely to position themselves much higher up the music chain on the basis of their striking sophomore recording Pressure.

The Commonheart featured on the Outlaw Music Festival tour alongside Willie Nelson and Sturgill Simpson, which was great exposure for the band. However, I do sometimes wonder at the increasing number of acts currently being touted as ‘Outlaw’. Qualification for that accolade nowadays appears to be well outside of its original coveted membership.

The album offers ten tracks, the common denominator being Clinton Clegg’s powerhouse vocals and, despite the large contingent in the band, the accompanying and backing instrumentation never dominates. Where The Commonheart differ from the earlier named acts is in the rawness in Clegg’s vocal. His gravelly chanting offers similarities to England's Joe Cocker across a number of tracks but particularly on Wait and Memory. Strings, brass, synthesizers, backing vocals combine delightfully on Can’t Forget You and Best Hold On. The title track is classic soul, evidence that Clegg is just as adept with a gentle delivery as he is with his more powerful and raspy efforts.

Nobody’s Listening proclaims Clegg on the track of the same title. With material as powerful as this and a stage act to match he may not be saying this for much longer.

Review by Declan Culliton